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After some consideration, I decided it would be nice to put up some notes about what I put into the comic, both to explain little things, and to have it fresh in writing years from now. Cinderelliot is such a weird, weird comic that I can't even describe it for people without feeling insane, and it doesn't help that there's an undercurrent of inside jokes. I'll be following the 2010 reprint edition, but if you happen to have a copy of my original issues, remember that issue one ended at page nineteen.
Front Cover: Wow, this may give someone the wrong impression that the art in this book is fantastic. It doesn't even start to grope "decent" until halfway through the first issue, when my Staedler pen dried out and I had to go get a 7mm pen that I used on the rest of the issue. At least I managed to draw Elliot's facial shape properly...it started to get round in issue two, which was a result of drawing him over and over. Also, it isn't distinctly mentioned anywhere, but the story is supposed to take place in part of Montreal, which I chose for A) the mafia activity in the area, B) the enormous gay community in the area, and C) the fact that there are anglophone municipalities.
Page One: The panel you see of Elliot walking in on what the reader assumes is bathroom sex is actually pasted over another one. In that, you actually saw them in a compromising position, nudity obscured by the side of the bathtub. I realized this would repel most of my readers by the first page and push the age rating up unnecessarily, so I redid the panel later on...if you look closely, that's not the original pen I was using. Also, Elliot is an amalgamate of John Belushi, Hideki from Nerima Daikon Brothers and certain bits of my personality.
Page Two: Panel six was supposed to prod at George's sexuality, as well as be something Stepmama would say, but...ugh, I'm so sorry. That's just offensive.
Page Four: Back when I was planning Cinderelliot in late 2008, Charmy and King were supposed to be Italian, with Charmy even having thick red hair. I changed it solely to avoid bending to stereotypes, and because I didn't have a lot of African-American characters at the time. Someone asked me if Cinderelliot was quietly supporting interracial couples, seeing as there's King and Stepmama along with the lead couple, but I didn't even think of it until I finished the comic.
Page Six: Boobs on the wall in panel seven. I wonder if anyone's noticed yet, because only now did I remember putting them in there.
Page Eight: And bam, my most popular character appears. Still dripping with the passive homophobic slime I threw on him during the ill-fated Lux Lucis series, the Fairy Godfather at least shows there's good in him by rescuing Elliot from chemical asphyxiation and killing any chance he may have with pursuing Elliot. If there's something I did right with him, it's not following the stereotype that gay men want to jump every man they see. This came in handy when I later gave some friends the first issue, and someone immediately took to the Fairy Godfather, suggesting I make Elliot "forget about this girl and go after the Fairy Godfather". But it won't work, because Elliot is heterosexual and the Fairy Godfather thinks he's gross-looking! My characters are like chess pieces; they each have different ways of moving through a scene. To any aspiring writers, I recommend developing the individual feelings, ideals and thoughts of your characters as if they were individual actors, and taking a story only where they would.
Page Nine: You can get a glimpse at what I originally had planned for the Fairy Godfather's character - him being brooding and serious with outbursts of hysterical sexual frustration, instead of being the smooth and upbeat like he is today. Also, my original plans had him a chainsmoker, but I decided it would repel fangirls and removed the smoking. Also, that thing about Six Flags is just there so I could draw Elliot's family, and show how cute he was as a child before losing it to the perils of "graduate-and-wind-up-with-terrible-job". It's stupid, now that I think of it. But it does mean he had a good childhood...my family was poor as crap from the time I was seven to when I was twelve. I would have combusted if I went to Six Flags.
Page Ten: More unbalanced prototype Fairy Godfather here. I offended my mother with this page...she also pointed to that panel of the Fairy Godfather trying to kiss George on the floor and said "He just raped him here?" I responded with something like "Yes, Elliot and Mina didn't stop it, they just stood there and watched the entire time."
Page Twelve: Gino is actually based on a real kid I met in 2008; he was thirteen at the time, and he only met me because we both liked Captain Harlock. He was a nice kid, so I threw him in, despite how he'll probably never know this comic exists.
Page Fifteen: I told a person about the series sometime in July, when I was still working on issue one, about my decision to fill the Fairy Godmother role (in the Cinderella concept) with a gay man. They suggested I avoid offending "everyone" and just make it a really hot woman. I was not impressed, but I threw in a Fairy Godmother anyways here.
Page Seventeen: And then I drop the ball with some man-on-man sexual assault, but Mina represents who exactly I aimed this at. And there's still the pain of how THE FAIRY GODFATHER CAN MAKE YOU DO WHATEVER HE WANTS FOR FIVE MINUTES BY KISSING YOU, THAT'S WHY GEORGE GAVE IN AND THE HITMAN DIDN'T WANT TO KILL HIM, OH DEAR GOD WHY DIDN'T I EVEN MENTION THIS IN PASSING
Page Twenty: I threw in Miles, Elliot's brother, and I didn't go into detail very well, but he's a surgeon who gets all the ladies and would make Elliot feel inadequate, had I waited and developed the comic further. Also, Miles was based originally on a pasty detective named Ruby from Ralph Bakshi's Coonskin (Ruby first appears about forty minutes into the movie), which I watched at age fifteen to assert my newfound ability to watch adult cartoons, but just reinforced how I wasn't ready for the frequent nudity, violence and overall subject matter. It's a good movie, and I'm amazed by the animation-over-photography tricks, but you need to prepare yourself beforehand.
