by Michael C Lorah
Doug TenNapel has been an influential creator in virtually all facets of young-adult entertainment. He created the popular
Earthworm Jim video game and is the mastermind behind Nickelodeon’s
Catscratch cartoon series.
He’s also written and illustrated five graphic novels, with the most recent,
Gear, being a collection of his very first comic book series. Mixing fantasy, adventure, sci-fi and coming-of-age themes into a unique style, TenNapel’s comics have been critically acclaimed consistently.
His next book,
Black Cherry, is due out in July from Image Comics. Telling of a low-level Mafioso who steals a dead body from his own boss,
Black Cherry is a change of styles for TenNapel.
We asked him about it.
Newsarama: Doug, although your previous books have tackled some pretty challenging themes of faith or responsibility, they’ve always been adventurous stories with plenty of humor.
Black Cherry seems to be the first book you’ve done that is specifically aimed at adult readers. What prompted this change of tone, or do you even see it as a change?
Doug TenNapel: It’s a deliberate change of tone in order to properly swim within a decidedly seedy genre. I thought it would be criminal to take a steamy genre like crime-noir and baptize it with conservative Christian culture; that’s what the Christian ghetto does in all forms of media today.
I don’t go into genres and say, “How do I Christianify this story?” because it degrades both the literary history of the genre as well as what the Christian enterprise should be. So making
Black Cherry “safe” was not on the table.
At the same time, I have a duty as a man who follows Christ where my understanding is that I’m not to just camouflage myself with my culture and bury the light of Christ so that it’s indiscernible from that which is non-Christ. I’m not hiding anything faith-based in my writing either. That’s also not on the table when it comes to my stories that address religion (and I love to take a break from telling stories about religion whenever possible).
NRAMA: What can you tell us about Eddie Paretti, the protagonist of
Black Cherry?
DT: Eddie is one of my favorite all-time characters. I say that about all of my characters while I’m working on them because they are the freshest, most vibrant and most alive as they come off the brush.
Like most Catholics I know, he is an ex-Catholic. He was raised in a faith he simply rejects as an adult. We can assume something went wrong at some point in his life, because he’s currently working for his uncle who is a mob boss in L.A. He is a dirt-bag in that he screws women just to grift their cash when they aren’t looking. He also has stolen money from his own Uncle and mob boss…so that even among criminals he has no honor. He’s about as low as he’s been in his life.

This is where the classic Noir structure came in handy: take a blue-collar Joe and just keep screwing him into the ground. It’s a grim view of the world where a guy loses everything and even if he repents, there is no redemption. That’s Eddie. He’s screwed.
Eddie also has these crime cultural icons that are extensions of his person. He’s got this lucky Zippo lighter he believes sends him messages via the size of the flame, he drives a convertible Malibu that just plain makes him look good.
He has a little problem with women in that they are just something I think he sees as a drug to get him through the night or a potential con to get him money to pay back a debt. Something happened in his past where he fell in love with a stripper named Black Cherry, and he’s never been the same since. He was just about to pop the question to her when she left the business and vanished, effectively breaking his heart and hardening it against all women in general from that point forward.
NRAMA: Faith and mentors seem to be big themes in much of your work, and it looks like Eddie has both in Father McHugh. Why do find these themes continually inspiring?
DT: Ask any person about what they think about God and you will get an amazing story. It won’t just be any old story either, it will likely cut straight to the core of who that person is. It’s so bizarre to me that this most personal, dramatic, amazing story device is getting pressure to be removed by story-telling industries…including the supposedly progressive comics industry.

The fact that Superman was born and raised in Kansas by conservative farmers yet he never even talks about the Bible stinks to high hell to me. It’s idiotic and it ends up making these characters less human instead of more. Superman has exactly dick to do with any “Smallville” I’ve ever been to. This is why I actually LOVED the
Red Son Superman so much; they finally gave us a contrast of what would happen if Superman didn’t carry Kansas in his worldview. More of this! Less of draining worldviews and philosophies out of comics! Especially worldviews that are considered “anti-comic” like certain conservative ones.
