Paul Pope has built a reputation as one of the most celebrated comic book artists and authors of the 21st century, acclaimed for landmark titles such as “Batman: Year 100,” where he portrays Batman standing against a surveillance-ridden dystopia, and “Battling Boy,” a story of an adolescent god setting off on a heroic journey against larger-than-life monsters.
However, it’s been over a decade since Pope last published a major new comic book, a hiatus the artist candidly acknowledged has been trying. Speaking recently, Pope described graphic novel creation as fundamentally different from traditional comics publishing, pointing out that writers typically labor in isolation for years under publishing contracts, unable to share their work publicly until release date. He even gestured toward a large batch of unpublished drawings, lamenting the long delay between creation and public exposure.
But things are about to change: an exhibition spanning Pope’s artistic journey has opened at the Philippe Labaune Gallery in New York, putting decades of his artwork on display. This coincides with the release of an expanded second edition of his art book, now titled “PulpHope2: The Art of Paul Pope,” and the forthcoming collection of his iconic self-published sci-fi series, “THB,” set for release later this year. Pope described these events as strategic steps, carefully planned moves to reintroduce himself to audiences—though he jokingly admitted discomfort with the term “rebrand.”
Pope’s reappearance comes at a challenging moment for the comic book world and creatives in general, particularly amid tense debates over authorship and artificial intelligence. With increasing controversies surrounding AI tools that can mimic and remix artists’ unique styles and works, cartoonists and publishers have launched legal battles against generative AI companies. Pope does not deny how dramatically AI is reshaping the creative process, even acknowledging it as conceivable that AI might entirely replace some types of comic book artists, especially in more formulaic storytelling roles.
Still, Pope remains relatively relaxed about how digital tools and AI might impact his own legacy. “I’m less worried about someone randomly making an image in my style than I am about killer robots, unchecked surveillance technologies, or weaponized drones,” he remarked, addressing broader, more serious threats from rapid technological proliferation. For practical purposes, Pope already leverages AI himself as a research tool—but he draws a clear line when it comes to creating original artwork, continuing to rely predominantly on analog, ink-on-paper methods.
Indeed, Pope is known for his commitment to traditional artistic media—brushes, Sumi ink, tangible textures—methods which he sees himself carrying forward as part of a lineage from masters like Moebius, Frank Miller, Alex Toth, and Steve Ditko, who taught and inspired him. He insists on remaining a torchbearer for the analog art tradition, even though the industry increasingly points toward digital methods.
When asked about the dominance of digital techniques now prevalent among younger cartoonists, Pope believes there’s still a future—and advantages—for artists who adopt analog. While newer technologies shorten the learning curve and offer greater flexibility for corrections, Pope emphasizes the rigors of traditional media build critical skillsets and discipline, where “the first thousand drawings” might be failures but ultimate mastery emerges from perseverance and physical craft.
Moreover, Pope sees human ingenuity and emotional depth as values that computers cannot easily replicate. Although AI might convincingly mimic certain styles of illustration, he asserts, true innovation like that introduced to music by a Miles Davis or to visual art by Picasso remains uniquely human. He expresses confidence that artists who pursue personal vision and emotional authenticity will always have relevant and protected roles.
Although he recognizes legal challenges around artists’ rights and copyright protection donated by AI-generated imagery, Pope ultimately anticipates these questions might defy easy settlement under local legal doctrines, given the difficulty of regulating technology on a global scale.
Turning to darker scenarios raised by rapid technological progress, Pope admits to worry about the blending of advanced drone technologies, battlefield robotics, and automated surveillance systems. He warns that the world is nearing a tipping point, where unregulated and improperly understood technologies might become permanently embedded before society can adequately reflect upon their implications.
Ultimately, as Pope steps back into the public eye after years of relative quiet, he intends to focus on fresh projects, notably promising progress on the much-anticipated second installment of “Battling Boy.” He also emphasized excitement over his classic “THB” work being introduced to a broader modern readership. Despite uncertainties stirring in a fast-changing creative industry, Paul Pope remains optimistic, viewing creativity, craftsmanship, and originality as ideals that human artists—and all creators—must preserve amid whatever novel tools or adversaries emerge.
