The adventures of the Lil and Put series are surely known to readers of Nowa Fantastyka and Relaks magazine. The volumes, filled with many stories with the title characters in the lead role, are also published – continuously since 2014 – by Egmont. We can perceive the adventures of nice little people as works that fit into the canon of modern comics.
Ines Załęska-Olszewska: Lil i Put is an extremely original proposition that allows the reader an innovative encounter with literature. Even though it’s been seven years since the comic’s premiere, its popularity continues. Before we go into the details of cooperation, please tell me how it all started?
Maciej Kur: Maybe I’ll start. I have always known that I want to fulfill myself in film and animation. Choosing film school and screenwriting, I realized that I would constantly strive to develop my comic book ideas. I was not sure what my future would look like, because I had doubts about, for example, my line (my paintings remain in the convention of abstract painting). I didn’t want to wait any longer and decided to look for someone to work with.
Piotr Bednarczyk: For me, a comic was love at first sight. As a child, my older brothers read me a bedtime classic by Polish authors. Later, comics were always with me to a greater or lesser extent, although I did not think for a long time that I could create them professionally. When attending an art high school or studying at the Academy of Fine Arts, I was a bit offended by this medium, because at that time the domestic comic book market was the beginning of an ongoing boom for readers, and for creators – quite a disappointing niche.
Maciej Kur
Ines Załęska-Olszewska: Some say that creating comics is primarily the work of a scriptwriter. The illustrator is only supposed to illustrate ideas. How much truth is there in such a claim?
Maciej Kur: Lil and Put have evolved a lot from the stories I wrote in high school. In fact, these are two other characters. This is due to the fact that our cooperation with Piotrek has a constant influence on the shape of Lila and Puta . Sometimes it happens that Piotrek makes a drawing and this one will inspire me to the whole story. We complement each other and create this world together – we know Lila and Puta, we know how they behave in given situations, we understand their motivations. I have great respect for our work because it brings the expected realization, a common child.
Piotr Bednarczyk: Theoretically it is true (if we are talking about working in a screenwriter-cartoonist duo). In practice, in our case, we discuss a lot, discuss, share ideas and comments. Some cartoonists illustrate the received scenarios without going into the content. I definitely need to relate to the text. Some things I don’t want to draw, others I need to see. With Maciej, we understand each other better and we read our needs, goals, preferences more precisely and it is easier for us to build a common vision.
Maciej Kur: I am told that I can write easily and I think it’s true. Creating characters, world and stories always comes naturally to me. Apparently some people have a problem with it, but maybe that’s a good thing, because it’s better to focus only on what is best and complement yourself with someone else.
Piotr Bednarczyk
Ines Załęska-Olszewska: As can be seen from your example, despite your passion and experience, the lack of a person to cooperate may make it impossible to implement the project. Mr. Maciej told us about working on the script, and what is the illustrator’s creative process?
Piotr Bednarczyk: Usually, when I get a script from Maciej (in the form of a storyboard ), in the initial sketch of the board I show how I see it. This is also the stage when we discuss dialogues, narration, facial expressions, movement dynamics and important details. When everything is agreed, I sit down to draw and then to color. After this stage, usually only cosmetic corrections are made.
Ines Załęska-Olszewska: It seems that creating a board takes a lot of time, especially in a situation where only cooperation can bring the expected effect. How long does it take to publish one volume, a collection of several (ten) stories?
Piotr Bednarczyk: There is really no rule, it all depends on many factors, and if they do not coincide at one time, one board can be created even in one day. Usually, however, it is 2-3 days of work and it is really great when this time is not intertwined with other duties. My creative temperament is rather choleric; I like to see the finished effect of my work quickly, but I find it difficult to keep it regular. I try to get used to it through everyday sketching.
Maciej Kur: One-page stories with Lil and Put appear in “Nowa Fantastyka”. This is a challenge for me, because I simply create longer stories better, but it is a challenge that gives a lot of satisfaction, I hope also for the reader. There is something magical about an intricate story with turning points and a lot of gags in eight frames. Such a story is, for example , Bestiary , an episode of Lila and Puta , which can be found in the album Parade Przyałów , but I also like more abstract jokes, such as the episode of Dzyń . However, I must admit that I prefer to create longer stories, even if Lil and Put work in every form.
Ines Załęska-Olszewska: They told you about the events that contributed to the fact that the comic book about Lil and Puta appeared on the Polish publishing market. Now we will focus on the heroes – the minors. Please tell me what inspired the gentlemen to create such colorful characters.
