Hello and welcome to Big Gay energy.
I'm Bree. I'm Fiora and I'm Caitlin come
along with us while we dive into the fun and nuances of queer
media representation matters. And we're here to talk about it.
Welcome back friends. The BG team has a very special
guest today. Please welcome Cliff cheering.
Cliff Illustrated the paper Girl Comics and served as executive
producer for the TV adaptation. Thanks for hanging out with us
today. Yeah, thanks for having me on.
We've been looking forward to it.
So many questions. Yes, we have been talking all
things paper girls recently, so I guess, We have to start at the
beginning. What inspired the Paper Girls
comic series? Well, I was I reached out to
Brian Cave on about working together.
We had done one comic like 20 years ago and we had a great
time working on it, but our schedules never matched up and I
asked him, you know, as I was wrapping up on Wonder Woman and
he was a, you know, I think finishing up a TV show that he
was working on you know, you have anything else is like you
know, give me You know, I'll send you something and I got the
pitch for paper girls and it was just, it was, it was great.
It was, you know, it was so clear, what, you know, the
characters and what the story was about and there was so much
potential to it and because it took place in the 80s when I was
growing up, you know I knew that there was a lot that I could add
to it just in terms of making it feel lived in an authentic and
not like this kind of character. That you often get at the 80s,
you know, I really wanted it to feel like almost journalistic in
the way that, you know, when you watch ET, you know, the
Spielberg kind of really gives you a snapshot of like 80s,
Southern California suburbs, you know, and not this kind of
generic, you know, small town kind of thing, you know.
And, you know, it was a really interesting pitch because, you
know, I hadn't really drawn a lot of kids, you know, I wasn't
sure like you know it doesn't seem I think we're trained not
to think of you know, girls stories being necessarily
commercial you know or you know and you know so I was a little
bit nervous like you know just because this is for me, this is
a business, right? And like I was going into
business with Brian on this story and I was like this Seems
not risky, but definitely less predictable.
And but that was also really excited, you know?
And and it was so cool to see this 80s formula of like, you
know, coming-of-age Adventure tales with like a Sci-Fi twist,
kind of how it gets flipped on its head.
When you start when you have, you know, female protagonists,
you know and and and that was so interesting to me and and
reading it I realized that if I didn't draw it, I was going to
be picking it apart. If anybody else drew it, you
know. So you know to me that meant
like yeah, I had to jump in Yeah, you may as well, get in
there and have control over what it looks like, huh?
And as someone who grew up in the 80s so you really did you
achieved your goal? Because it brought back like a
lot of memories for me. It really does feel lived in
like you said yeah. Yeah.
I thought about my house and like my friends houses and you
know and what we did you know and like the things that we
obsessed over you know so it's all You know, trying to, you
know, why? Like I could remember that stuff
someone you know clearly you know try and reimburse myself in
being you know, 12 again, absolutely before it's too late.
Last year's honestly, for real, I can't remember when I was 12
and it was 13 years ago. How did you become a
professional illustrator? Um I always wanted to tell
stories, I thought I you know for a while a brief moment that
I might be a filmmaker but then, you know, I had camera troubles.
And then I realized I was going to deal with like a whole crew
of people and maybe not be writing stuff myself.
And you know I real it's as I was getting back into Comics.
I'd read them as a little kid and then kind of Fallen away
from it but I realized you know, if I There was so much that you
could do in comics and that if you know, by writing and drawing
them that maybe I could, you know, kind of, you know, present
kind of like a really cohesive Vision, you know, for a story
and so, you know, I kind of fell back in love with comics and and
realize that, you know, this was the medium that I wanted to work
in. I started working for Disney
Adventures comics and then vertigo which was great vertigo
Comics, DC's kind of imprint for Sandman and hellblazer and a lot
of kind of stuff that was geared more for mature readers, a
little bit more, you know, adult and literary like that, really
that stuff really got me back into comics.