It is the pulp nature of comics that makes is such an incredibly powerful medium. I don’t think you could get funding to make a
Red Son Superman movie with a 250-million-dollar budget, but you could do a limited-run book series to explore a philosophy…no harm done.
It’s why I laugh so hard at a vocal minority in comics that just freaks out if my characters bring up Jesus Christ. They don’t freak out if a character says the word “____” or decides to be gay in a series, but if Spiderman ever converted to Christianity these critics would have a period. I thought we were farther along than that in the discussion and debate department of comics. I’m shocked at the level of groupthink within a medium that should be anything but a monolith of worldview. There should be a robust debate of worldviews within comics…it’s why I so look forward to Frank Miller’s Batman vs. Islamic terror. That kind of material should be the norm not the controversial rarity that it is.
When I read Tony Millionaire and have him on my shelf next to Jack Chick, it tells me how powerful this medium can be instead of looking at one book as “correct” while the other is “backwards.” I also advocate the general spread of comics into unexplored areas…I’m sorry but we’ve got the porn base covered and then some, but where is the Dr. Seuss of comics? Where is the C.S. Lewis, the G-rated family fare, the mainstream bread-and-butter works that a family in Texas could enjoy together? I didn’t get the memo that said “no comics shall be made for Midwestern families.” If comic publishers are looking to expand readership they need look no farther than outside of their progressive ghetto their living in now.
NRAMA: Ha ha. I think I intended that question more as a lead-in to some background on Father McHugh!
DT: Father McHugh is a priest who is dragged into some sort of interplanetary war. He is a good priest...I was really tired of seeing every depiction of a priest as being a scumbag or a child-molester, as if that’s even being ironic anymore. So while I take a few hits at transubstantiation, I don’t go for the easy anti-Catholic clichés I’m used to hearing. Father McHugh performs rituals in Latin and has a very special relationship with Eddie. I think McHugh acknowledges that Eddie didn’t need a “dad” but just someone to take care of him through his teens. We find out later that Eddie was kicked from the monastery because he screwed a woman in the confessional.
But fate is strong in my books, and there is no more defining relationship for any man than that with his father or that with his son. McHugh is kind of an adoptive parent to all of God’s lost children. He raised Eddie; he might have even taken a certain stripper under his wing. When a flying saucer scouted the Earth to find our weakest point for an intergalactic attack, the saucer crashed outside of a monastery in Pasadena...the alien pilot was rescued by McHugh. This alien named Harold Mars is converted to Catholicism by McHugh, and now we humans have direct information about a coming alien invasion.
NRAMA: I was recently reading
Gear and was amazed when you wrote that you were drawing four pages a day, after your animation work during the day! Out of curiosity, how is your drawing speed now?
DT: Speed without losing control is something that comes from expertise, so I get a little faster with each book. I notice a threshold that I cross if I get going to fast, the appeal is first to go and the volume, composition and clarity usually suffers.
Gear isn’t my best work by far, but when you bang out four pages a day, you gain in energy what you lose in clarity.
I’m the most comfortable doing two pages a day. I get my images up to an acceptable level of quality, yet doing a book doesn’t shut down my life for more than four months. I did rage out on
Black Cherry and do 4 pages a day on up to 8 pages a day on some days…but that’s only because I wanted raw energy on the page over appeal. Doing a filthy pulp-noir book seemed appropriate to splatter some sumi around instead of surgically crafting every line.
NRAMA: What inspired
Black Cherry?
DT: The genre came first. I loved
Sunset Blvd on through
The Godfather and
Pulp Fiction. These characters live in a place where the stock and trade is darkness, and it’s interesting to see how moral men survive in that economy. I knew I was going to make the spiritual economy Catholicism…not because I’m Catholic, I’m not at all, but because crime noir is so closely associated with Catholicism.
I’m thinking of scenes in
The Godfather series that take place during baptisms or contemplations of the Pope, as well as Vince and Jules arguing over a potential miracle.
