Coffee, Donuts, & Comics

Max Estes

By Jennifer M. Contino
March 1, 2006

Comic creator Max Estes' newest work, the Top Shelf original graphic novel Coffee and Donuts, just hit shelves a short time ago. We thought now was the perfect time to pick his brains about how he got into industry, his past works, and what's next on his creative plate.

Sequential Tart: When we spoke at PULSE, you told me you were turned on to comics with Goodbye Chunky Rice. What was it about that book that really opened your eyes and interested you in the industry?

Max Estes: Although a great book, it wasn't so much Craig's story that made me look into what was happening in comics. I just had never thought that people/publishers were publishing such novels at the time. I'd never thought of doing comics, had never imagined the possibilities. I remember Craig drawing comics when were in school together, but I never really looked at them. I just hadn't been exposed to that medium before 2000 really.

ST: What stood out in your mind about the story and art? How did it inspire you?

ME: Craig's art is great, but I was more interested in seeing the concept of comic books and graphic novels as a whole. Craig and Brian Ralph kind of showed me the best of what was being produced at the time (in my mind) — and I loved the idea of playing with this platform.

ST: Why do you think comics weren't a part of your childhood? What hobbies did you have as a child?

ME: I tried to get into comics as a kid, but was mostly into the big chested, small hipped women (think Image comics circa 1990-91). Once I found my stepdad's stash of Playboy Magazines, my "interest" in comics flew out the window so to speak. My stepfather was really into the underground comics of the 1970's and always had a huge collection of that work. For some reason, I always saw these comics as sleazy and wrong. Probably because they were very raunchy and "wrong." Haha.

ST: When you bought your first graphic novel, Brian Ralph's Cave-In, what was it about that book that made it stand out amongst the others on the shelves and made it one you had to have?

ME: I love everything about that book — the paper they used, the small, intimate format (the book size we highjacked for Hello, Again). I loved the world he created, the simple, meandering story he told. Their didn't seem to be much onus on selling many of these books, but yet, it was produced with an attention to detail and quality. A very nice package indeed. I'd never seen a story like that — maybe not since some of my favorite children's books as a kid.

ST: How did Cave-In and Goodbye Chunky Rice encourage you to create your own works?

ME: Simple. I thought, "These guys are doing something I want to be doing. I've got to do this!!" Not to say that I see my books or work to be in the same vein as their works, we're all doing something very different.

ST: Before your present work, Coffee and Donuts, was published, what other comics stories or graphic novels had you completed?

ME: Concrete to Canvas: Skateboarder's Art, Jo Waterhouse (2005, ImLaurence King Publishersage) — paintings and some of my comic work was included in the "coffee table" art book.

I went to NY City, 2005 SPX Anthology (2005, CBLDF) — a four page story. Hello, Again (2005, Top Shelf) — my first book. "Henry Heads South," Telstar Anthology (2003, Adhouse Books) — a ten page short story. "Milkies," Top Shelf Asks The Big Questions (2003, Top Shelf) — an 8 page story for TS' last anthology. "Obscenity In A Box," What Right (2002, Arsenal Pulp Press) — a 6 page story.

ST: Coffee and Donuts is the way a lot of us start our work day. Do you have a lot of mornings like that or are you more of a cereal and toast man?

ME: Yes, sometimes I don't get my "morning" coffee until late afternoon. But lately, I've been up and at the cafe by 8 o'clock drinking my first cup!! I do like a nice bowl of cereal as well, preferably granola!!

ST: How long did it take you to get Coffee and Donuts created?

ME: I was sitting in a cafe (of course) when I doodled out Jules and Dwight — this was in January of 2005. I went home and started working on a story for these two characters, and was on page 50 by the time I went to APE (San Francisco) in early April. I was done drawing the book this last August, the final page count being 128. It was a very fast ride, but I had many distractions in between start and finish of the project.

I had to travel to promote Hello, Again (SF and NY), and prepare to start grad school in the fall. As well, my left hand started to cramp up badly (as it had with my first book), and It's still not fully recovered. Stretching and taking little drawing breaks is something I always remember to do now. hahaha

ST: Why did you want to use cats?

ME: For lack of a better reason, cats are just more fun to draw. At least, I think so. Of course, I'm drawing a very anthropomorphized cat — essentially a human with a tail, two cat like ears, and paws — but it's still more fun for me. Plus, I feel people will be much more sympathetic towards two cats who fail miserably at a life of crime, and are living in a dumpster. Don't we all want to see cats in jeans and t-shirts being chased by crooks and cops? Of course we do!!!

ST: What kind of feedback have you gotten on the story so far?

ME: The reviews I've gotten thus far have been both complimenting and negative. A bit of both. Some people love my "decisively simple" drawing style (it has compared to scratches on a cocktail napkin — haha), and some people are really bothered by the fact that I only put two panels on most of my pages. Fretting panels per page are of little interest to me. I feel the pace of a comic can be controlled in many ways — panel count is often a simple and unreliable model. My goal was to draw a simple comic narrative that appealed to me and was easily accessible to many age groups. I'm very pleased with the book, hopefully readers will be as well. Reviews, good or bad — I love to read them all!

ST: What other projects are you working on?

ME: A 300 plus page book about a girl living in Oslo, Norway, and other currents happenings in my life as of late. This book is a huge departure for me, both stylistically and the fact that it isn't fiction. Speaking of which, I've got some drawing to do! Thanks for listening.

Max Estes — the official web site