Paul Pope has crafted some of the most stunning comics of the twenty-first century, from the dystopian battles of “Batman: Year 100” to the mythic adventures of “Battling Boy,” featuring an adolescent god fighting colossal monsters. After more than a decade away from major comics projects, Pope is making a significant comeback, and fans are eager to see what’s next.
In a recent Zoom interview, Pope shared insights into his artistic journey, revealing the frustrations of working on graphic novels—long, solitary processes that often remain unseen. “Making graphic novels is not like making comics,” he explained. “You’re essentially writing a novel, which can take years, working under a contract, with no immediate audience. It can be very frustrating.”
Fortunately, the tide is turning. A career-spanning exhibition of Pope’s work has opened at the Philippe Labaune Gallery in New York, celebrating his artistic legacy. An expanded edition of his art book, now titled “PulpHope2: The Art of Paul Pope,” was released this March, and the first volume of his self-published sci-fi epic “THB” is set for release this fall. These projects are part of Pope’s strategic efforts—what he calls “chess moves”—to reintroduce himself and, frankly, to refresh his brand.
Pope’s return comes at a turbulent time for the comics industry, amid legal battles involving AI companies and artists’ rights. He openly discusses the potential for AI to replace human artists, acknowledging that he rarely relies on digital tools—preferring traditional brushes and ink. However, he isn’t dismissive of AI entirely; he uses it for research and story development, viewing it as a tool rather than a threat.
“I’m less worried about someone generating images based on my drawings than I am about issues like surveillance and drones,” Pope said. “AI is a tool, and like any tool, it depends on how it’s used.”
In the interview, Pope touches on his upcoming gallery show and the new edition of his art book. The collaboration with Boom Studios and Archaia, where he served as art director, took nine months of meticulous work. His relationship with the Philippe Labaune Gallery sprouted from mutual connections, blossoming into a major retrospective that showcases both his career highlights and unseen works.
When reflecting on his creative journey, Pope emphasizes the importance of self-curation. “At a certain point, artists need to become their own curators,” he said. “Jack Kirby said that only the top 10% of your work truly matters. I want to present a chronological look at my evolution, including rare and hard-to-find pieces.”
He also discusses the enduring value of traditional, analog art. Despite the rise of digital tools, Pope remains committed to ink and paper, citing the discipline required to master brushes and the authenticity of original art. “Any tool that works is good,” he notes, drawing inspiration from artists like Moebius, Alex Toth, and Steve Ditko, who championed traditional methods.
On the topic of digital art and AI, Pope acknowledges the inevitability of technological change but advocates for responsible use. He uses AI for research—such as uncovering details about influential cartoonists like Attilio Micheluzzi—but remains cautious about its creative applications. “AI can be a consultant,” he explains, “but it’s a different process from human creativity, which is rooted in personal history, emotion, and imagination.”
He raises concerns about the ethical and legal implications of AI-generated art, emphasizing that current models rely on vast datasets—often without compensating original artists. “It’s similar to the torrenting of music in the ’90s,” he says. “Artists’ work is being used without permission or payment, which is a serious issue.”
Pope also reflects on the rapid development of AI in military and surveillance contexts, predicting that robots and autonomous systems could be commonplace within a few years. “We’re approaching a point where automation might replace many jobs, including comics and storyboarding,” he warns. Yet, he remains optimistic about human ingenuity, asserting that true artistry—like jazz improvisation or Cubist innovation—resists replication by machines.
He emphasizes the importance of the discipline and effort involved in traditional art forms. “The time and dedication it takes to master ink and brush can’t be replaced by quick digital fixes,” he argues. “That’s how we preserve our humanity and creativity.”
Looking ahead, Pope’s upcoming projects include the first major collection of his “THB” comics this fall, marking a key step in his rebranding. He also hints at new developments, including “Battling Boy 2,” which was originally scheduled before “THB” but has been rescheduled to align with his current creative momentum.
Ultimately, Pope’s story is one of resilience, tradition, and forward-thinking. As he continues to push boundaries and explore new avenues—both through exhibitions and upcoming publications—his work reminds us of the enduring power of human creativity in an increasingly digital world.
