Finally! It's time for yet another Creator Interview, and as usual, I have the pleasure of interviewing one more fantastic DDer! This time it's Paul Eberhadt, a wonderful artist and comic creator with a unique style I could discern among many!

Paul already has a bio on his profile and two comics, one of which is not only complete but also in print (aka published)!



But enough intro from me, we're here to hear from Paul himself! And because Paul is such a huge contributor in interview questions, but I make it a policy not to have interviewees answer their own questions, nor have too many questions provided by the same DDers, I ended up coming up with a lot of the interview questions myself. If you'd like to contribute to interview questions, please do so in this thread.

Anyway, let's get to it!

1. First things first. Tell us about yourself! (feel free to add photos!)

Hi, everyone! My name’s Paul-Eberhardt. I’ve got a last name, too, but it’s quite hard to pronounce. Just call me Paul, that’s international.


(Fun fact: There are exactly ten years between my cartoony self-portrait and the photo of me recreating it. Talk about constancy! 😉)

I live in Northern Germany, and grew up here with three native languages at once, German, English and Plattdütsch, which is a regional minority language and a close cousin to English. I’m in my early forties and teach English and Geography at what I think best translates as a middle and high school for a living. Before that I had a stint in Forestry and still love being outdoors a lot. There are a few other things I dabbled in, and my life has generally been more eventful than I usually let on.


Two different skill sets that more or less sound the same. 😎



Right: not as dangerous as it looks; the tiger trainer who owns them instructed me well. Left: definitely as dangerous as it looks, perhaps even more so. Long story.

Let’s say I always keep an open mind and enjoy learning something new whenever there is the chance. I believe that’s what makes you creative, it works for me anyway.

I started cartooning at an early age and have never stopped – because real men don’t grow up, we just get more versatile. 😁 As a result, I’ve been part of the Drunk Duck community since 2007 (I think).


2. Now tell us about your comics!



Master the Tiger is my pet project (pun fully intended) and will have its 15th anniversary on the Duck in October. It’s a sitcom-like episodical gag comic centred around Tiger and his antics. Tiger is exactly what his name says: a grown-up Siberian tiger who somehow became the pet kitty-cat of a young-looking but very old and experienced professional witch, Gundula. She is joined by her great-grandson Christian, who looks older than her, and her former intern, now apprentice Sophie.

If all this sounds pretty random, that’s because it is, deliberately so. It’s basically me having fun and trying things out without letting too much plot get in the way. It has a Plattdütsch version as well, also here on the Duck, called Gundula un de Stuventiger, making it the only webcomic in Platt for many years. (These days I’m happy to note I know of one more, an open-source comic called Pepper and Carrot, which has at least a partial translation into Platt.)

Originally intended as just some foolery on the side, Master the Tiger became more and more popular with all kinds of people, as well as the comic I’m having most fun with, so it became my main project.



This said, it’s currently on an indefinite hiatus, because real-life has been getting in the way for some years, but I’m going to bring it back some time soon.



Maura the Mole is an old picture book of mine that has originally been released in print. There is also a Plattdütsch version, but I only posted the English one here. It tells the tale of a simple-minded mole by the name of Maura who one day sees the fulfilment of her dreams right on her doorstep, making her imagination run wild. There have been many interpretations from being a parable on modern technology, to deep philosophical ones, or perhaps it’s just a bit of fun with a touch of black humour for literally all ages.



3. How did you end up choosing webcomic life? (by Amelius)

It’s a cool coincidence that this question is by Amelius, as her comic was basically my first contact with webcomics and played a major role in getting me hooked. I’d been drawing cartoons for this and that every now and again, and after some time I felt I should try my hand at doing a webcomic, too. I remember I was a bit nervous at first, because my hand drawn cartoony style is quite different to anything I saw back then, although that gave me some confidence at the same time, because it wouldn’t put me into direct competition with all these much more proficient artists.

You can tell by this that younger me still had a long way to go. It still took me one or two years after deciding to join the game, mainly because of a combination of laziness and being undecided at what kind of story to draw and post. I had written tons of stuff in story form and spent way too much time thinking about what would translate best into a comic. In the end, my main comic became the one I had neither any plans for nor any plot at all and which I just let take on a life of its own. On hindsight, that was a good decision.

4. How do you balance your schedule to make time for art? (By JCorrachComics)

Sigh! At the time, for the past few years in fact, not at all – which is why by now many people here will know me mainly as an avid commenter with a penchant for occasional bouts of silliness. I just don’t want to lose touch.