And so it was a real honor to go and work there as a, you know,
as an assistant editor. You know, my art wasn't really
up to speed. And so I use that time to learn
how Comics are made from the other side of the desk.
And, you know, while I was, you know, going home at night, and
continuing to kind of, you know, draw stuff on the side and then
after a couple of years realized that, you know, if I was going
to do this that I would have to go full time with it.
I really, you know there's a point where you know I couldn't
really split my time that way, you know and and then yeah and
then I did that for a few years move back home with my mom, you
know, to make sure that you know, I could keep pursuing
Comics even if they weren't, you know, even if I wasn't getting a
lot of work and then after a few years, you know, it seem to you
know get a lot more stable is getting more work and you know
and then I went just, you know, after that I you know fully
committed to You know, to being an artist, you know, it was like
a weird process. I didn't really think of myself
as being an artist for a long time and the kind of way my
mindset had to change, you know, you know, versus having being in
an office and, you know, working for a company and what your time
is worth to that company and where your allegiances lie, and
then suddenly you're a freelancer and everything you do
these things terrifying. It is, it really isn't and
requires, you know, a shift in the way your think, in the way
you think. So, it took me a while and it
took me a while to embrace that identity.
Yeah, it does. I'm sure I've done like
freelance video production. It's it's the there's no safety
net. Yeah.
And that's something hard that's to get over, but that's awesome.
That you could move back with your mom and kind of make sure
that it was a viable option for you and just build up your, you
know. Yeah.
Also, you know, I was living in New York, you know.
And that wasn't really going to be Feasible.
Right? He can afford this pizza box.
Your so what is your process for visualizing characters and
scenes from scratch When developing a comic?
with paper girls, you know, I had a bride had already written
kind of a a You know, kind of a character brief character
paragraph on each and that was so, it was so clear who the
those girls were and how they differed from each other and,
you know, use that as your springboard and you try to
figure out like what of these personality traits, can you.
You know, can you make visual? You know, like how what
communicates, you know, you know, so max haircut, you know,
or what she's wearing, you know, what any of the characters are
wearing like how what how that speaks to who they are and what
their interests are. You know, it's it's definitely
like those are all specific choices storytelling choices
and, you know, did a couple, you know, versions of that.
But But you know by and large, I think, you know, being the
co-creator of it, you know, and meant that I should put my stamp
on it you know. And and so you know once I had
something I was happy with I sent it to Brian and he was
against is great and you know, and we just went from there.
So there's something really nice about that where unlike with,
you know other companies you don't check in with anybody,
don't you get permission on anything it's like it's your
idea and you can just With it. It sounds like a really good
partnership to because it can be really hard if you're working
with other people which, you know, we found that to working
within fandoms and whatnot with other people that just there's
nothing like that relationship where you can just, you know,
exchange ideas and kind of have a trust there.
So yeah, I think going into it you have to be open to the
collaboration and knowing that That you don't have and
shouldn't have 100% control over something, you know, and what's
its, what the other person brings to the table and you
should invite that and encourage it, you know, and Brian's been
really great about that, you know, from from the beginning.
Awesome failure. So magical when you like, you
find someone that you work with. Yeah, it is magical like this
podcast brand theories, like the first people like I've like, we
fully work. Well, it is just so weird.
because you're like used to like group projects where one person
does everything and Yeah, or there's pettiness or whatever
and nobody's like openly sharing and openly, like giving and
taking like, you're not, you're putting your egos aside, I guess
this is. Yeah, and so the partnership.
It's a relationship. It's, you know, it's all those
things that have to, you know, and you really have to let like
nobody's, you know, nobody wants to take orders and it's not set
up in that way, you know? It's not meant to be that way.
So You know, I think it's, you know, I think it's important
again, especially doing something creative to make sure
that, you know, if you're not doing all of it, then you have
to let you know. For sure it's not something you
can control is it's sort of just like being on stage and like
playing live music and it's like you just jam and it is what it
is. Mmm.
How long do you typically work on a comic for it because like
there's a lot of different illustrations and it if I was
doing it would take it never get done.
