You are missed, Daniel-san.
“Once a little boy sent me a charming card with a little drawing on it. I loved it. I answer all my children’s letters – sometimes very hastily – but this one I lingered over. I sent him a card and I drew a picture of a Wild Thing on it. I wrote, ‘Dear Jim: I loved your card.’
Then I got a letter back from his mother and she said, ‘Jim loved your card so much he ate it.’
That to me was one of the highest compliments I’ve ever received. He didn’t care that it was an original Maurice Sendak drawing or anything. He saw it, he loved it, he ate it.”
I recently ran into this cool artwork at DeviantArt, and thought yeah, this is amazing. This blows my doors off. I’m going to contact the artist and see if he’ll give me permission to post it on my blog. I mean, Gilligan’s Island of the Dead. How cool is that? Two of my biggest loves: C’mon – Gilligan’s Island. The undead. The combination made me hyperventilate. Salivate. How many ways can I say this?
Law abiding blogger that I am, I dug around to find the artist – some guy referring to himself as Sideshow Monkey – and turned out he does artwork for Rob Zombie. CD covers, T-shirts, comics. And so much more. Projects my daughter, Miranda, would call “Rad.” I seriously had no idea. Call me out of the loop. I was that clueless.
Once I saw that I thought – Oh, Season. No way. Do you know who this guy is? No way is he going to okay this. No way are you even going to reach him.
And I talk to my friend, Cowboy, who says something along the lines of, “So, Babe, shoot him an email. I’ll bet he’d be cool with it.”
Next thing I know, I’m in contact with David Hartman, who thanks me and says he’s glad I like the piece, and then tells me, “I’d be honored to have it on your blog. Go for it!”
Of course, I screamed and jumped around and slipped on the polished wooden floor, but that’s beside the point.
Yeah. Artists are the grooviest people.
© David Hartman
Note: Gilligan’s Island of the Dead is the property of David Hartman and does not fall under my blog’s Creative Commons License. Thank you!
The cuteness. The creepiness. Somehow Paul Taylor manages to blend these disparate elements in his artwork and storylines.
To borrow from myself – last December I reviewed Taylor’s webcomic, Wapsi Square, on my currently retired blog, Suze Underground – They do know how to grow things in Iowa: Corn. Soybeans. One seriously excellent graphic novelist/webcomic artist with a killer-sweet talent.
As I mentioned in that writeup, I’m all about depth of story. Character development. When it comes down to it, I want to read comics with smarts.
The trek into Wapsi Square – a voyage that began with its initial post on September 9, 2001- is an ongoing journey that delivers.
I’ve been a fan of Taylor’s since I first ran into his crew of courageous and psychologically intriguing characters last year, and I count myself among one of his most dedicated readers.
It was great fun to find out more about the man behind the artistry.
Season: You’ve mentioned that your background is in photography and you have no formal training as a comic artist. Would you discuss a little about your beginnings as a comic book illustrator/writer?
Paul Taylor: Oh my goodness, I was stumbling around in the dark trying to get started. At the time that I was beginning work on Wapsi, there weren’t many resources and what I could find were very “these are the tools that professional comic artists use and this is how they work and if you want to be a professional, this is what you do, otherwise you’re not professional,” therefore I initially bought the expensive Bristol, dip pens, Windsor Newton brushes, etc.
Much later, I realized, you use what you’re comfortable using as long as it copies good and prints with good quality. As for the writing, I wrote up back stories for each of the main characters that were extensive and contained things that would probably never make it into the actual story. It sounds crazy but it gives me a base to work with that lets me know how that character is going to react.
I shouldn’t really say “know” as sometimes the characters surprise me with what they do. I took their back stories, tucked them away in my mind’s back burner, and then just let the characters lead the story. It’s quite a weird place to be and literally feels like I’m dealing with real people sometimes.
Season: I get that completely. Same thing with fiction writing. It’s important to know our characters inside and out, but it’s when they commit mutiny – sometimes taking over and insisting we do things their way – that’s when our stories can truly come to life.
Has drawing been a lifelong passion? How about fiction writing? Any formal classes/workshopping as a writer, or are you entirely self taught? You have such a keen sense of how great storylines work, and it’s clear you know a lot about “giving good story.”
Paul: First of all, Wow! Thank you! ^_^ No, I haven’t taken any writing classes, but I was lucky to grow up with a healthy diet of great movies and immediately became a fan of visual story telling.
I guess I started drawing as soon as I could hold a pencil, but it wasn’t until the last 12 or so years that I started with graphic novel as story telling medium.
I mostly center on how I enjoy having a story told to me and try my best to work from there.
Season: I’ve read every single panel of Wapsi Square (more than a few times) and can’t help but wonder if the evolution of protagonist Monica Villarreal and her crew of co-characters is something you planned.
