Nostalgia time: I met Gabe in my second week at Frederator. I knew a Gabe was coming in to pitch, and when I went out to see if he’d arrived, I encountered a guy in pajama pants in our lobby. Now, animation is a lax industry in terms of work attire, but the notion of pitching a TV show in one’s PJs was beyond the reaches of my conception; I am too uncool. So my immediate thought was that he was a random dude who’d wandered in off the street – not that he was the guy pitching, let alone already a creator with us, of the GO! Cartoon “Tyler & Co.” No doubt he heard the question mark in my greeting of “Gaaabe?,” but he didn’t let on, because as I’ve mentioned, Gabe is cooler than me. He wears PJs to job interviews and then gets the job. He’s cooler than all of us. “Tyler & Co.” well demonstrates this, but here’s an interview with him for further proof. 

Walk us down memory lane. How did you decide to make cartoons?

I guess… I don’t know if I ever decided. I headed down this road because I used to make games a lot as a kid, because that’s what my older brother and dad do.

Whaaat what’d they work on?

My dad worked on the RoboCop 2 game. My brother still works in games; he was on “Where’s My Water,” that mobile game that blew up a couple years back.
The thing with me making games was, I’d spend so long on the intro cinematics and character animations, that I’d run out of steam by the time I had to think about the actual mechanics and programming. So I finally decided to focus on the stuff I actually liked, and that interests me, and that’s story and character.

Where did that interest lead you?

Well, I grew up in Buttcrack, Colorado. There weren’t any real art programs or teachers who could show me the ropes, so I had to go it alone for a long time – not the best route. But I did draw a lot of comics. It wasn’t until I started visiting colleges that someone recommended life drawing, so I took a class on it at a local community college at the end of high school. That’s when my art started improving.

What’d you do after high school?

I went to SCAD for comics and animation. At first, I was in all of these kinda useless foundation classes. So I actually went to the chair, showed him my portfolio and he was like “Well, if you think you can handle it…” and exempted me from them. The next semester was one of the hardest, maybe the hardest, of my life. I was in classes that I wasn’t prepared for, especially this one storyboarding course. Maybe the foundation classes would have prepared me, maybe not – point is, I was totally unprepared to perform at the level expected, and felt unable to make the kind of stuff I was expected to make. I was up until 8am every night. I got really close to quitting animation altogether.

Wow, that’s hectic. What changed?

After that I was in a paper animation class that dragged me out of the pit. I made some good friends who helped me improve. And my paper animation professor liked me and actually wanted me to succeed. I got more confident in my abilities. I’d always seen things in my head that I couldn’t translate onto paper, and I finally could.
And I did some cool things like studying abroad in France for a semester. That was amazing because comics there are considered one of the ‘Great Arts’—they seriously respect them. Instead of flimsy paper copies, everything was hardbound and gorgeous. They have a huge range of art styles, but they all feel so unashamed, whereas stuff made in the US feels like it’s constantly apologizing to you for being a comic.
I’d been applying to CalArts every year since senior year of high school – it took 3 years, 3 applications before I got in. But I was really glad to have spent time at SCAD majoring in comics, because as much as I love animation, I get so pumped about comics. It was great to do both.

Then you entered the fabled gates of CalArts – and what’d you discover?

A lot of great friends. Who also happened to be great artists I could collaborate with on projects. I was in Character Animation, and because CalArts is so picky, you’re surrounded by people you can learn from, with all different tastes and ways of doing things.

Do you seek a studio gig – or how bout – what do you most want to do with your life?

Once online a stranger told me “your art is like an awkward hug” and I’ve kind of tried to run with that. If I can make at least one person feel a little less lonely, then I feel like I’m doing a good thing.
I’d work at a studio if it were the right project, but mostly I want to be an independent comic maker and cartoonist. As long as I’ve got stuff in the pipeline, I’ll be happy.
I was hospitalized a lot as a kid (and adult) and it kinda… broke me in a lotta ways, so it’s nice that me and Frederator found each other.

