Paul Pope on AI, Robots, and the Future of Art

Paul Pope on AI, Killer Robots, and Reintroducing His Work

Paul Pope is celebrated for creating visually stunning comics, including “Batman: Year 100” and “Battling Boy.” His work often explores complex themes and features striking imagery.

However, Pope acknowledges a period of frustration following his last major comics project over a decade ago. During a recent interview with TechCrunch, he revealed a substantial collection of unseen artwork accumulated during this time.

The Challenges of Long-Form Comics

“Creating graphic novels differs significantly from producing traditional comics,” Pope explained. “The process resembles writing a novel, often spanning years, and involves contractual obligations that limit public access to the work in progress. This lack of visibility can be incredibly frustrating.”

A Career Retrospective and New Projects

Fortunately, Pope’s creative output is experiencing a resurgence. A comprehensive exhibition of his work has recently opened at the Philippe Labaune Gallery in New York. Furthermore, an expanded edition of his art book, now titled “PulpHope2: The Art of Paul Pope,” was released in March. The first volume of his self-published science fiction epic, “THB,” is scheduled for release in the fall.

Pope describes these developments as “a series of strategic moves” intended to both reintroduce and, as he cautiously admits, “rebrand” himself to a wider audience.

Navigating a Fraught Landscape for Creativity

Pope’s reemergence coincides with a challenging period for the comics industry and the broader creative landscape. Publishers and writers are currently engaged in legal battles with AI companies, while generative AI tools rapidly gain popularity by replicating the styles of established artists.

He even suggests that the replacement of comic book artists by AI is “completely conceivable” in the near future.

A Preference for Traditional Tools

This prospect is particularly noteworthy given Pope’s well-known preference for traditional artistic methods, favoring brushes and ink over digital tools. Nevertheless, he remains open to exploring the potential benefits of AI, currently utilizing it for research purposes.

“My primary concern isn’t the creation of images based on my work by random individuals,” Pope stated. “I am far more worried about the development of killer robots, pervasive surveillance, and the deployment of drones.”

The Interview

The following interview has been edited for brevity and clarity.

Gallery Show and “PulpHope”

You have a gallery show opening, and it coincides with the second volume of your art book, “PulpHope.” How did these opportunities arise?

I was contacted by Boom Studios in late 2023, expressing interest in a potential collaboration through their Archaia imprint. After discussions, I became the art director and brought on Steve Alexander, also known as Rinzen, as the designer. We spent approximately nine months in 2024 completing the book.

Simultaneously, I reconnected with Philippe Labaune, having visited his gallery previously. He offered to showcase work not only from the book but also a retrospective of my career. The exhibition has since expanded into a significant event.

Career Arc and Future Orientation

Do you consciously consider the trajectory of your career and how its elements connect, or are you primarily focused on future projects?

It’s a combination of both. As I’ve mentioned elsewhere, an artist must eventually become their own curator. Jack Kirby famously emphasized focusing on the best 10% of one’s work, as the rest serves to reach that pinnacle.

However, I also produce numerous variant covers and have undertaken projects outside of traditional comics, such as screen prints and collaborations with the fashion industry. I envisioned creating a chronological overview of my artistic life, highlighting work that is either rarely seen or difficult to find.

This is the first in a series of planned initiatives, with the gallery exhibition being the second. I have another announcement regarding a new project planned for later this summer.

The challenge of creating graphic novels, with their lengthy timelines and contractual restrictions, can be frustrating. This current work, a substantial collection of unpublished material, exemplifies this issue. The exhibition provides a valuable opportunity to reintroduce my work or, to use a term I dislike, “rebrand” myself.

Working Style and Analog Techniques

In your essay “Weapons of Choice,” you discuss the tools you employ – brushes, pens, Sumi ink. Has your working style remained consistently analog throughout your career?

Largely, yes. I began incorporating Photoshop for coloring and textures relatively late, around 2003.

I developed carpal tunnel syndrome around 2010, prompting me to minimize my use of digital tools. However, I still utilize Photoshop daily, primarily for the traditional comics approach of applying ink to paper.

The Value of Traditional Media

Do you consider ink on paper objectively superior, or is it simply your preferred method?

I don’t believe it’s inherently better. Any tool that effectively serves its purpose is valuable. Moebius once remarked that he sometimes drew with coffee grounds or even a fork.

Many of my friends are successfully creating popular mainstream comics using digital tools, and I respect their choices. However, I also value the tangible nature of original art. A digital document can be printed, but it lacks the physicality of an actual drawing – it’s binary code.

Furthermore, I feel a sense of responsibility to artists like Alex Toth, Steve Ditko, Moebius, and Frank Miller, who generously shared their knowledge with me. I aspire to uphold the tradition of analog art.