Paul: The only part that I planned was that I wanted to work with a story that combined my love of the contrast of cute and macabre as well as the paranormal. It took the first several comics for me to work with the characters and become familiar with them, how they react and act, what their relationships would be like and such, all the while hinting at the paranormal yet not having it as the plot.
Season: At the very start, there didn’t seem to be any discernible foreshadowing of ominous events brewing. But when I reread, I noticed little touches I’d somehow glossed over on my first go-round: Monica pulling a voodoo doll from a crate marked “Peru” in one of the earliest panels (a voodoo doll that actually works); later, she inadvertently releases “the Aztec god of alcohol” who is quickly sent away to Utah. All returns to sweet and light for quite a while, with little toe-dips into deeper waters. Then some crazy-cool magic kicks in and the storyline ventures into shadowy psychological and supernatural territory.
I think you must have surprised your readers, and I get the feeling you meant to do that. When I read through again, months after my initial explorations, I thought oh, seriously. Paul’s been teasing us from the very beginning. True?
Paul: For quite a few readers, this seemed to be jarring; some claimed it came out of nowhere. Mostly this is because the comics had been on a M-W-F schedule and took way longer to get through than had they been in a book format. When people newly discover my comic online or read it in the book format, the transition from introduction to paranormal is much smoother and folks seem to enjoy it.
Season: For me, this change took your story from the realm of light, fun, almost glance-and-go reading to a hold-the-stagecoach, I’ve got to catch the next panel experience. Was this a conscious, premeditated direction, or a surprise to you as well? Or perhaps a little of both?
Paul: While some aspects of the change were planned, others took me by surprise. Not to give anything away to potential new readers, the full depth of three very powerful entities and just how much personalities they would have is what most took me by surprise.
Season: In an August 25th Twitter post, you tweeted “I find it odd that the things that made me an outsider of sorts in high school seem to be the things that make me interesting now.”
I related to that so much that I re-tweeted it. And noticed a few others re-tweeting it. And then I began to wonder about what led up to that tweet.
Were you an outsider in a nerdy way (which is considered cool nowadays, I realize; when I was in high school, back in the ’70s, certain modes of dress were considered—excuse the cliché; can’t help myself—social suicide. Maybe it was Michael Jackson who finally made white socks perfectly acceptable), or were you more along the lines of a renegade James Dean sort? And just for the heckuvit, what were some of those odd things that made you different?
Paul: Any nerdiness on my part back in high school were by no means premeditated things nor a renegade action; that would’ve been way too cool and would’ve made the nerdiness null-n-void. I was the nerd, through and through, that didn’t realize how much of a nerd I was. I was so nerdy that I didn’t know I was a nerd, just that I didn’t fit in. It was a high school that was all about their football team or being tough-ass country boys.
I found myself way more comfortable interacting with girls in high school, but unfortunately, it was too comfortable and I don’t think the girls ever thought of me as boyfriend material. I was the one that they told their problems to and asked me about what they should do regarding their guy issues. Looking back, and knowing that I’m completely oblivious when someone is flirting with me…shoot.
Season: My favorite Wapsi Square character is Tina, and I’m happy to see you expanding on her character. (For anyone who isn’t sure, Tina Rosario Aldaco Guzmán is the owner/barista of the Wapsi crew’s favorite local coffee shop. She’s the shell of a deceased girl whose body was commandeered by a group of personal demons.)
I’ve been curious about this for some time, but are these personal demons those of the former Tina? Upon her death, did they simply take over? And what inspired the idea for this character?
Paul: Exactly. The demons that comprise the current Tina are the demons of their former host. At Tina’s rawest sense, she is a very creepy, frightening concept. She looks human and alive, and yet to converse with her, one is interacting with a shell that is quite literally being manipulated like some kind of a marionette. I’m a huge fan of creepy-cute things and enjoy the contrast of working in such a cartoony style and yet having such dark elements in my stories.
Tina comes from the idea of something that is inherently dark, horrific and possibly sinister, and yet had no control over what it is, no say in being the way it is. Take, for example, a creature like a domesticated water buffalo. A creature that is quite frightening looking and could easily take on a Sherman tank, and yet can be ridden and handled with relative safety by children.
Tina’s other aspect is that the personal demons no longer have their host to sway/torment/annoy and yet have not moved on to their next host. They’re literally stuck with the ship after the captain jumped overboard. I was just fascinated with the idea of something as dark as personal demons having to make a life for themselves, stuck in the same position as the rest of us.
Season: I love that, and agree that creepiness and cuteness go great together. Tina rocks! (If you haven’t read WS, dear readers, you’re seriously missing out.)
Have you given much thought to the future of Wapsi Square? Will Jin and Bud and Tina, etc., live on in graphic novel collection after collection, or do you have other projects with different characters and storylines in mind?
I realize some artists would rather not discuss future creative plans, so feel free to change the subject, plead the fifth, or maybe tell us about winters in Minnesota.