So right. You talking about like an
individual issue or like yeah well trade paperback so maybe
like both. Yeah I mean we had a very strict
schedule that I set from the beginning you know, probably
because of my editorial background, we had about Six
weeks, maybe six to eight weeks per issue. and usually yeah, I
think usually took me about six weeks and then a pencil and ink
the issue and then you know, And then after say five issues were
done, I would have about like a month buffer between you know,
finishing that issue and then starting the next the next book.
So you know what help there was like if I started to run behind
on any of those issues and you know, it would be okay.
I had about a month to, you know, between 45 issues to do.
You know if I needed it? Gotcha.
So do you have any favorite illustrations from?
Paper grows like things parts that were the most fun for you
to create. Yeah, I mean, there are lots of
little moments that I'm really that.
I really love that I'm proud of, but that last issue, I think, is
really some of my favorite stuff because it's so quiet and it
just focuses on the girls and and, and, you know, it's after
all the Sci-Fi craziness and we're just getting to spend Time
with them because it's the last issue and we're not going to see
them anymore, you know, so drawing them, you know, smoking
and like a little kids playground, you know, that was
like an image that that that came to me like, you know, I
think the original script had them, you know, like on a
bridge, you know, that was near you know where Brian grew up,
you know, and just in the same way that maybe that bridge was
sentimental to him, I was remembering it.
You know, being around that age or maybe a little bit older and
high school, you know, and, you know, being with friends and
smoking cigarettes and like Elementary School playground,
you know, like that was a vivid memory for me and and I like the
idea of you know, that juxtaposition of the awkwardness
of it, you know, and how it really symbolized, you know,
these girls being in between, you know, adults and being kids.
Yeah. I Love that.
Like the playground brought a juvenile X aspect to it because
With stories. I feel like you could forget
that kids are kids. Yeah.
Especially when they're like dealing with situations that
aren't typical so that was that was really cool.
Another thing that I thought was really cool is that all six
volumes of the comics, like they all connect with the covers, so
what made you decide to do that? Is that, like a typical thing or
is this something unique? It was kind of stumbled on it.
You know, I did the first volume not really planning any of it.
They, you know, the subsequent ones.
And then when it came time, I'm to do the second one, you know,
I realized you know, I was trying to follow a certain
amount of Like the framing of the first one but all the covers
both the single issues and and the trade paperback collections
are wrap around covers, you know.
So like the image continues on to the back and you know and it
was just a lot of space and I was like what can I do here and
I was like oh what if it somehow like there's a weird extension
from the previous cover that you know that got cropped and we
just put that on the back you know and then they can all kind
of You know, connect but not in any like real important way, but
just, you know, you know, as a little kind of Easter egg more
than anything else, we love an Easter egg.
Okay, so we've marveled we have marveled amongst ourselves that
the casting for the Paper Girls TV series was so spot-on.
It blows my mind. It's like crazy how much they
inhabit? He's just like, I don't know
what was it like seeing people inhabit, the characters you
created the drawings from? Yeah.
It was it was very surreal, you know, again.
Yeah. The show would not have worked.
At all without those girls without those girls being so
good. And so, so right for the roles,
you know, it, you know, if you, you know, if they were like
somehow like more like actory, you know, you know that wouldn't
have worked like, they feel very genuine, you know, and I think
they, you know, were able to tap into, you know, the characters
of that we created and with the the the scripts, you know, the
writing staff, they really The showrunners and, you know, they
really honor kind of like the heart of what our story was
while at the same time, pushing it in, you know, a different
direction or and adding things, you know, in order to, you know,
kind of fit the medium better, you know, you know, there's
certain things that we could do in comics that that are
necessitated by, you know, the format.
But you know, when you have 40 minutes, you know, I or an hour
of TV. Like you can fit a lot more in
there and you want to spend time with those characters.