The Increasing Digitalization of Comics

What are your thoughts on the growing trend of digital comics creation?

I believe it’s inevitable. The possibilities have been unleashed. Now, artists have access to a wider array of tools.

Analog Work for Younger Artists

Do you believe there’s still a viable path for younger artists to pursue analog work?

Absolutely. One of the current challenges is the ease with which one can download an app or acquire an iPad Pro and begin drawing. The learning curve may be quicker, and the ability to fix and edit mistakes is appealing. However, the drawing process can become endless.

A piece of advice I received early in my career was that the first 1,000 ink drawings with a brush will be terrible, and one must simply persevere. It’s a humbling experience, as many initial attempts will fall short. However, with practice, one gains mastery over the tool and can translate their vision onto paper.

AI and Its Applications

Before we began recording, we discussed AI, and it seems to be a topic you’ve been considering.

Yes, I use it regularly, but only for research purposes. For example, I recently wrote an essay about Attilio Micheluzzi, a favorite cartoonist whose work is being published by Fantagraphics. Finding detailed information about his life was challenging, as he spent much of his time in North Africa and Rome. AI proved invaluable in uncovering these details.

I also occasionally use it for story structure analysis. However, I avoid using it for direct creation. I view it as a consultant.

My nephew, a coder, describes AI as a sociopathic personal assistant that doesn’t hesitate to lie. I’ve asked AI about my published works, and while approximately 80% of the information is accurate, 20% consists of entirely fabricated titles.

Skepticism and Potential

You express skepticism but remain open to utilizing AI where it’s beneficial.

Precisely. It’s a tool.

This is a contentious issue for cartoonists, raising questions about authorship and copyright protection. Lawsuits have been filed on behalf of artists. However, regulating AI development and distribution is complicated by its global reach, particularly in countries with differing legal frameworks.

AI and Artistic Style

The possibility of someone prompting AI to create a drawing “in the style of Paul Pope” raises concerns about unauthorized use of your artistic identity.

I recently asked AI to compare unlicensed art usage for AI-generated imagery with the MP3 torrenting of the 1990s.

AI identified similarities, as both involve utilizing pre-existing work without compensating the original creator. However, AI can also incorporate elements that differentiate the generated image. Unlike illegally distributing a complete album, AI can create variations based on a specific style.

If someone publishes a comic book that closely resembles my work, that would be problematic. Legal action is being considered in such cases. However, regulating AI is challenging due to its global nature.

The Greater Threat: Killer Robots and Surveillance

You mentioned the potential for “killer robots” and surveillance. How close do you believe we are to that future?

Honestly, I believe we’re approximately two years away. Robots are already being deployed on the battlefield, and drones are used in lethal warfare. I wouldn’t be surprised if we begin to see widespread robot automation within the next two or three years. A coffee shop in Brooklyn is already fully automated, with no human employees.

The concerning aspect is that people may become desensitized to this technology before a social consensus is reached regarding its implications.

My lawyer believes that Marvel Comics could replace artists with AI within two or three years, eliminating the need for human compensation. I find this entirely plausible. Storyboarding and animatics for film could also be automated. Ultimately, comic book artists and many other professions could be displaced.

Optimism and the Value of Human Ingenuity

How do you feel about this prospect? Are you worried about your own career?

I’m not concerned about my career because I believe in human innovation. I remain optimistic. Our distinct advantage over machine intelligence lies in our capacity for originality, identity, personal history, and emotional depth – qualities that machines currently lack.

AI can replicate, but it cannot invent. It can mimic Jim Lee’s style, but it cannot replicate the groundbreaking innovations of Miles Davis or Picasso.

The Importance of Skill and Discipline

You emphasized the discipline required to master traditional drawing techniques. Do you worry that if we devalue the time and effort it takes to develop those skills, we risk losing the inventiveness that comes from that process?

I do think about this. It would be challenging to be 18 or 19 today, growing up with constant access to technology and the ability to create anything instantly. That’s not how most of human history has unfolded.

We may be approaching a “singularity,” but I believe we’re not there yet. The real danger lies in losing our sense of ethics, curiosity, and determination – qualities that some now consider outdated, but which I believe are essential for preserving our humanity.

“THB” and Future Projects

The first collection of your “THB” comics is coming this fall, and it sounds like a key part of your relaunch. Is “Battling Boy 2” also on the horizon?

Yes. We initially planned to release “Battling Boy 2” before “THB,” but restructuring within my publisher’s parent company led to a change in plans. I’m relieved, as “Battling Boy” is a massive project, and I’ve been working on it intermittently. The release of “THB” has provided renewed momentum.