The Crossroads Chronicles: Stinky Pete

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Stinky must make a choice. Will he choose a life on the sea filled with treasures of gold and silver or will he discover a treasure beyond all measure? Find out which path Stinky chooses in this charming pirate tale full of rich details and beautiful illustrations. Read more Read less. Prime Book Box for Kids. Product details Age Range: Preschool - 3 Perfect Paperback: Tate Publishing June 14, Language: Be the first to review this item Amazon Best Sellers Rank: Related Video Shorts 0 Upload your video.

Customer reviews There are no customer reviews yet. Share your thoughts with other customers. Write a customer review. There's a problem loading this menu right now. Get fast, free shipping with Amazon Prime. Your recently viewed items and featured recommendations. View or edit your browsing history. I was basically my own boss the whole time I was there.

What story to do for the animatic. Originally it was supposed to be the story from Hate 3, and then for various reasons Abby convinced me that the story from Hate 1 would be better. I remember Terry Zwigoff coming up with a good argument for the story from Hate 2 — He had a good suggestion for condensing it into an animatic, but by then it was too late.

Terry and his partners were very good sounding boards, I gotta say, especially Albert [Berger], but Terry operates at such a slow and deliberate pace. Poor Terry was always being left in the dust. I would have objected to it if: That seemed to be their M. Also, once the meetings started to seem to be dragging, I asked Abby if we could stop having them so I could just work with the director and no one else at that point, and he complied. It still sounds like the whole committee process mitigated your best instincts.

And I suppose I could have made a really big stink about that. And when I did go against my own instincts, it was based on their experiences. But after a while, they did have a hard time totally understanding the whole stylistic approach. My drawing is real cartoony, and I wanted it to look real cartoony. At one point, all of a sudden , the director, Yvette, she suddenly [got] what I was driving at, and got really excited. From that point on, she was very enthusiastic about the whole project. Up until then I was basically a spoiled brat, in that I was really inclined to just sit in my house in Seattle and hope that other people would do everything for me.

If I was single I would, to tell you the truth. But Joanne said no, never, ever, especially not with a kid. Now, Joanne would object to that, even if there was a definite possibility of a big payoff? Mostly what I know of LA is just seeing my hotel room. So anyway, I just want to confirm that under the right circumstances, Joanne would not object to watching you suck cock to get Hate on TV. Demographically, the alternative comics market is probably predominantly 18 to 25 or so. So where does that put you? Yeah, there you go. I still want to get some color in there, sell ads, but at the same time it would be a cross between what Hate is right now and Weirdo, because once Weirdo died, there was nothing exactly like it.

The content is actually going to be contrary to the target audience of the advertiser. But I was thinking, almost out of spite. Both young and old women, they love that name when I tell it to them. I would say with considerable certainty that our readership drops off fast once you get beyond age But I have some ideas of how we could at least try to reach older readers. You know, like maybe putting out one, a test one, that is most like a catalogue.

Is it your opinion that people drop off from reading alternative comics at a certain age, that they just move into other things at a certain point of their lives —. What is it about reading comics that you think makes it easy for them to stop? So the stuff is just not available. You know what I mean? Yet I know a lot of women who are part of the mainstream suburban culture, yet who are still motivated and concerned by the same things that Cathy is, like having a boyfriend or gaining weight.

So that would be great if he and I could do a regular or semi-regular character. I just did something with [Alan] Moore, although that was a switch, because I drew it and he wrote it. Although I was very happy with the way it came out. He should be thrilled that any artist draws his scripts after his Big Numbers experience. Something of a satirical nature. I was thinking of just taking certain themes, like a mall, and just talk about a mall experience.

It would almost be like Mad , but for an older, more fucked-up sensibility. Just take certain things and do something with it, and come up with an appropriate collaborator. I really hate to draw [ laughs ], but I almost prefer having somebody draw the whole thing themselves than do that process that me and [Jim] Blanchard are doing at this point. For one thing, nobody will buy any original art. People are rarely interested at all in the original art that I did in collaboration with Blanchard. Are there aesthetic objections to having someone ink your work?