So those stories and the changing in the plot changes a
little bit and you can but you can fill it with all these
really rich details and and they really did that in a way that,
you know, wasn't exactly like to the letter of what we did.
But I don't think that would have been interesting.
Like, you know, we already have those Comics, you know and and
to just film those, you know, Not make it, you have to let
people do their do their take. You know, I we were just talking
about this, you know, it's a collaboration and and you know,
they have to be they have to feel empowered to do their best
work, you know. And if we're being like
prescriptive about what they can do is this going to hem them in
and you know and I think what we were so lucky to have with the
show was, you know, this this vehicle for people to kind of
Express themselves and their feelings About, you know, their
childhoods and and growing older and whatever disappoints been
City may carry. And, you know, and that that's
really poignant and, you know, and I'm glad that they were able
to to do that. For sure.
So another aspect of the show, we previously spoke with David
J, Peterson and Jesse Sam's, who worked with developing the
spoken. Futuristic language in the paper
girl series, how is the written language to develop for the
comic series? And is there a reason the
conlang wasn't spoken as much as in the comics?
Yeah, I don't as much of the show, right?
I mean partly, we didn't see that much of the teenagers heck
and although yeah, you know, and You know, so unfortunately like
that was something, you know, that we might have seen more of,
you know, in another season for the comic, it was you know just
a cipher like it was just English but you know, with with
different letters and and so it wasn't and it was like very
conversational, you know, 20th century English.
So it wasn't like the weird kind of future kind of or stilted
future speak of the the old timers.
It was something a lot more casual and you know, I guess
more appropriately, you know, kind of teenage sounding.
So you know with, you know, with the show.
Yeah, I would have liked to have seen it more or done something.
You know, where you know where we would have been able to see
more where they came from. It would have been really cool.
It's we love that whole the whole conlang.
I learned a lot about that stupid.
He's gonna want, this is what we had and what we know more about
it than I didn't. We have a nice little, we had a
really long conversation with with David and Jesse and like
still chat with them some once in a while.
So it's just been really cool finding out what goes into that
whole process. But so, was there anything from
the comics? You wish had been adapted to the
show, the rest of it. Right.
Yeah, I know that there's a lot. I mean, there was, you know, and
it was a definite, you know, their ways in which the, you
know, that first season covers a lot of ground.
But then it also, you know, we don't get this Bend The time in
the 80s that, you know, I kind of wish that we had a little bit
more of, you know, like, but you want to get to that high concept
of them meeting their old ourselves, a lot faster.
So, you know, I would have liked to have seen them in the 80s.
Just kind of going through, just being kids, you know, more being
thrown into the future and having to deal with that top of
everything else. But I mean yeah, the rest of it
would have been great, you know? Seeing some sort of prehistoric
version of Cleveland, you know, would have been these inquiry
would have ever been in there, if the there were more seasons?
Yeah, yeah. I think so.
I think so hmm. Well going in the other
direction like you were talking about the little details that
get added and give a lot of flavor for the characters.
We really loved KJ's plotline where she gets to see her future
self Mia and meet Lauren. So how did those change?
How do you those changes develop when a day when adapting paper
girls to TV? Yeah.
I'm you know I wish I could speak to that all I know is when
those scripts started coming in I was jealous of them, you know
of these ideas you know because it was so great as it was
something. I wish we had done in the book,
you know, it was such a beautiful Seen, you know, when
they're at the at the movie theater, you know, and talking
about, you know, talking about being gay and and and and the
the the way that Lauren recognizes so quickly, what KJ's
talking about was just so heartbreaking and and sincere.
And like, you know, I really love that stuff, you know.
So, you know, we didn't, we didn't explore.
Lure as much of KJ in the book and, you know, I think partly
it's nice to leave something to the imagination and because so
much of her journey was about in the book was about, figuring
herself out in that moment, you know, as but you know, her
seeing her future self in the show, you know, was was a
different way to kick. Start that, you know, reflection
in her and, and, you know and it works really, really nicely.