It’s like this: of all the jobs I could have chosen to pay my bills, I had to take one that’s notorious for being demanding and working very long hours. I can’t really regret it, either, because I’m really good at it and love it, too. Trying to live off my art would have meant making big changes to make it in any way sellable, which would have taken the fun out of it for me, and likely wouldn’t have worked out even so.

Then, I didn’t get a fixed teaching post right away and kept changing locations, having to commute hundreds of kilometres every week and mostly living out of boxes and suitcases. Fortunately, that has finally changed this year. I’ve yet to move house again, but this time it’ll be for good and I’ve even done some new pencils.

It’s in the nature of my job that there are some work-intensive phases when I have literally no spare time at all, and some less intensive ones that are over too quickly. So to do new pages, I’m confined to these times, as well as those parts of the holidays I don’t dedicate to friends and family. Anything I haven’t finished by the end of that will have to wait until the next quiet phase. I know it’ll work out in the end. Posting Maura was basically meant to be a signal that I’m going to be more active again, both to any readers, and to myself.

5. Show (or tell) us where the magic happens! Do you have a dedicated workspace or something else altogether? (feel free to add photos!)

Well, no I haven’t got a dedicated workspace as such, not at the time anyway, but here’s my typical mess that shows that serious work is being done here. 😉 Fun fact: I never have trouble finding anything in there. Only when I tidy up.



Of course, I don’t get all my tools of trade out at once, like I did for the photo. Everything I do is hand-drawn and analogue, using hard pencils, ink pens and (if I have the time) watercolours and coloured-pencils. Not that I never experiment with other things, but it’s all very old school. I do the layouts on my laptop, in some very rare cases also adding some effects, but the art stays mostly unchanged. This method has the advantage that I can draw each panel as large as I want.

I do it all for fun, after all. There are certainly faster and more efficient ways of doing things.

6. What inspired your comic's setting? (by Casscade)

In Master the Tiger, I wanted a more or less ordinary neighbourhood where both tigers and witches would seem thoroughly out of place. So I applied the “draw what you know” principle and took countless reference photos of my birth town, Bremen. My experience from helping to redecorate a house there also went into that. On hindsight, I sometimes think I should have used a setting in the countryside, because I’m even more familiar with that and it would have given me some more leeway for certain ideas (and because Plattdütsch, the other language I post it in, is more commonly associated with a rural setting), but what’s done is done. Meanwhile, I think I found a good compromise for future episodes, and I’m already curious what you all will say when I get there.

In Maura the Mole, most of the comic happens in her tunnels or in her imagination, and those few panels where I needed a landscape that wouldn’t be too distracting, I used Gloucestershire as an inspiration, as I’d lived there for a while not too long before I drew this one, and as the comic originated as a challenge in a university seminar about teaching English through comics, I thought the English countryside would be a fitting choice. The imaginary parts are made to reflect the suddenly overflowing imagination of a normally rather simple mind, and the afterlife part was me recycling one of my old discarded short story attempts. While the story was rather unevenly written, the basic concept of a public transport hell was too much fun to let go off. It all just fitted together.

7. Which do you enjoy more? Writing or drawing your comics? (By Spooky Kitsune)

I was about to say, it depends, but on second thought, drawing them clearly wins. Seeing the products of my imagination come to life and adding all kinds of little funny details is always a high point. I just wish I were faster, but then, I often find the entire drawing process rather relaxing. It’s a major reason why in this digital age I still stick to clunky, dirty and slow traditional tools.



8. What do you hate and love the most about the creative process? (by Bravo1102)

Well… to put it in a slightly poetic way: the Muses are dirty old b(female dogs)! They only ever come when you really have no time for their temptations, and do they ever show up when you have the time and need them?!


I’ve been told that’s because of how our brains work: either they’re active, and then they floor it at everything at once, or they just run on idle. I don’t know if that’s actually scientifically true, but it’d make sense.

So what I hate is that I always have way too many ideas I know will never see the light. For a long time, you could rely on me having something to write and make sketches on everywhere I go – until I realised that I’d lose the notes anyway, most of the time. Then I also realised how this is a good way of sieving out all the half-baked ideas that aren’t any good anyway: if I can’t remember them, they weren’t worth it. I’ve been a much happier man ever since.