Black Cherry is a crack-addicted ex-stripper who doesn’t know if she is forgivable. She keeps returning to her junk and questions if she is just destined to be ‘bad.’ Eddie Paretti has scars up and down his arms from his dad using his arm as an ashtray…these are the scars left by bad father figures in his life. Father McHugh is the only good dad he ever knew, yet Eddie clearly isn’t cut out to be a card-carrying Catholic. I don’t want to give away too much of the story so
spoiler-phobes can just skip the rest of this paragraph, but there is an alien character who also feels like Catholic redemption is behind him because Christ appeared to die for humans, not aliens.
There is a common theme in
Black Cherry that is the dark side of religion, what about the condemned? That’s why crime-noir became such an important aspect of this story because it often deals with heroes that are too bad to be redeemed. It’s like life has chosen some men to be ground up and left face down in the pool.
NRAMA: Wow. That’s intense. The solicitation says that it may not be suitable for younger readers. Did you set out to create a book with a more mature edge, or was it just how the story developed?
DT: I pretty much knew what I was getting into when I pulled the trigger to make
Black Cherry. My quandary came when I considered my younger audience and I already know that some stores don’t monitor their material very carefully when there’s a 14-year-old standing there with a 20-dollar bill. Other than that, the mature angle stems from the genre itself.
NRAMA: You’re following
Black Cherry with a book tentatively titled
Flink, correct?
DT: Correct.
NRAMA:
Flink will be more a “family” book, correct?
DT: Correct.
NRAMA: It’s still early to get into too much detail, but can you give a broad picture of the book, and an estimate of when it might be out?
DT: It’s funny that you bring up
Flink during a
Black Cherry interview because I see those two books as very closely related. After finishing
Black Cherry I really needed to “take a shower” by diving back into some more innocent material. I didn’t want my family audience to have nothing to read but a color reprint of
Gear this year, so I finished
BC and went straight to work on
Flink.
[b]Flink is a story about a boy who survives a plane crash only to be rescued by a BIGFOOT. It will be published by Image, and I believe it’s coming out this November…assuming we don’t miss the solicitation deadline. If I may, it’s got some of the best art I’ve ever done. I knocked out the 112 pages over the first three months of this year. My Beloved wife knew that our fourth child was coming in April, so she wanted
Flink DONE before the baby came. I was back to doing two pages a day, and something just fell into place where my inking really broke through to a new level on most of the book. I’m really happy with it.
NRAMA: What other projects are you working on now?
DT: I’m writing my next GN for early 2008. I’m really torn because I have three stories I really like, but they are all at the note-card phase. It’s hard for me to turn my back on one story to whole hog into another. I’m not just committing to write the script, but I’m committing to draw a story before I’ve seen if I love it enough to make it.
NRAMA: You’ve worked in animation, video games and comics – what do you see as some of the benefits of each field?
DT: Animation is best for expanding an audience. My work on Nickelodeon was seen by more people in the world than anything else I’ve ever made. Video games is where the money is. It’s a lucrative business that, unlike television, can offer long-term employment that is pretty dang appealing to this father of four. But hands down, comics is the best story-telling medium in the world. When I sit down to do a book, I never have to consider if I can afford to use a set, a character, etc. I can just tell the story I really want to tell, limitations be damned.
NRAMA: And the drawbacks?
DT: Animation reaches an audience but often censors your best work out of the production in the interest of bland, broad appeal. Video games are a TERRIBLE place to tell a story because who the hell cares about a story in a video game? I don’t…and neither do real gamers. Comics drawback is that it’s a small, niche industry. Potency is explored, then shuffled off into the corner where selling 10,000 copies is considered a blockbuster.
NRAMA: Do you plan to remain active in each of these arenas?
DT: Yes. Though my commitment to games is a hard one to keep. That industry has never been more profitable and never been more hurtin’ for a revolution.
NRAMA: Do you have any final thoughts for the readers?
DT: Yes! Give
Black Cherry a try! If you’re under 18 give
Flink a try! I really appreciate everyone who reads my work. A performer ain’t much without an audience to perform for.
Black Cherry goes on sale July 25 from Image Comics.