Yeah, I talked for a good, like we dirty 40 minutes about maybe
an entire episode about that, see we all we all just loved it
so much because it was such, so, relatable.
In the way that you sometimes almost have to speak in a code
just because of the I guess importance and almost the
outside stigma attached. It's so big.
Yeah, exactly. And in that time, period, even
more. So because it was even between
even from like 1988, even from 1995 to tonight, there's such a
difference in the way you have those conversations because Me
growing up. We just had our talking about
coming out episode and And we talked about the whole process
for each of us and Kaitlyn's a little younger than the aura
night. And so it was just a little bit,
so it was just kind of such so interesting because the
organized experience are so similar in that, we were, you
know, graduating in the late 90s from high school and just going
through back the coming out process and that time.
So, it was so rewarding to see that That on screen, and we're
really glad that they did it. So, I'm only laughing because I
was born in the late 90s. Don't find them old.
Let's let me see where we are. Okay.
So we've talked a lot about paper girls and we still have
more, but I want to know what your favorite or most
challenging project you have worked on in your career.
I just finished it. It's called Catwoman, lonely
City. It's a book that I wrote, and
Drew, and colored in lettered, you know.
So I did all of the different creative parts of it.
And, you know, it's for a reason and the the collected Edition
comes out in in December in mid-December and you know, I
think if you like paper girls, I would say definitely give it a
read. It's about an older cat woman
who has been in jail for 10 years after being put away for
for you know, reportedly killing Batman.
And This really horrible night called fools night in Gotham
City that saw Batman and the Joker and Commissioner Gordon
died. And so she comes back after 10
years of being in prison and the whole city has changed, its kind
of clean and and and touristy and people are spending a lot of
money. But you know, there's a lot of
inequality as a lot of institutional racism.
There's a lot of she comes back to a city that is over-policed.
With very militarized police officers who are now wearing
kind of Batman asked uniforms and things like that.
So it's up to her to, you know, she comes back and she's not
quite sure where she fits in and and she's also trying to solve
the mystery of Batman's dying words which were saved the city
and and and in order to do that, she has to break into the
Batcave. So it's one last Heist for
Selina Kyle and You know and trying to find a crew to do that
with when you know the city has changed and everybody's gotten
older. It's yeah it was you know for me
it was it was very ambitious. I'm really proud of it, I think
if yeah and again if you like paper girls I think you'll enjoy
it. There's and and it's gay.
There's gay stuff. No it was it was all
interesting. It really sums in the Batman
world. She was always my favorite
character. So you're already had me at
Catwoman. I just it's funny because like
everybody likes to do that at the end of like and it's good.
It but okay cool. I'm it.
That's yeah. Basically how we do our podcast.
Very simple people. okay, so it seems like the story for the
Siri, the TV series of Paper Girls.
You didn't have like a part in. Really?
Like it was just based off of it.
I don't know. Like what you're fully like what
you did well like you're rolling.
Yeah, Brian. And I kind of decided early on
like we wanted to take a step back and let them do what they
wanted to do. If they were going like, you
know, if they were doing something that we thought was
really wrong than maybe we say, Say something, you know.
But but for the most part, you know, unless you're in the room
working with them, you know then you're just another annoying
person giving notes, you know? And and that's never good
either, you know, and how many you know at what point do you
burn off any Goodwill? And nobody wants to listen to
you, you know? So you know it's you know and
all these things yet, you know. And whether or not, you know our
notes then You know what? If you know, then the studio has
notes and then all this other stuff is.
So it would have just been a big chain.
Yeah, it just, you know, it would have made things more
difficult. So we just kind of stepped back
and said, you know, we think these people are great.
They're, you know, the really talented, let's let them do what
they do, you know. And, you know, and and and let
them lose and you know, and I think they really created
something very unique, you know. And that's It spoke to a lot of
people. And I think that's the best, you
know, that's the best outcome that you can, you can ask for,
you know, I think the show is really sticking with people in a
way that even though like it wasn't renewed, you know, she's
a crime. Yeah, you know, but people I
think they really have like it's really personal to them, you
know, and, and that's awesome. You know, it's like, you know,
anytime you You make art, you know, you want someone to feel
you. Want someone to love it in that
way. Yeah, we're thinking about
making a citizen's arrest on that one.