What I love most about being creative is that the world is my playground. All I have to do is to mentally put my comic goggles on and observe. Being creative has helped immensely in kicking the habit of taking anything too seriously! This may sound like a bad idea, but I found it isn’t, really. Once I’d stopped taking things seriously, I noticed how at least 99% of the time I never needed to, anyway. Granted, it tends to annoy some people, but that’s because they lose their power over you. The only thing to avoid is that you should never confuse it with giving up responsibility for yourself and others, because that’s quite a different cup of tea.

I think I would be a much less balanced, let alone resilient character if I didn’t do creative stuff all the time. Creativity and the attitude it brings with it helped me through difficult times, and I can only shake my head in pity at all those who play it down as unprofitable.

9. Let’s talk about your comic characters! Tell us about them and post an image of them!

Sure.

Master the Tiger:



This is Tiger. He’s a fully-grown Siberian tiger who for some reason has ended up in Gundula’s household. Having realised quickly that keeping a human (If you thought it was the other way round, the human owing the cat, think again – it never is!) tends to result in delicious goodies and comfortable places to sleep, he has accepted the role of the residential cat every proper witch’s home needs. To Gundula, a kitty-cat is a kitty-cat, no matter what size. To the rest of the world, well…



Gundula is Tiger’s personal human and surrogate Mum. She is a very down-to-earth person not easily fazed by anything. It’s a basic characteristic of the professional witch she is (you can find her in the Yellow Pages under “w”), and while she is nice enough in her own way, you’d better not mess with her. This lady has a pet tiger, after all, and doesn’t apparently think that in any way odd.

Don’t be fooled by her youthful looks either: since she doesn’t like talking about it, nobody knows how old she is, really, but she has literally always been around, as you can glean from the stories from Bremen’s distant past she sometimes tells when she’s in a mood to, in which she was personally involved. Gundi, as her friends know her, has lots of other skills too, and is especially good with animals of every kind.



Sophie is 21 years old and originally came to Bremen to study psychology for all the wrong reasons, like having had no better idea, mistakenly thinking it was a relatively easy way to get some kind of academic title, and similar nonsense certain persons that usually quit after one or two terms seem to believe. Sophie had known Gundi, who is a friend of her family, all her life, and when she needed an internship she had the bright idea to ask her. That way she has become Gundi’s witch apprentice now and has so far discovered that witchcraft, too, is much harder than it looks, only with Gundi as her master and mentor there is no backing away this time. This said, she has her positive sides as well, and Gundula’s pets, especially the squirrel, are rather fond of her, too.

Maura the Mole:



Meet Maura the Mole

Who lived in a hole

She loved digging all day

And earthworms, okay.

Along came a digger

And that was the trigger

(At least so it seems)

That awakened her dreams

Like most of my characters – early versions of Tiger go back to the 1990s, early versions of Gundula to at least 2005 - the concept of Maura or similar has been around for way longer than the comic she’s in. If you look closely, you can spot a proto-Maura on this page of Master the Tiger, which I drew more than a year earlier than her story.


Check out the entire comic page, it's hilarious! – Tantz

10. Who among your characters is most like you and who is the least like you? In what way?

Let’s exclude cartoon-me, who is obviously designed to resemble the real Paul.

It’s not Tiger, although there are people who think I project my secret wish to just do what I want into him or some such bull. Tiger is simply a combination of all the cats I’ve known in my life, only scaled up. I draw his proportions more cat-like than tiger-like for that very reason, even if the difference is not actually that large.

Gundula’s great-grandson Christian is probably on top of the list of candidates, partly because we look a bit similar, have a similar taste in music, are both tinkerers at heart and both like making bad jokes. We’re still quite different persons, even if you’ll have to take my word for it.

The recurring character least similar to me is Sophie – partly because there aren’t that many to choose from, but also because she originated as my way of gently lampooning a certain type of character I just can’t take seriously. I won’t say any more about that, only that it’s not about gender, and as the comic evolves, Gundula is teaching her to come out of the little box she’s mentally in.

11. Have any of your characters ended up being more trouble than they were worth? (by Amelius)

I’m not sure if I’m getting the question correctly. If you mean that a character gets much less attention than I gave it or think they deserve, yes, I think so. The protagonist of my deleted comic possibly, who might have been liked better if I had given readers a chance to get to know him better – which would have entailed that anyone would have to read on to this point that I never bothered reaching.

