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MT Interview: Monty S. Kane

by Shaenon

Monty Kane is the artist and writer of Planet Saturday, a new weekly comic on Modern Tales. With his wife, editor Kelli S. Kane, Monty explores the humor and wonder of childhood–and parenthood. Monty was kind enough to answer a few questions about comics, family, and his childhood encounter with Stan “The Man” Lee.

Spaghetti!

Shaenon Garrity: Much of your background is in game design. Did your work on video games
prepare you for drawing a comic?

Monty Kane: No, it’s really the other way around- a lifetime of drawing prepared me for working as a animator and game artist.

I started drawing avidly when I was three or four years old. I didn’t become interested in video games until some years later, when they were invented. Pong showed up at my house when I was eight or nine, I guess, but by then I already knew that I loved comics, and wanted to draw them. Of course, after that I got all distracted, and it took me another thirty-odd years to come back to it…but at eight I had a clear sense of purpose!

As a matter of fact, at around that age I sent a letter to Marvel Comics, addressed to Stan Lee. I explained that I wanted to be an artist, and I enclosed a drawing I’d made of the Hulk. It looked like a sack full of basketballs- lumps everywhere expressing MUSCULARITY!!! without any grasp of anatomy. It probably had a word balloon saying “Yarrrrgh!” with most of the r’s written backwards–that sort of thing.

I actually got a letter back from the man, saying that I was on the right track, and that I should send my work again when I was a little older and had done a little more studying. It should have been a great encouragement. Unfortunately what I was hoping to get back was a job offer, so I was terrifically disappointed.

SG: What inspired you to start drawing Planet Saturday?

MK: Well, my wife and my daughter are my constant inspirations in life. As far as being inspired, specifically, to draw comics…

I lost interest in comics as a teenager, and didn’t reconnect with them for a long time. This was partly because I was disappointed at not being asked to draw lumpy people for Marvel at age eight…but I think I also got tired of the standard superhero beat-’em-up fare, and I was too young to buy Heavy Metal, and Dark Knight Returns and the whole “graphic novel” revolution hadn’t happened yet. And Star Wars came out, and I read the Lord of the Rings books, and my taste for wildly imagined fantasy sort of wandered off in other directions.

So it’s only in recent years that I’ve reconnected to comics, through the web. I think Kazu Kibuishi’s Copper was the first thing I saw that lit the light bulb over my head and made me think about publishing online.

SG: What are some of your influences as a cartoonist?

MK: Early-seventies Peanuts paperbacks, Mad magazines, Marvel comics, and Saturday morning cartoons. These are not only my influences as a cartoonist, they’re the basic building blocks of my personality. Frightening but true. As adults we like to pretend that we are deep, complex, and unknowable, but in fact I am one scoop of Bugs Bunny plus two scoops of Charlie Brown.

SG: How much of the comics are based on your own childhood, and how much is based on your kids?

MK: Well, I’m gonna let my daughter maintain plausible deniability about her appearances in the comic, but…the little boy is definitely me as a kid, and the dad is me as an adult.

SG: How do you and Kelli divide the work on Planet Saturday?

MK: Commonly this is how it works: I think something up and take it 90% of the way to a finished story without telling Kelli anything about it. When I finally let her read it, she suggests changes which will greatly improve the comic (and which would have been a lot easier to put in at an earlier stage). I protest bitterly while gradually admitting to myself that she’s right, and eventually do what she says.

It’s frustrating trying to describe her role in all this, because I do all the work that’s visible…but just like 90% of an iceberg is underwater, there’s a vast amount of work that she puts into this that’s never seen, and rarely properly credited.

SG: What can we expect in the coming months of Planet Saturday?

MK: Names for the characters? Seriously–we’re going to be offering the first year’s comics in book form (as soon as I’ve fussed over a couple of them some more). And further down the road, there’s going to be a CD of original music for kids and parents, and some animation featuring these characters.

Read Planet Saturday now!

5 Responses to “MT Interview: Monty S. Kane”

  1. Evil Santa Says:

    Do you mostly draw in black and white or do you color also your artworks? If you color do you use computer software or more traditional techniques? I’m having a hard time coloring my Evil Santa character. Drawing is the easy part…

  2. Monty Says:

    My rule for Planet Saturday Comics is that I only use the computer as a compositing tool. The art is all really drawn on real paper; but sometimes I draw different elements on different pages, then scan them and multiply or screen them together in Photoshop. Good luck with Evil Santa!

  3. Monty Says:

    Whoops- did I answer your question? The comic is created in black-and-white. And grey- I’ve got a bunch of grey-tone markers that I use for backgrounds and shading and so on. I do work in color sometimes- I like to paint with oils and acrylics, and increasingly with Painter, which doesn’t involve inhaling harmful solvents and getting paint on your pants quite so much as the traditional methods…

  4. Merciful Lee (no relation to Stan) Says:

    Did you do the artwork on Pong?

  5. Monty Says:

    (Humorous Reply)
    I may have doodled on the box a bit with a crayon- I don’t recall.

    (Alternate Humorous Reply)
    We didn’t have all these here beeping electronic toys when I was a lad, you know- if we wanted fun we had to MAKE OUR OWN beep noises.

    (Additional Alternate Humorous Reply)
    Not many people realize that the Pong art was created by means of a stop-motion Claymation technique- little clay squares were laboriously shaped by hand, photographed, moved by fractional amounts, and then re-photographed…

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