I never know what's gonna come out of free stuff.
But I don't know if you'd know the answer to this, but
something has been really bothering me.
Do you know where KJ and Mac end up?
Because I'm really upset that we don't get to see them at the
end. Oh, right?
Yeah, yes. I do.
Yeah, we're okay. All right there, live here.
EK there, alive. At least, you know.
No, there is no there there in the there in the past, the far
past. That's where the aura thought
they ended up. Yeah, mmm.
Yeah. That was that was her Theory.
Yeah, I mean, they know, I think they're, you know, they wanted
to follow some of the, you know, the shape of the books as well.
So yeah, it was such a big part of the comics.
So it was really surprised that because I did read them after
seeing the show. And while I was reading, I was
like, this is so different. So yeah, it would just, you have
to put it in there somewhere. But here's the question for the
possible us forgiving people for crimes.
Do you think there's a possibility that another Network
might pick it up or do you know? I don't know.
I wish I knew all this stuff is kind of like a crazy black box
to me, or, you know, I don't know what happens inside of it.
You know, I do know that. Yeah, they're shopping it around
and, and, you know, and they definitely Lee feel like
there's, you know, from what I understand the, you know,
there's interest, but I don't know what shape any that in
truth is, you know, is in, you know what they want, what they
don't want from it. So you know, unfortunately I
can't really I can't really say like what they, you know, where
we go or what would happen to it if we had a network, we pick it
up. Oh yeah.
Like I really wanted to create the big game network in the
future so we can just save the world basically.
You should probably we're all done.
Beeping whooshing. Evil villain at some point.
That's it's just it was so good and like the actress is they
just invited the characters. So beautifully, like Fina just
perfectly took on the Coming out like her facial expressions, the
way she said things. Yeah we this is why our paper
girls episode turned into four episodes.
Yeah, it was originally supposed to be one but it turned into
four. But when I was doing some
research for the interview, I saw that you did an interview
with Harvard magazine, where you said the hunt to find the next
one. Talk about comic books made you
really Savor each issue. When you got it, the weight made
it this Miss very mysterious thing that you could never have
all at once you only got a piece of it at a time which just made
you a bigger addict. So the question is, do you think
the outcome would have been different if paper girls was
Least weekly instead of all at once that is really hard to know
my part of me suspects. Yeah, that the binge model only
works almost accidentally for certain things.
You know, I mean if you look at a lot of shows now they're like
they're not dropped all at once or if they are once they're
successful, they are Not dropped all at once.
You know, so for paper goes I think you know we definitely
would have benefited from it coming out in the word of mouth
being good you know because not everybody wants to sit down and
watch 8 hours, 10 hours of TV in one weekend, you know, or they
do and then it's just over and even if it gets renewed, you
have to wait over a year. Yeah.
So you know, I think you know and actually if you like
something sometimes, you want to savor it too and you want to
spread it out. Yeah.
So you know it's great that it that it can be there for people
to enjoy, however they want, but it's not great if you're going
to then, you know, say, you know, if you're not going to
give things time to grow. Yeah.
I don't think it's great for building an audience.
Yeah. Yeah.
You're just kind of expecting people to find it, you know.
And then hope that it's like a mess if you don't actually
Market that. Well just say I'm not over this.
Okay, can you tell her about it? Yes.
Very when you release everything at once, there's only one push
on social media really? Like there's like one thing and
then it goes down, but if it's every week, then people keep
hearing about it and it'll go up and up and up and it just makes
no sense and I think that's why people are starting to not do it
all at once, anymore. They realize it doesn't work
anymore. I feel like a good, like, a good
thing is, like the three episodes all at once and then
weekly like, that model works really well.