I had hoped for a better response on my horse episode in Master the Tiger, too, than it got back then, since that had involved quite a bit of research on horses, but I’ve always felt I shouldn’t jump to conclusions because of that.

There are also characters that evolved in ways that made me intensely dislike writing them, but they’re in my written fiction drafts, so you won’t know them.

12. When you create a character, do you start from the flaws or from the positive traits? (by Marcorossi)

Neither, actually. Most often I start with their appearance and only then think what kind of character this could be I just drew there. There have been instances when I had this or that quirk in mind too, but it’s hard to tell which came first.

Often enough I file character designs away for later use and add their positive and negative traits much later, when I know the role I want them to play then. As I mainly do an episodic gag comic, these characters often stand for an entire group of people to poke fun at, so in that case I at least I start with the flaws when fleshing out whatever character I choose to put to good use.

13. Show us your favorite pages from each of your comics. Why are they your favorite?

That kind of thing is always tough for me, but this one definitely belongs here for Master the Tiger.


To me, it’s one that really shows the essence of my personal style, my kind of humour, as well as the comic. It contains all the typical ingredients and tells everything without words, just through the images and the character’s body language, and the gag builds upon just the type of failed communication I love to lampoon. Also, there’s a slight instance of “getting crap past the radar”, as TV Tropes calls it, which I enjoy every now and then. If you need a hint: take a close look what savage Sophie in Tiger's thought bubble isn't wearing; Tigers don't care about fashion.

Since I seem to get most praise for my colouring work (several people here said they wished I would do that more often – so do I, but it takes me as long as all the other steps put together), I feel I’ve just got to include some of it, too, and even if I don’t actually think it’s my best colouring work ever, that can be only this one, the special 200th page showing Bremen’s market place and historical town hall with my characters, as well as visitors from comics by those who were regular readers at the time. It’s one where I really wanted to pull all stops on the details and consequently spent a ridiculous amount of time on.
https://www.theduckwebcomics.com/media/users/PaulEberhardt/assets/interview%20preview04.jpg

In the case of Maura the Mole, the whole thing is my favourite page. Due to the way I work, I tend to see the whole little book as a single entity, and I’m quite proud of most of it. In the end, I decided on the back cover, as I’m rather pleased with the outcome, both on a technical level, as with the way it manages to generate interest by telling in a simple way just enough without giving anything away. Or so I’ve been told.


14. Now show us the pages you like the least from each of your comics. What don’t you like about them?

You really want to see that?! Oh, all right.

Master the Tiger contains a lot of old art I’m not too happy with, so it’s a stiff competition. It was a long learning process, even if I didn’t start at zero. I don’t like the cover, even, but others tell me they still do. But let’s take this one I’ve been meaning to replace with a proper origin story in comic form for 15 years and never got around to – nothing lasts as a placeholder. I wanted to get the comic started but felt some background info on Gundula was needed. No! No, no, and no again! I should never have posted it in the first place. If you ever need an example of how NOT to start a comic, look no further than at this piece of s(dung)!

It’s not that I’m totally against wall of text pages with some narrative. I’ve always done those once and again, but I certainly got much better at it.



With Maura the Mole it’s this one, and I hope it doesn’t create a spoiler for those who haven’t read it yet.


It was four in the morning, the deadline was closing in, I had all the pages drawn, or so I thought, and upon putting it together realised that I needed something there or insert a blank page – another page was mostly blank, too, but I could at least put some text on it. So I drew this rushed filler picture in about five minutes and hoped nobody would notice too much. They didn’t. However, I will always do, and now you as well. DX

15. What are some tropes that you have used in your plot? Did you use them on purpose or did you realize they’re there after the fact?

I usually don’t think very much about tropes when coming up with a storyline, but of course I notice later. Let me think….

I mentioned “getting crap past the radar”, of course. Then there’s – I don’t know what TV-Tropes calls them, and I know I’ll spend all night there if I look up anything – there’s the visual idea of Gundula as a black-haired woman with bigger boobs being the boss and Sophie with her blonde hair and smaller boobs as the naïve, innocent one, and I swear it’s completely accidental. I use lots of cartoon physics, even if not as prominently as Tex Avery, say: everything works in accordance with natural laws unless I come up with something funnier.