Page Twenty-One: Another Lux cameo...I was really expecting myself to make Lux, but I know it would have been an atrocity.
Page Twenty-Two: The beginning of the Fairy Godfather's redemption. And panel seven of him getting up was just drawn so badly that I decided to make it an outward gag.
Page Twenty-Three: Half of this page was drawn at the Crickle Creek Ice Cream and Mini Golf Park on a Saturday. I normally made one page every weekday - more if I was on a roll - but I got behind that week and dammit nothing was going to keep me from recovering. Also you can sort of see Stepmama's crotch in the second panel. Gak, I'm sure that was intentional.
Page Twenty-Four: You ever try to talk to someone while you're nervous, and only little bits of your voice seem to come out, because you're too nervous and you're half-whispering? That's what's up with the last panel.
Page Twenty-Six: I didn't mention it yet, but Palatino is actually Dr. Roland from Skipper the Robot Kid, Pinhead is a British gang leader in Westbury Detectives (which has pretty much every character from Cinderelliot cameoing within), the hitman with the sunglasses is Xavier Marse, the lead villain from Skipper the Robot Kid, and the blonde hitman is Alex, Xavier's first henchman from the aforementioned.
Page Twenty-Seven: The Japanese writing on the banner behind Miles says, in three different Japanese alphabets, "Hi no REI". Rei Hino is the civilian name of Sailor Mars from Sailor Moon.
Page Twenty-Eight: Just like with the first page, half of panel two is pasted over the original, simply because I can draw a terrible hat.
Page Twenty-Nine: After finishing the first issue, I thought it would be interesting if someone paired Stepmama and King together, if I ever got enough fans to allow this event to happen. But then I realized...how did Stepmama even get into that party? What did she do for King in the past that would allow for him to invite her? Then I got the idea that he was once a weak young man who promised an insane amount of money if he could get some temporary clitoris, but realized that is indeed an insane amount of money, and attemped to turn his relationship with her into a casual friendship. So then, she tried to kill him. It all worked out for the story. I found this relationship fascinating, and even made an extra page to elaborate on it.
Page Thirty-One: Oh geez, the pee-on-car scene. I had this planned as early as March 2009. And please tell me multiple people got the Fairy Godfather's reference to Lupin III.
Page Thirty-Five: During the production of issue two, I had someone on my back, constantly asking that I give the Fairy Godfather a boyfriend and some racy scenes with him. I didn't want to go that way...it was my story after all, and nowhere in it was there room for something to pander to her. In fact, the Fairy Godfather's death scene was in partly to prove that I, as his creator, could just as easily kill him to spite the obsessive fangirls he had at the time. But he came back after all, because this was around the time I realized his sheer potential and importance as a character, and to combat the trope of gay characters being killed off or seriously harmed in whatever they appear in, usually doomed by their very nature.
Page Thirty-Three: Oh George, you two were supposed to kiss here...I thought I'd gross out the male readers by putting it in, so I took it out. Besides, the Fairy Godfather is right about it never working out between them. He's almost immortal, and George is just a human, and their relationship was mostly lined with assault. The Fairy Godfather will be 25 for decades, and George may not even be attracted to him. Looking back, it wouldn't have wholly worked out for them.
Page Thirty-Six: The hitman sequence had me mad at myself for ages. The only reason it's there was to satisfy that fangirl I mentioned before, but she didn't even notice it. A friend read an advance copy and got to this scene, then burst out laughing, saying, "The Fairy Godfather is a slut!" I thought I turned a perfectly good character into a stereotype just after I redeemed him, which is mostly true, but I realized he totally would have kissed the hitman in that scene anyway. He's a lover, not a fighter! Also WHY DIDN'T I MENTION THE KISSING POWER EARLIER Also, the boy in the diner is Shinzuka Ichinuma, the lead character from The Outlanders, a futuristic horror series I've had in development for two and a half years. Shinzuka's father is the guy with the mustache you see in one panel. Also, kids, don't write stupid things like jump-through-restaurant-windows to copy Animal House quotes.
Page Thirty-Seven: Mina is thrown in for reference in passing. Where the hell did she go? I still can't even believe that I let a character who was moderately-important completely disappear by the second act. Also, all those characters in the bottom panel are either mine or from an anime...guy with mustache is Furio (bartender in The Outlanders), angry little guy is Tatsu Murasame (Tetsujin 28), guy with bullets is Damien (motorcycle gang leader in The Outlanders), complacent guy is Ryusaku Murasame (Tetsujin 28), smoking guy is Skunk Kusai (mobster villain from Astro Boy).
Page Thirty-Nine: Miles's perversion is ruined by bad letter placement. Originally, the second issue ended with a message from me and a caricature of myself. Now that I have an actual website, I don't need it as much, and removed it on the computer to .
Also, I always wanted to end the comic like that. Looking back, the Fairy Godfather is more like Dorian from From Eroica With Love, a man coated in homosexual stereotypes who eventually breaks out of them, but unfortunately returns to them too frequently, and back out in a cycle. I love Eroica, but couldn't Dorian manage to find a man who actually loves him? At least with the Fairy Godfather, he'll keep searching and knows when to move on.
Um! Anyway, this next
All images and artwork are ©2009-2010 Jenna Crawford, and may not be used without permission.