Yeah. I think a lot about this, she
does. Ah, but anyway, so you were part
of creating the most important comic book on Earth.
Can you tell us a little bit about that?
Yeah. You know, it's about climate
change and The the proceeds of the book, you know, go towards
really, you know, towards you know, saving you know, certain
trees and putting, you know, towards real initiatives to
prevent like the extinction of species and things like that.
So it it's definitely about you know, not just, you know,
educating people or Dramatizing you know the effects of climate
change on the planet but also about like making sure that the
book has an impact on the planet as well.
You know that it actually does something or that the money that
that is raised by it goes, somewhere towards actually doing
something. It's really cool.
I like that. Yeah, that's it's really fun.
I love when media like any form of it does something good
because I'm always talking about how powerful it is.
And not in and sometimes it is used for illegal things.
But yeah. So I just I just love positive
things. But I have one last thing about
paper girls to show. Because it is so different from
the comics. Is there something that besides
like the cage, a thing that we talked about that you loved that
was adapted that you weren't like really expecting like what
was your favorite part of it? I mean.
My other favorite part. Probably was Max brother.
Dylan, who, you know, we only had very much on the periphery
in the book, and, you know, it's the, I really appreciated being
able to see the flip side of of their, you know, of these girls
time traveling and not knowing what happens.
And then, you know, so, you know, in the book, we You know,
we focus on Mac and how she takes the news, but like the
idea of like what her loss means to her family, you know, is also
really interesting and heartbreaking and, you know, and
I think I was thinking a lot about pay.
I just love the scenes between them and and the dynamic and and
this idea that you get to, you know, see a lost, you know,
someone that you've lost. Just seeing them again, like
what that would do to you and then, you know, and then it kind
of haunted me later to think that like, you know, she had to
leave and then she was gone again, from Dylan's life, you
know, like what does that, you know, it's almost like, did he
imagine it, you know, so it's really heartbreaking.
We talked about that too. Like yeah, even get to say
goodbye and yeah. Those were really great sayings.
We don't get to see, like, what happened?
Yeah, I was hoping that if we ever got or if we were going to
get more seasons, that would get the sea.
What happened with Dylan because that couldn't have been easy.
I mean, like, and he wasn't the only one who saw her.
Like, the kids also saw her, right?
So that means that he wasn't crazy crazy, but he's probably
like looking everywhere for her. Yeah, it's just, yeah, it's a
lot. We've made it.
You've made it past all the hard, open-ended questions.
Now we've gotten to the fun section of, would you rather?
Okay, but we're not, we're not saying that they're going to be
easy, probably more, more fun for us in the audience, but you
get because you have to make some hard choices, all right?
All right. One question in particular that
that was all for, but I think we before we get too.
That particular the second question.
I think we need to explain the origin story but so the first
one is would you rather fight the time War for the stf for the
old watch? Yeah.
I mean I think you know we'll certainly the way the show is
you know you want to work for the you want to.
Yeah you want to be on the yes side of the stf but I think you
know, probably with more seasons we would have seen a little bit
more. Why the old watch is?
So you know, concerned about the timeline so you know maybe they
you know, maybe they would have had a convincing argument but
maybe not, you know, no, but certainly for the book, you
know. Yeah.
You definitely want to be on the teenager side.
Yeah, I mean sorry. Would you like to do the second
one as well? Okay, goodbye.
Do you want me to act? I will do it now, this was your
question at first. Listen, there's a reason we ask
this question. It's just kind of a funny back
story from when we were covering mother line for Salem, but
basically, Just would you rather would you rather get the sex
talk from Aaron older are Iris older Aaron prioress or
grandfather. You know?
Like the birds and the bees. Wow.
It's really funny because I kind of you know, right?
As characters or as like people like be those actors 0 as K is
the characters. Yeah.
I mean well I mean I would definitely talk to any of those
actors about it. It'd be hilarious.
Oh my gosh, that was it would be hilarious.