To me it was just something new, something different, and not necessarily better or worse. It smoothed things out, which is what I wanted. What you see is exactly what I wanted. I wanted the stories to flow at a more leisurely pace. I totally understand why, but I really wanted the art in the color Hates to be kind of understated. I like the really simple candy colors, and that really easy, steady pacing of his stories, and that is totally what I tried to emulate with the color Hate s , those old Little Lulu s.

I mean, do you ever get bored drawing the same cars and the same interiors, and the same details? I just get sick of leaning over the drawing table all day. I still like to draw on occasion, but hours a day? I really enjoy writing, though. The writing comes real easy to me, and even breaking it down to a strip, roughing it out. And I love the end results as well, the reward of a job well done. I want to be on the same schedule as my family, and Joanne was always in the restaurant business, so she always had to get up early, and I would always wake up with her and go to sleep when she did.

Yeah, I have no problems avoiding her. I mean, by five or six I come upstairs for dinner, and then after dinner we pal around. She usually comes home with a friend these days and just pals around with the friend, which she much prefers than hanging out with me these days. Get-In-The-Way to her these days.

I wish Conrad could be like that. No, no, not verbose, but a dense narrative. I think that both Blanchard, when he started inking it, and Eric especially, the first time he inked something by me, they both were shocked and dismayed to find how labor-intensive it is. Merely going four-tiered, I wound up not saving any time per page when I started working with Jim, because —.

Yeah, and then I increased the size of the original, figuring that would give Jim a lot more room to work with.

So I work on 14 x 17 paper now, whereas the old black-and-white Hate s were 11 x And those were three-tiered. But I wanted everything to be really dearly delineated, and I wanted the reader to have more story per page. From that, I write all the dialogue, and all the stage directions in long hand, and as I go along, I break it down. So when I get to the bottom of the page, I would try to rectify how that page would end, then I would literally draw lines between the different lines of text, breaking it down into panels that way.

I manage to always end scenes at the bottom of a page. A lot of cartoonists end in the middle of a page. Yeah, so that a scene, a shift in scene, would always begin when you turn the page, or at the top of the next page. And the scenes are almost always anywhere from one page to — I rarely had one scene, one setting, that took up more than five pages. And then I take each piece of paper and I paperclip it to a piece of typewriter paper, and I break that down — in ballpoint pen, I draw the whole page, using the text thing as a guide.

The drawings there tend to be really sloppy and messy, but I like to attack it. I break down on the finished Bristol board the whole page, the panels and everything, and then I trace over that on the tracing paper where I break it down again, and then I draw the whole strip on the tracing paper.

That tells me how much room I need for the word balloons, and where to shape everything. So I draw first with a light pencil, then I go over it again with a darker pencil. Then I take that tracing paper and I flip it over and I draw the whole thing again backwards. And another great thing too, is to look at the drawing backwards, because the way somebody will be standing —.

And I shift it, too. The only other artist I knew who does anything remotely similar is Chester Brown. In a way the panel is an autonomous unit on his pages.

Peter Edbrook: memories of The Royalty theatre and beyond

Right, although I doubt he does each individual drawing over and over. He strikes me as one of those guys who gets it right the first time, generally. Actually, someone I believe who draws exactly the same way I do is Jason Lutes. He would just draw in five, six, seven layers of color. No, just to rough it out, just to get all the placement and body movement right, just to come up with a guide.

He was just altering the shapes and the poses, and —. And of course I want it to look nice and breezy. We were talking about the new Hate. So you want to go in a radically new direction for a while? Although it remains to be seen if it works out that way. I mean, you can get too comfortable. At the same time, though, Buddy has evolved into a very handy vehicle for me to express myself. As the years went by, did you find yourself getting a bit divorced from that slacker context? Well, Buddy was always getting older.

He started his own business. It was never his intention just to sit around and do nothing. There was a period, I guess it was in 24 or 25, he split up with Lisa, and for simple company, he found himself hanging out with his brother, and his next door neighbor, then Stinky came back to town. He seems pretty content with himself. Well, I want to show how people lie, because everybody tells little white lies. Then he would really blow his chances with either of them!

She has a bony butt. So you mean like — not so much like me drawing butts obsessively, but references to them? But I came up with this idea, it was partly inspired by what happened with several friends of mine, both male and female , with their experiences with antidepressants. Several of them experienced rapid weight gain from them. I had a sister-in-law who went on Prozac or something, and it caused her to gain a lot of weight, and so she went off it for that reason.

