As
media advances, so do the forms, and comic books are finding
themselves in a strange period of adapting their material to both the
internet age while still catering to those who wish to have a
physical copy. Putting themselves at a bit of a crossroads as to what
to do from here. Fortunately for us, there are some locals
experimenting with ways to make it easier to read comics.
--- Case
in point: Banana Panic
has become one of the first local comics to embrace itself into the
digital format that some publications are going to. Giving the crisp art
style a home not just in physical print, but online and in phone
application form. I got a chance to chat with creator Chris Hoffman
about the comic and his other projects, plus his thoughts on local
and national comics.
Chris
Hoffman
http://undeadsoup.com/
Gavin:
Hello Chris, first off, tell us a bit about yourself.
Chris:
I live with my wife Annaliesa and sons Lukas and Seth in beautiful
scenic Herriman, Utah. I have an extensive collection of comics and
love the art form. I’m an alumni of Westminster College in Salt
Lake City, Utah where I graduated with a B.A. in Communication in
2008. I’m currently attending Westminster College pursuing a
masters degree in Professional Communication. I'm also an employee of
Westminster College where I'm the Multimedia Content Developer for
the Bachelor of Business Administration, a new project-based, adult
degree completion program. In addition to drawing I also enjoy
building websites, writing, playing guitar, photography, playing
video games, DJing and remixing music, and making YouTube videos.
Gavin:
What were some of your favorite comics growing up, and are there any
specific comic artists who influenced your work?
Chris:
When I was really young I loved Spider-Man, X-Men, and Ghost Rider.
Of the big two, I've always been a bigger fan of Marvel than DC. Then
in high school I was a huge fan of the Image comics like Spawn and
Shadowhawk. I'm really inspired by Rumiko Takahashi, Ikkou Sahara,
Ben Dunn, Yuji Shiozaki, Mike Allred, and Bruce Timm.
Gavin:
You once worked and the old Comics Utah. What was your time like
spent there while it was still in business?
Chris:
I worked at Comics Utah in the early nineties when comic fans liked
their heroes with big shoulder pads, even bigger guns, and thousands
of pouches on their belts. I met most of my best friends while
working at Comics Utah. The store was a welcoming place where people
were invited to hang out. Some folks of course took this to the
extreme and stayed all day. Most of the new comics were out of
plastic bags so customers could check them out. I also overheard more
than my share of cross-dimensional arguments like "A Star
Destroyer could totally take out the Enterprise." It was kind of
like living on the internet. During my tenure, the comics market had
a financial bubble burst similar to the Dot Com bust of the 2000s.
Speculators started buying and selling issues of Spider-Man like
stocks. They would buy several issues of the same comic at a low
price then sell all of them when the price went up. Unfortunately
this caused several big problems. Selling the several of the same
issue would flood the market, tanking the price. Then everyone with a
printing press started a comic book company thinking they would make
a fortune, flooding the market with more comics. Ultraverse, Valiant,
and Majestic Entertainment among others. Mainstream comics started
making special hologram covers, chromium covers, covers with
holograms, all of which were bought by speculators hoping to cash in
on the different cover's artificial scarcity. One day everyone woke
up and realized the comics values were greatly inflated and the
bottom fell out.%uFFFD Sound familiar?
Gavin:
At the moment you're seeking out your Masters at Westminster. How is
that program going for you?
Chris:
Really, well, I'm about 25% done and should graduate with the class
of 2013. With two kids it's hard for me to take more than one class a
semester, which is a double-edged sword. I get to really concentrate
on the subject at hand but it'll take me longer to graduate. I'm
currently in a writing for new media class that is giving me a lot of
ideas about how to tell stories in different ways.
Gavin:
Where did the idea come about to start drawing your own comic?
Chris:
In early 2006 an artist friend of mine named Darren Calvert drew a
picture of a monkey with a gun in it's hand and I thought it was
hilarious. I wrote a quick nine page comic book script starring a
secret-agent spy monkey blowing up an evil-genius' base and promptly
I forgot about it. In the meantime I collected a small library of How To Draw Manga books by Graphic-Sha Publishing. One
day my friend, and co-writer of many projects, Josh noticed my
stockpile of how to draw manga books and asked if I had ever even
drawn anything manga style. It occurred to me that I had not. I've
been taking drawing classes and buying books for years but aside from
drawing an occasional Dungeons & Dragons character, I've never
drawn an entire coherent story. I remembered my hastily penned
monkey-spy script and got started. I'm lucky to know so many creative
people that help me with everything. Banana Panic is also my
opportunity to make fun of comic book clichés, like
Wolverine's perpetually mysterious past.
Gavin:
Did you decide to go with traditional drawing styles or computer
drawn, and why?
Chris:
I use a hybrid approach. First, I draw all of the pages in pencil
then scan all of the ages into Adobe Photoshop. I export those pages
into Smith Micro's Manga Studio then use it with a Wacom tablet to
digitally ink the pages. Then I go back to Photoshop to do the
shading and lettering. I'm glad digital art programs have evolved to
where they are. Before I started using Manga Studio, the inking phase
is where my artwork would fall apart. Inking digitally is much more
forgiving and has an undo button.
Gavin:
How did the idea for Banana Panic come around as the first comic to
draw?