Paul: I have a real soft spot for this goonie world that I created and will probably always have semblance of it in some way, even if it might be a tenured character or one waiting in the wings.
Other than that…oh my goodness! Look over there! It’s the London Philharmonic crossing the street!
Thanks to Paul Taylor for taking a little time out from his gotta-be-insane schedule. I appreciate his generosity – not to mention his positive and inspirational attitude toward others.
There is so much more to the man than the art – though his art blows me away.
The art though? Wapsi Square is awesomeness squared, true, but Taylor’s creations don’t stop there.
Check it out: Pablo Wapsi Illustrations
Taylor (a.k.a. Pablo Wapsi) also showcases admirable, courageous women on his site. I love this project: The Wapsi Girl
Wapsi Square: in the shadow of doubt by Paul Taylor
When Paul Taylor asked me to write the foreword for his 4th Wapsi Square collection, my initial reaction was absolute thrill. For a few glorious hours I reveled, and thought: How cool is this? Too amazing!
Then the questions and self-reflection kicked into gear. Who was I? Not some seasoned comic expert by any means. I’d gone years without picking up a slender Archie or Superman from the carousel shelves in my local market, and had only recently stumbled back into the nearly forgotten worlds of keenly rendered shoot ’em ups and slash ’em ups and “Just a bunch of dorky high schoolers hanging out and bumbling into slapstick undertakings.”
Who was I? A switch flicked. Memories surfaced: Myself as a child in the early ’60s, rapt as my dad described the harrowing adventures of his childhood hero, Buck Rogers. Me: four, five, six years old, perched on the edge of a crazed excitement as my father read me the Sunday Funnies. Or later, that small girl struggling with the decision: Did I want to be a comic book artist, or a writer when I grew up?
Flashes. Long forgotten scenarios. I hunkered down on the wooden floor, eleven, twelve years old, studied a cherished copy of Swamp Thing, sketching his hulking form in my Big Chief writing tablet. Or I drew panels of my own invention – Marvin’s Adventures Down the Bathtub Drain – to entertain my kid brother. I left off with the drawing soon after, and embarked on my quest to become a writer.
But in high school, I was the weird girl with a rolled issue of Creepy in my back pocket.
Years passed. Early loves slipped to the wayside. Webcomics beckoned, and I fell back in, wholly enamored.
I met Paul online, on the social network Twitter, of all places, where – under the pseudonym Suze Underground – I had inadvertently fallen in with a talented handful of comic artists and writers. I found them to be the most generous and welcoming crew (much to my surprise and delight!), and old urges led me to check out Wapsi Square.
Monica Villarreal and her friends struck a deep, resonant chord with me, as they do with an avalanche of fiercely loyal, worldwide fans. Wapsi Square‘s earliest beginnings, from the very first web panels posted on September 9, 2001, started off – we might say – in an innocuous vein, with Monica experiencing a bit of angst over being “naive and a pushover.” The early storylines seemed to suggest a fun, fresh little comic along the lines of something we’d see in the daily news. A sort of modern Cathy meets Betty & Veronica.
And then. Well, as you loyal fans already know, something mystical happened. Monica, who sometimes jokes about her Indiana Jones connection (and initially scoffs at the idea), became much more than an insecure young museum anthropologist. Far more than an everywoman with personal issues. She and her friends began the journey of morphing into darker, more complex characters.
Aztec gods. Mayan mysteries. Supernatural abilities (*poit*). Demons. And not just the psychological kind, but the scary-real types who insinuate themselves into these characters’ lives. It doesn’t take long for you to realize they’re not a figment of anyone’s imagination in the world of Wapsi Square. They may start out as a whisper, a nagging, negative voice that won’t go away. But then – a black, misty fog appears, a figure crawls along the shadowed hallway and into the light. And grows more real. More insistent.
Monica has her own demons, and then some. Tina is a collection of them who’ve commandeered a deceased girl’s body. Shelly’s demon is – let’s just say that those of you with disturbing pasts may recognize some of these demons, and indeed harbor a few of your own. Before long it’s clear. The demons are as real as any of us.
As I informed readers in a blog review, when I first ran into Paul’s webcomic, my plan was to read a few panels, then go make myself a grilled cheese sandwich. Instead, the characters and situations endeared themselves to me quickly. Taylor’s obvious understanding of human nature hit me, drew me in, and kept me reading. Compelled, I read on well into the afternoon and evening. Months later, I’m still reading. It’s my daily fix, as necessary as that morning cup of java.
Quoting Paul on my Wapsi Square conversion: “She never did make that grilled cheese sandwich.”
Wapsi Square cover art and foreword © 2010 Paul Taylor All Rights Reserved
*Note: All Wapsi Square material is the property of Paul Taylor and does not fall under my blog’s Creative Commons License. No part of this post may be used without his express permission. Thank you!*