So, this character to me is also about that pain of making cartoons, understanding that your audience might move on and leave you behind, and how ridiculous that can make you feel. We’ve been making this cartoon for so many years, and to see people grow up, and move on to other things, it’s difficult because we’re still here, trying our best to be entertaining (laughs). There's also this aspect of Spinel that is about our young audience we started with.
We wanted to tell a story about friendship, this true love that Steven has for his family, but there’s also this twisted version of friendship. The climax of “Change Your Mind” with Steven and Pink Steven is the result of a big group argument, all the way when we were writing season 1. But they're extremely productive, and some of my favorite ideas from the show came directly from arguments that we had. We have very heated arguments about what we should do. I find it really comforting to know that whenever I have a plan I can bring it to the room, and it will become a discussion. It’s an extremely difficult process, but it’s so worth it - I think the results are incredible. Is there any downside to the collaborative approach? It’s a visual medium, and it’s so exciting to me to see it reach its potential, when the story is conveyed not just through what people are saying, but their posture, the expression on their faces, the style, the color, the background - everything. I think it’s fantastic that this tradition is still alive today, of cartoonists writing their own material. What I love about the storyboard-driven process is it’s very true to golden age animation - Looney Tunes, classic Disney shorts, they were written by the artists that were drawing them. I like to talk to everyone because I want the world to feel really cohesive, and they brought so much to it. We would always have very in-depth sessions together, not just my story editors but my storyboarders I’d also involve the designers and art directors.
I learned from working on Adventure Time that the crew brings so much to a show. But a lot of the details I waited to tie down, until I was working with my team. I started working on it before the team had assembled, and I had many of the metaphors in place, a lot of the overarching themes that I wanted to do. We wanted to express that through Gems, the idea that the “adult” world is a very abstract, metaphorical Gem world, and the more Steven is learning about how Gems work, the more mature of an understanding he gains about who he is.ĭid you create the Gem mythology in your head before you started creating the show? Having the adult world suddenly open up in front of you, that’s the moment you begin to see behind the curtain and understand that the adults don't have all the answers.
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