Chris:
I was watching G4 television's coverage of the San Diego ComicCon when I saw them interviewing an editor at Marvel Comics. He explained that one of the most important
skills a comic artist can get is visual storytelling. He gave the
example of Spider-Man swinging along the New York skyline. Then
Spidey swings past a pizza parlor where two people are talking. Then
the story moves to these two people, etc. It inspired me to see if
I could do a good job telling a story visually.
Gavin:
When you finally put it out, what was the reaction like from people?
Chris:
Most of the reaction was "You drew this? Really?" Most of
my friends and co-workers knew I liked comics but had no idea I could
string together a whole book. All of the feedback has been really
positive and I've had strangers say they are looking forward to the
second issue, which is out now by the way.
Gavin:
You're one of the few artists around to offer it in the form of an
iPhone app. Why did you choose to go that way with it?
Chris:
Comic books, like much of old media, are trying to find their place
in a world ruled by iPhones, Kindles, and netbooks. Mainstream
publishers have been trying experiment with electronic-publishing
formats by shoveling the old comics format onto new devices. I took
the approach of keeping the electronic medium in mind as I created
the comic. In the future I want to take advantage of the medium by
adding interactive elements that allow the reader to experience the
comic however they want. For example: Make the comic have parts you
can click on for more information, or read the comic in a non-linear
fashion where a reader might see the end of the story first and work
backwards like the movie "Memento." All print mediums are facing the
same issues like the rising costs of distribution due to fuel prices,
pressures to be more green and use less paper, and less advertising
revenue. Some comic books are topping out at close to five dollars an
issue for a twenty page comic. Five dollars will get you into a
matinee movie which is two hours of entertainment verses the maybe
ten minuets the average reader will get out of a comic. Also, working
with a digital medium allows me to offer my artwork directly to
consumers without a publisher, the same dynamic is what is helping to
kill the music publishing industry. It's the new frontier of comics
and it's fun for me to be on the bleeding edge. Didn't hurt that my
good friend Phil owns a company called Touchopia.com that programs
iPhone apps.
Gavin:
What kind of release schedule will you have for the comic at this
point?
Chris:
It's a one man show at the moment so I'll be really happy if I can
get two of three issues out a year.
Gavin:
Going a bit local, what's your take on the Utah comics scene, both
good and bad?
Chris:
Utahans are big fans of comics and support six stores in the valley.
The other self-publishers that I've met, like Derek Hunter and Dave
Chisholm, have been really cool. The bad thing is even with all the
local support for comics, we can't get a decent comics-based
convention here.
Gavin:
Who are some of the artists and writers you read and would
recommend?
Chris: For writers: Robert Kirkman, Evan Dorkin, Michael J. Straczynski, John
Ostrander, Brian Wood, Paul Dini, and Fabian Nicieza. On artists:
Phil Hester, Mike Allred, and Ryan Ottley.
Gavin:
More national, what are your thoughts on the comics industry today?
Chris:
The release of the successful X-Men, Spider-Man, Iron Man and Batman
movies along with the TV show Heroes, have brought back tons of old
fans and hooked many new ones. This bleeding over into the mainstream
has meant that comic companies have had to raise the quality of
stories across the board. Marvel with their Secret Invasion and Dark Reign and DC with the Blackest Night
and Battle For The Cowl story arcs, have really gone way
beyond the familiar comic stereotypes of previous years. We're also
seeing a lot of crossover comics like District-X and X-Factor that seem to be "CSI: Marvel Universe." On the
other hand things like Marvel's "Motion Comics" for
iPhone are just silly.
Gavin:
If you had to make a top five, what are your most favorite comics
currently out?
Chris: Chew by John Layman and Rob Guillory. Gotham
City Sirens by Paul Dini and Guillem March. Astonishing
X-Men by Warren Ellis and Phil Jimenez. Haunt
by Robert Kirkman and Ryan Ottley and Todd McFarlane. And then I'd say a tie between New Avengers and Dark Avengers: Dark Reign.
Gavin:
Being how you're a fan of Manga, what would you say is the appeal of
it compared to American comics?
Chris:
Manga has a different way of telling stories. Most western stories
adhere to a three-act structure: Setup, Confrontation, Resolution.
In contrast, Japanese Manga tells stories in more of a spiral shape.
A story will begin with a character or event then move to another one
and another visiting each as it spirals to the end, possibly before
any resolution is reached. For many Manga readers, the journey of the
story is more important than the ending. It's refreshing to read
stories without the familiar western framework.
Gavin:
What can we expect from you the rest of the year and going into
next?
Chris: Banana Panic #2, where the main character Simon fights the
H1N1 Swine Flu virus, just came out. Free at Black Cat Comics. I'm
scripting #3 right now which I'm shooting for
a April-ish release. Next year I'll be working on a short film with
the Westminster College film club the "Reel Griffins." I'm
also looking for representation for a funny fantasy movie script I've
written called "Adequate Heroes."
Gavin:
Aside the obvious, is there anything you'd like to plug or promote?
Chris:
Black Cat Comics, the exclusive distributor of Banana Panic. Laughing
Gravy Entertainment (Mobile DJs), Jon Levitt (Sci-Fi Author), Phil
Wright (Touchopia.com iPhone app development). BananaPanic.com. And some
of my internet videos: Napoleon Skywalker, Westminster
Geigo Parody, Utah
Film Commission Contest Entry, and my Westminster
BBA Animation.