Maciej Kur: Lil and Put are, on the one hand, classic archetypes built on the principle of opposites, on the other hand, I wanted to avoid certain clichés, e.g. I did not want characters who are arguing all the time. Sometimes I get the feeling that certain series are so focused on the differences between the characters that you don’t buy them as friends at all. Lil and Put are different, but they often wind up together, like they are buddies.
Piotr Bednarczyk: First of all, my greatest inspiration is the script itself and Maciek’s crazy ideas, but I must admit that I have always been interested in such comic book series as Bill Watterson’s Calvin and Hobbes , Peyo’s Smurfs and Hugo Bernard Dumont.
Ines Załęska-Olszewska: Watterson, Payo, Dumond are known in the comic book universe. However, not only they created unforgettable stories. Can you please share your suggestions – not only comic ones – for younger and slightly older audiences? They don’t have to be old, they can be modern.
Piotr Bednarczuk: There is a lot of it. Not only the above-mentioned creators. Certainly the Polish classic, on which I grew up: Rosiński, Christa, Baranowski, Pawel, Chmielewski, Wróblewski, Polch. As for contemporary authors, I am delighted with the works of Berenika Kołomycka and Tomasz Samojlik. German artist Mawil, for a bit older, French creator Christophe Blain.
Maciej Kur: I am a fan of EC Segar. His 1930s Popeye stripes are perfect for me. I was also influenced by Don Rosa, Carl Barks, and recently I have been reading Moomins by Tove Janson, the comic version of which has just been released by Egmont.
Ines Załęska-Olszewska: Thank you for these proposals! As you can see, the modern recipient has a lot to choose from! I dare to say that the characters created by the above-mentioned creators (and not only) are for the most part credible. Sometimes, however, the creators go a step further – the heroes of the series receive their features and are even visually similar. What does it look like from your perspective? Does the author create a work in which he duplicates himself?
Piotr Bednarczyk: I once heard this theory: when a draftsman creates a portrait of someone, he always draws himself. It is apparently noticeable by confronting many such drawings with the author’s photo. I admit that after the first album I had a few such inquiries from my family, friends, and readers – is Lil me and Put is Maciej? I used to deny it, today I can see what might suggest such reading of these characters. And I know it’s not just about physical features.
Maciej Kur: On my part, such actions were unintentional, because I simply don’t like creating characters similar to me. Where’s the fun here? Where’s the escapism? For what? Of course, I can find my features in all the characters, but I see as many of them in Lilu as in Puta and Mixia. If there was one particular character to represent me, it would be terribly awkward, as if I was exposing myself and all the hero will say now is my wisdom … I’d rather the reader interpret this world himself than impose something on him and impose it on him. If I had to smuggle something – some philosophy – I would put it in the mouth of a side character, for example, Pocket, sister Lila, or one that the reader does not expect. It seems more honest to me.
Piotr Bednarczuk: It cannot be concealed, however, that Lil is bathed in hot water; it’s a choleric, which suits my temper. Put is more sensitive, balanced, similar to Maciek. It happens subconsciously. The characters have evolved over time – their character and appearance have changed, now they differ from their prototypes, which at the beginning had the right to be a bit imprecise.
Ines Załęska-Olszewska: Małoludy appeared on the publishing market suddenly and quickly fell in love with the audience. From the perspective of the creators of the comic book that turned out to be a huge success, please tell the readers of The Last Tavern whether anyone can create comics.
Maciej Kur: Yes, of course. The important key is to have fun with it and create what you like. Of course, it’s best to avoid patterns and try to bring something of your own, some unique perspective.
Piotr Bednarczyk: Anyone can try, but – like everything to which a human being devotes itself one hundred percent – this occupation has its highlights and shadows. It will be different for everyone.
Ines Załęska-Olszewska: And how to start?
Piotr Bednarczyk: Here and now, not delaying, not exaggeratingly, but creatively analyzing his own actions and the works of other artists. Absorbing tons of inspiration, rejecting complexes and perfectionism, playing at the best of a child or getting rid of the toughest emotions. In good faith, co-creating beauty.
Maciej Kur: Beautifully captured. Personally, I think a good way to break through is with fan fiction – take a story you like but one that has a flawed element and make it your own. Don’t you like that this heroine married this hero and not another? Then write yourself this version. It is a fun game that develops the imagination, and at the same time allows you to develop sensitivity and voice. Deconstructing your favorite stories and analyzing them is a great way to learn how it all works, and a lot will come subconsciously.
Ines Załęska-Olszewska: Thank you very much for the interview and I wish you every success.ines załęska
