Cartoonist Paul Pope More Concerned About Killer Robots Than AI Plagiarism

Paul Pope, renowned for his visually stunning comics like “Batman: Year 100” and “Battling Boy,” recently shared his thoughts on the evolving landscape of comics and the looming presence of artificial intelligence. In a Zoom interview with TechCrunch, Pope admitted to frustrations during the past decade, a period marked by a relative absence of major published works. He revealed a substantial backlog of unseen drawings, hinting at a forthcoming resurgence.

“Making graphic novels is not like making comics,” Pope said. “You’re basically writing a novel, it can take years, and you work with a contract. No one can see the work, so it can be very frustrating.”

Fortunately for fans, Pope’s creative drought is coming to an end. A career-spanning exhibition of his work has just launched at the Philippe Labaune Gallery in New York. Additionally, an expanded edition of his art book, “PulpHope2: The Art of Paul Pope,” was released in March. Furthermore, the initial volume of his self-published science fiction epic “THB” is slated for release in the fall.

Pope describes these events as “a number of chess moves” aimed at “reintroducing” and “rebranding” himself to the public. This re-emergence occurs at a pivotal moment for the comics industry, as it grapples with lawsuits against AI companies for copyright infringement and the proliferation of AI tools capable of mimicking popular artists.

Pope acknowledges the potential for AI to replace comic book artists entirely. This is a particularly salient point, given his preference for traditional tools like brushes and ink over digital methods. However, he doesn’t dismiss AI outright, admitting that he already uses it for research purposes.

“I’m less concerned about having some random person create some image based on one of my drawings, than I am about killer robots and surveillance and drones,” he stated, highlighting his broader concerns about technological advancements.

Discussing his upcoming gallery show and the “PulpHope” art book, Pope explained that Boom Studios contacted him in late 2023 to collaborate on a project through their Archaia imprint. He took on the role of art director and worked with designer Steve Alexander (Rinzen) to assemble the book over nine months.

When asked about his career arc, Pope stated that he considers both the past and the future: “I think at a certain point, an artist needs to become their own curator.” He aims to showcase a chronological look at his artistic life, featuring unseen or hard-to-find works.

Regarding his analog working style, Pope mentioned that while he started using Photoshop around 2003 for coloring and textures, he primarily sticks to ink on paper. Despite developing carpal tunnel in 2010, he continues to use Photoshop daily but prefers the “comics purism of ink on paper.”

Pope doesn’t view ink on paper as objectively superior but rather appreciates any tool that works. He feels an allegiance to artists like Alex Toth, Steve Ditko, Moebius, and Frank Miller, who taught him and worked with traditional analog art. He sees himself as a torchbearer for this tradition.

Addressing the increasing digitalization of comics-making, Pope believes it’s inevitable and offers a new array of tools for artists. However, he cautions that the ease of digital art can lead to a lack of finality and the absence of tangible original artwork to sell.

In his view, AI is a contentious issue with cartoonists, raising questions about authorship and copyright. While he uses AI for research and story structure consultation, he acknowledges its potential for inaccuracies and the legal complexities of regulating its development and distribution globally.

Ultimately, Pope expresses greater concern about the potential dangers of killer robots, surveillance, and unchecked technological development. He draws a parallel to the “Atoms for Peace” movement, advocating for “AI for peace.”

When asked about the potential for AI to replicate his style, Pope admits it’s getting better but lacks the human elements of identity, personal history, and emotional inflection. He believes the legal issues surrounding AI-generated art will eventually be resolved through class action lawsuits.

Regarding dystopian fiction, Pope estimates that we are only about two years away from seeing widespread robot automation, including on the battlefield. He worries about the normalization of this technology before society can adequately address its implications.

Despite the potential for AI to replace artists in various industries, Pope remains optimistic about human innovation. He believes that until machines develop consciousness, memory, and emotional reflections, they cannot fully replace human creativity. He emphasizes the importance of preserving ethics, curiosity, and determination to maintain our humanity.

Finally, Pope confirmed that “Battling Boy 2” is still in the works, though the release of “THB” is now prioritized due to restructuring at Macmillan. He described the process of working on “Battling Boy” as challenging due to constant interruptions for commercial work. He is reinvigorated by the prospect of a new book coming out, kick-starting everything.