Talking ‘Junk Punch’ With Paul Tobin And Carlos Javier Olivares

Every hero has their cross to bear. For Clara that’s a compulsion to punch men where they don’t want to be punched in writer Paul Tobin and artist Carlos Javier Olivares‘ new series Junk Punch. With colors by Francesca Vivaldi and letters by Taylor Esposito, find out more about Carla’s dilemma from Tobin and Olivares below:

Rachel Bellwoar: Junk Punch is about as direct as a title can get, but when did you know it had the legs to be the premise for a comic book series?

Paul Tobin: Oddly, it didn’t start as a comic book series! It had its genesis years ago when I was approached by an animation producer/director to toss some pitches his way. He liked Junk Punch, and we were working toward moving it forward, but then the animation studio sorta sunk into the ocean, as these things sometimes happen. But the idea of Junk Punch (and several scripts) was in my head, so I slowly worked it into how it would work as a comic, because I love the title and the character so much.

Bellwoar: It feels like designing a cover for a comic called Junk Punch could be a creative challenge, especially since the issue has to be displayed in comic shops without getting censored. Was that the case, and how did you come up with your design, Carlos?

Tobin: We do bandy cover ideas back and forth, but, yeah … Clara does have her medical affliction for junk-punching, so we want that clear on the cover, but we also want to focus on other characters. There’s one cover that features Medium Cotton that was inspired by the famous Burt Reynolds nude photo spread.

Carlos Javier Olivares: Well, the truth is that we’ve really enjoyed every stage of the project, especially working on the covers.

We know exactly what the Junk Punch project is all about. I’ve worked with a wonderful team at the publishing house to bring that touch of diversity to the title, with contributions and opinions, alongside Paul, and that’s made it really easy to design all the ideas you’ll see.

Bellwoar: Clara’s first line in issue one is “I am eating peanut butter!” A bold statement. Why did you want to make her pro-peanut butter stance known from the jump?

Tobin: These are trying times, and I think it’s important that people truly know where a character stands. Bold? Yes. But I think necessary.

Olivares: Because that’s what Clara is from the very first second — or in this case, the first panel — freedom.

Bellwoar: Clara is also someone who’s not afraid to follow whims. When writing a story like this do you have certain touchstones in mind or do you try and let the story lead where it leads?

Tobin: “Touchstones” is a good way to put it. Each issue has a four-page backup, so I need to keep the main story to 18 pages, and each issue has several key points that need to be furthered and addressed. When I’m scripting, I sort of let Clara steer the reins, as long as we move from main point to main point.

Bellwoar: Like most cities, Billowing City is a chaotic and maximalist place. Do you enjoy creating busy backdrops and worlds for these characters to occupy?

Tobin: One thing I’ve found amazing is that, when I script, I create all these details for Carlos to put in the background, and then I feel really bad because it’s so much work for him, and then the pages come in, and he’s used my ideas as a starting point and then put in so much even more! Love it.

Olivares: I love the city of Billowing — it’s fantastic, bold, and unsettling, and full of details that the audience is sure to enjoy. From the start, Paul and I agreed that the city should be special; really, if you look closely, you can follow Clara’s story, but at the same time, there is always one or more stories running parallel to it.

Bellwoar: Then there are the character names like Bagoducks. Is it fun having a starting off point like that on which to build a character?

Tobin: Absolutely yes. Joey Bagoducks is one of my faves, and then also one of the main characters is Medium Cotton, a spiritual medium who never wears anything except cotton underwear.

Olivares: For me, it’s been essential to have those ideas to bring them to life and truly understand the complexity of this project. Maybe that’s a technique Paul uses with me — he creates those names so I can create the other part.

Bellwoar: What are you most excited to hear fans react to with regards to the series?

Tobin: The amazing art and fun characters, I suppose? But also, readers are going to find some serious life discussions now and then in the pages. Some “real talk,” as it were, because I think it’s important to be real even when going crazy.

Olivares: Well, I think that’s what intrigues me the most — that reaction — but not toward me as a co-author, but toward the idea of Junk Punch itself. Seeing the engagement the title can generate with readers is fascinating; it’s exciting to see what might happen, and luckily, we’ll be able to witness it.

Bellwoar: Thanks for agreeing to this interview, Paul and Carlos!

Junk Punch #1 goes on sale June 3rd from Mad Cave Studios and includes a back-up story by Tobin and artist Colleen Coover.