At the same time both her husband and son were on it, and they told me that all it did for them was give them gas! So being the sadist that I am, I had Lisa suffer all of these side effects. So now I am drawing my own masturbation material. Like the guys are all skinny, too, with a few exceptions.

Yeah, a few exceptions. But mostly the women all have the same body types. And even the men, they all have terrible posture, you know. Everybody has kind of like this S-shaped posture, and —. How do you feel about the contemporary cartooning scene, and specifically the current generation of cartoonists? Are you as excited about them as you were by your own—.

I mean by way of creating an artificial demarcation between the first underground generation, and the post-underground generation, between you and the Bros. They still always blow me away on a regular basis. Those four consistently thrill me, every time I see something new by them. Or do you think that there just have been no cartoonists coming up in the last ten years that equal the Bros. Although I suppose that could all change in a big hurry. Plus the fact that those guys are still my favorites is also a reflection of how determined all four of them still are to remain the best.

And all those cartoonists are also relatively prolific. And Crumb lived on welfare for a while. So you could devote a lot of time to cartooning. That might have something to do with it. Yeah, but if some young guy was determined to be as good as he could be he could move back in with his mom as well.

I have mixed feelings about him as a writer, though. He has an incredible visual imagination, an incredible touch. I heard he quit doing Underwater, and is gonna do something else instead now. Ya know, Alan Moore recently described the current state of alternative comics to me really well, comparing it to right now as opposed to five or ten years ago. The people who did it well, like Chester, succeeded because they were talking about certain aspects of their lives and thoughts that were never addressed directly before, and presenting it in a certain way that was shocking yet cathartic. But they were willing to risk being made fun of.

But at the same time, it was all very heartfelt work. But now it does seem that way. Now it really does feel and read like a genre. Different pleasures for different tastes. You could probably say the same for the Crumbs, too. Although I still really feel like they do push themselves. She was almost bragging. She was open about it. I thought it was great, it was refreshing.

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But yeah, time is definitely ripe for both established cartoonists and new cartoonists to really push themselves, in terms of content. Everybody gets a bit too caught up in their technique as well. Do you know what I mean, though? Well, they get a lot of positive feedback over that type of thing. Why did you start working with comic books? Why not just become a painter or something? Because the main purpose of comic books is to tell a story.

Well, Chris Ware is certainly one artist who has mapped out his own stylistic territory. Sometimes I think it might be the latter, you know, that —. Whereas, if somebody else took one of his stories and drew it, you know, in a —. Yeah, to his benefit, because it implies the characters are repressing this pain. Like I would take a Chris Ware story and draw it in my own style, and see what the end result would be. Yeah, I think I wrote it for — gosh, I guess that was years ago already.

Yeah, I forgot about that thing. Well, just the fact that it went color, and that it had ads, I guess. I mean, I never spoke directly to them about it. I picked up on some criticisms in interviews with Seth and Joe Matt, and later Chris Oliveros, and the thing that was annoying about all of it was that they were speaking like it was a given.

And you know, what can I say? There was no groundswell of popular opinion saying I ought to switch to color.

The Peter Bagge Interview

I did it because I wanted to. Sales went up a little bit when it first switched to color, and then it more or less went back to where it was. It made me wonder if they were even reading it. Maybe aesthetically they were just simply put off by the color. But you know, I hate to think they actually read the stones and still just assumed that I was trying to give the readers what our extensive demographic surveys tell us they want, because the exact opposite was true. There was nobody saying, oh, I want Buddy to deal with old people and kids and have Pops Bradley die, and —.

I had a lot happening, and then when you got to the end, there was an ending there. You know, before I started drawing the thing, I wrote it [ laughs ], and I figured out how to make it fit within the confines of one comic book, so that when somebody bought my comic book at least they got a whole story. Well, now, are you really thinking about the reader, or did you the author simply want to write a self-contained story? Both, because I assume the reader is like me. But also, these stories, they could tell them in 50 pages.

Or they could tell it in one issue. Maybe they just need an editor or something, because a lot of these new stories move pretty motherfucking slow.

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