I use a dramatic hero’s fall a lot both in Master the Tiger and even more prominently in Maura the Mole – this one actually on purpose, as it’s one of the basic foundations of how I create gags. I’ve got plot armour, in some ways, or in Maura the Mole a subversion of it… I’ll finish now, but I’m sure I could extend the list to kingdom come. I haven’t studied English literature for nothing (among other things), even if in Master the Tiger I often deliberately and wantonly break every rule in the book just to see what happens.

16. Your comics are both rated “E” for Everyone. But who do you think your comic most appeals to? What’s your target audience?

The original target audience for Master the Tiger has always been myself, really, and everyone else is just invited to join me in following Gundi and Tiger’s shenanigans. So I think the audience it is most likely to appeal to would be grown-up and educated. Since Master the Tiger is essentially my playground, there are sometimes concepts, jokes and even drawings in some instances that will just go over a child’s or teenager’s head. Nevertheless, it does happen every now and again that one of them tells me out of the blue how they liked this or that drawing I posted. Also, I do draw sketches of Tiger for my little niece, sometimes, which she likes. I even posted one of them at some point. You can see it above, decorating my answer to question No. 7.

With Maura the Mole I had school children in mind, like age 10 to 13, at least when I started out. The language is technically too complex for English learners though, but I wanted to prove that the pictures help enough for that not to be too much of a problem. I was right, at least that’s what testing it with kids has suggested so far.

As it is, while rhyming and drawing Maura I got somewhat carried away myself, not just her, so there’s much more in it, expanding the audience way beyond that. It turns out I ended up creating something for literally everyone that adults can enjoy just like small children. I got lots of feedback from readers when it first was in print, and I’m happy to note that the comments here on the Duck point in a similar direction.
I like that. I like making comics where the label “Everyone” quite literally means everyone – everyone with my warped tastes and sense of humour, that is. ;)

17. Would you ever make a comic rated “M” for Mature or “A” for Adult? Why/why not, and if yes, what themes would you explore?

Let’s say I’m not ruling it out.

For instance, it might not look that way from what I post, when I post anything, that is, but I’ve got no problem whatsoever drawing naked people or even violence (which I generally think is much, much worse) or disturbing situations (Don’t forget I’m a geographer: being able to stomach a lot of nightmare fuel is a basic requirement for us!). There’s of course the obvious question whether I’d risk the teaching career I worked so hard to get, and some people in my shoes would be afraid to post anything at all anywhere on the internet. However, I happen to know for a fact it wouldn’t hurt me at all if I were to post anything somewhat more adult-oriented, even under my actual name, as it is. So that’s certainly no reason not to.

It’s really just that I haven’t felt like it for a long time. I’ve got my own distinct style which I’ve long found just lends itself to the more whimsical side of comics. So far, the “E”-flag has never got in the way for me to draw exactly what I want to – granted, I sometimes do enjoy “getting crap past the radar” as I said, but I have much more fun that way than I would have if I just made it more graphical. In a way, it’s more of a challenge, and I always enjoy a little challenge. Or let’s say, E is just where I found my niche.

Another example: I love drawing speech bubbles with skulls and bombs and such instead of just having the characters openly swear, but that’s not because I’m one of those holier-than-thou weirdos who would like to see every swear word brutally punished by washing out the offender’s mouth with hard soap, but rather because these swear-bubbles are such a fun thing to do. Even if I had an “A”-rated comic, I’d still do the same (not even using the opportunity to depict the f-bomb more graphically, because a test sketch I did at one time showed me it’d look out of place and spoil the effect rather than enhance it).

What most people probably don’t know is that I did have an “M”-rated comic here a long time ago. It was very coarse in many ways, both regarding the art and the story. It was set in late medieval Germany but made up in a mock Spaghetti Western style, and the dialogue was written entirely in Early Modern English, the kind Shakespeare’s contemporaries would use, but with a lot more swearing. It had brutal, sometimes also scary scenes and featured rampant drunkenness and much more.

The story had been pre-written from start to finish. I’ve still got it, and a large part of my decision to clean up my act, so to speak, and take it down altogether was that it featured a kind of humour and slurs that were more or less OK in the 1990s but that I just can't identify with any more these days. Moreover, it wasn't a very good story to start with. I don’t know who pointed out that for some weird reason when comics bear the label “Mature” that’s incredibly often just the thing they are least of all. This was a prime example. It’s not me any more and hasn’t been for a long time.

18. What do you enjoy drawing the most? (by Amelius)

Tigers!!! :D




All kinds of funny critters, actually,

And funny humans, too.