Yeah. Yeah, I think out of the three
characters, maybe I'd want to talk to grandfather I think
because because parts of feel cold you know and and and she's
like she's like a Terminator, you know?
And then so I'm not sure how you know, useful that conversation
might be and then older, Aaron seems like she might get
flustered more easily talking about it and where is like
Grandpa. would just be kind of, like, pretty chilled out and
matter of fact, Yeah, you're like older Aaron wouldn't like,
actually get to anything. That is why?
Because it would be amusing, but there is that question.
Always brings up some very interesting answers, no matter
what show it goes to other two are very tame.
That was the only Untamed one. I belong, Taylor, Hickson.
Yes, who would you rather have? Is your younger sister Tiffany
Aaron KJ or Mac? Wow.
Yeah. See Tiffany KJ, I think, yeah, I
probably wouldn't be able to handle a Mac, you know, it's
very fair. Let's see.
I think Aaron's probably too much like myself, so that, you
know, I don't need, you know, I don't think that would be
interesting. I don't know, I think I'm going
to go with Tiffani, I think you know it'd be interesting to
have, you know, to have a younger sibling like her who's
so driven, you know, and to be like, you know, and to see like
how you can help, you know, help that person achieve what they
want, you know, and then and what you can do, you know for
them, you know. I but I guess that's more like
being a teacher then and being an like an older sibling.
So, but yeah, I'm gonna go with that.
Be careful what you wish for. I was that younger sibling.
I was just called Annoying a lot right?
Younger sir. Yeah.
That's just like any younger sibling really well.
I just got told I have made them feel stupid a lot.
I mean. Fair enough.
Okay, if you were to time travel, would you rather visit
the 80s, the 90s, the early 2000s or prehistoric time
period? Oh boy, Yeah, that's a really
good question. I don't go with the 90s.
Oh yeah, I feel like the 80s like technology-wise.
Like, feels like, like so different.
Now that I don't know if I could, you know, like a lot of
amenities, you know, wouldn't be around the 90s, you know?
You know, it's when I was in high school and college.
I think I could kind of make my way around a little bit easier
and 2000's is to reset that just doesn't feel like, right.
That's just yeah, that's it. Yeah, and prehistoric times
would just not be good. It's just absolutely how hard,
you know. Or something.
Yeah, there's some crazy like you know bacteria that just I
was about to say you would get killed by the bacteria or
viruses or whatever before any of that I would think but it was
here, she would list on a bunch of different things.
She's an infectious disease, special form, assist pharmacist.
I think you made the correct choice because I would go back
to that time. Period just to like know
everything that we know now about technology and you're at
the cusp of when everything became like Mass you know.
And when we first got the internet everywhere and
everybody had computer started have computers and cell phones
started to actually be you know, not gigantic.
It's some point in the Layton so absolutely I'm with you on that
one. I'd go back to the 80s or 90s
just to know what Breeze talking about half the time.
Oh, for goodness sake, we love each other but it's thank you
for telling us so much. But do you have any final words
that you want to tell our listeners before we wrap up?
No, I mean I just, you know, I would want to say, like, thanks
for, you know, for reading the books and watching the show and
like, you know, really embracing it.
You know, I think it's, you know, again, I think we tried to
do something that felt genuine, you know, and sincere.
And, you know, and really tried to take a look at, you know, you
know, kind of the Interior life of young girls, but in the
framework of this sci-fi, you know, adventure and you No, and
I'm just so grateful for having, you know, the opportunity to,
you know, to make to be a part of something that, you know,
that made people really so happy.
Well, that's thank you for creating this with your partner
in crime, because it really was an amazing journey.
And we really, really hope that somebody picks it up for the TV
show, for the love of Everything plan that more people read the
books and maybe that would help more people to find the comics.
So, Thank you very much. Thank you.
And to everyone at home listening, make sure to check
out paper girls, the TV show, and the books and follow cliff
on Twitter at Cliff Chang. CLI will just link it below.
Yes, so thank you for tuning in and we will see you next time.
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