I’m often accused of liking lots of unnecessary tiny details, and I plead guilty as charged, but that’s different. They’re rather a kind of meditation for me.



I secretly call this one-panel gag “I drew a carpet to relieve stress”, because that’s exactly what I did here. If this had only been about the gag, there would have been much easier and less time-consuming ways to do this, but that wasn’t the point.

19. Are there any fun little tidbits about your comic that you want to share? Examples: hidden easter eggs, funny facts about your characters that won't make it into the comic, funny rejected ideas, etc. (by Casscade)

In the case of Maura the Mole, there aren’t that many. That was pretty straightforward. I took a university class about comics and how to use them in English lessons, which involved a challenge at the end of the term to try and draw a comic of your own. By that time, I had already plenty of experience and used it to try my hand at a picture story that wouldn’t be sickly-sweet saccharine for a change. When I had finished I was amazed at the positive response and the many deep interpretations I got as a feedback both from the seminar, as well as from everyone else I showed it to. I was amazed at the large age range it appealed to.

There was also a kind of contest, and I agreed for it to be a non-competitive entry at the suggestion of my lecturer, because else there would have been little doubt about the outcome. Also, she and others suggested I should try and get it into print, and by a happy coincidence that was exactly what happened. It’s why I could post it only recently, years later.

With Master the Tiger, it’s different. What you see there is always the result of a deliberately unplanned, organic development that has been going on for several decades. Yes, that’s right. The comic itself has started about 16 years ago (and it’s been online for 15), but most of the characters have been around for a good deal longer. I’ve never thrown any ideas away in my life, no matter how uneven they were. You’ll never know what they might be good for.

In consequence there is a huge amount of world building behind the scenes, which kept growing as the comic picked up steam, a ludicrously large bulk quite unwarranted for the scope of the whimsical little sitcom it is and has always been intended to be. The upshot is that I’m unlikely to run out of ideas within my lifetime, the negative side is that it means a lot of deadweight that you’ll likely never get to see, and I’ve got too many directions it could go into next, apart from that Tiger and his antics will always be the focal point everything else revolves around, no matter how far I stray from it sometimes.

I came to like having this little bit of chaotic unpredictability, too, even if it means going against pretty much every rule in the book. One day, I may have to start yet another comic, but one with an actual plot, just to prove that I actually do know one or two things about this kind of thing. After all, I do teach my students creative writing, among other things, you know

Aaaanyways… I could tell you now, for instance, where Gundula got her tattoo from, and what its significance is, but I haven’t yet decided whether or not I want to tell that story. I could go into every little inside joke in great detail, I could bore you with all the things I learned about my former home town and Northern Germany that I’d never known despite living there much of my life, I could tell you what the runes you see Gundi use are (either actual historic magical signs nicked from Icelandic culture, or Anglo-Saxon runes which may be my translations of toilet graffiti, or excerpts from ancient poetry).

I could mention how I raided flea markets to get inspiration for the furniture in Gundi’s house, and that the 1950s coffee table in her living room is actually real and in use in my own real-life living room. I could tell you, that with the help of some friends any Chinese signs in cartoon swearing are actual swear word in that language… I could mention so many things.

Let’s just focus on what’s probably my most extreme example to date: once upon a time, I drew a mousewheel-wrecking episode inspired by classic science fiction that I crammed so much with Easter eggs and little nods so much that I actually even created an annotated version in pdf format*, in part to keep track myself.

I have to add, however, that I overdid it on purpose here, because I felt like it. The original idea was to put in as many references as possible, but none to Star Trek and Star Wars – just to mess with expectations – but I didn’t go through with it, when I saw places where they’d fit so well, it’d have been almost criminal neglect not to put them in.

* This is an external link to DeviantArt, btw.. I’m not too fond of DeviantArt anymore, for various reasons, but back then it was a practical option for dumping a pdf for the general public.

20. Finally, Garfield or Heathcliff? (by Spooky Kitsune)

Calvin and Hobbes.

Ok. Garfield, because I know him better.

Garfield actually influenced Master the Tiger in that there were several things I never liked and set out to do them differently. For instance, Tiger is not essentially a little human in a cat costume, but a big cat in every way, and my gags are usually much more visually-based. Granted, what Garfield does a bit better than me is that there is a new strip every day and he has made Jim Davis world-famous as well as earning him hundreds of millions of dollars, but that’s all beside the point. ;)

Thank you so much Paul for such a fascinating interview!

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