How did you come to pitch to the GO! Cartoons series?

Eric (Homan, our VP Development) came to CalArts to speak and my professor introduced us. He invited me to come by Frederator and check out the place. And then when I came by he was like, “You don’t have anything to pitch?” And I was like, “No, you said I was just checking out the place.”
But I plugged in my flashdrive and just looked for the first thing that was around 5 minutes I could find and showed it to him. It was my first year CalArts film about a bunch of kids making bombs. And he liked it, so we started developing it, and it actually got all the way to the stage of pitching to Sony Animation. But the Sony people definitely couldn’t get behind the bombs stuff, but they liked me I guess. So they greenlit me but not the bombs. So Eric had me go back and make something new. I’d been doing stuff with Tyler for years so I pulled him out and figured out a new idea.

Where did the idea for Tyler come from?

Well in high school, I had Crohn’s disease, so I had the right to leave class whenever. I’d just up and go wander, hang out with the janitors. And one of them loved the Muppets a lot. He hung little pictures of them all over the school and I actually never noticed them until he mentioned it. But they were everywhere. So I started watching Sesame Street and got into that aesthetic, and admired the puppeteers. I’d also had a falling out with my high school friends, which was part of why I was wandering around so much. I started devoting more time to close friends in Canada that I’d met online.

Did you meet them through gaming?

Yeah, gaming and game message boards. It was a found family. I don’t have a large family, I don’t really have that foundation to fall back on. So finding kinship online was huge for me in a time of isolation. And watching a lot of the Muppets.

Did the Muppets inspire those puppet versions of Tyler and Lil G from the title cards?

Yeah – Tyler and Lil G are actual puppets.

(At this point Gabe pulls puppet Tyler and puppet Lil G from a mysterious red duffel bag that’s been on the floor. I didn’t know what it held, but I didn’t expect puppets. Ecstatic, I try Tyler on)

Puppets are in a lot of what I do, but not everything. I’ve made YouTube videos with them too – my roommate is really good at performing with them. So the characters were designed to look like puppets.

If Tyler & co. got a full series, would the puppets be in it?

Yeah, there’d be puppet cutaways. There’s an old Super Mario Bros show – it’s a really bad show, but funny – and they had intros and outros with live action actors playing Mario and Luigi on like a trash covered set. They’d do skits. So that makes me want to cap off Tyler episodes with puppet skits.

So Tyler came first, then how did the other characters come about – like Lil G?

Lil G is a younger, innocent guy that Tyler sees a lot of himself in. He feels like he has this chance to sculpt this younger dude, and kind of save him. He doesn’t want Lil G to screw up his life like he did.

How did Tyler screw up his life?

So Tyler used to be a child star in a show like Sesame Street. But his camera operators, the crew were super abusive to him, in order to get him to perform for the camera how they wanted. Pushed him into traffic, manipulated him, did really messed up stuff. They once strapped cursed swords onto his hands while he slept, and he involuntarily butchered a bunch of people while trying to find help. He got acquitted in trial and got a restraining order against them. But now he’s just trying to pick up the pieces, and his roommates are a huge part of that. The logline has been, “Tyler, why can’t you see that if you’ve got friends like these, you’ll be fine?”

Whose house is it that they’re living in? And what’s the dynamic among these roommates?

Rex’s – he inherited it from his grandma when she passed. Rex and Moe have a shared interest in ghost hunting. There’s another roommate, Rocko, who’s a retired boxing robot. There’s Marky Mouse, he hangs out, doesn’t hurt nobody. Lil G is a nuisance to them—he’s enamored with Tyler because Tyler’s the first person he’s met from out of state. So he associates Tyler with his dream of getting out of the town.

Where does this take place?

It’s set in the River Rouge area, by Detroit, Michigan. It’s where my dad grew up and he’s told me horror stories. Once in school, the river’s surface actually caught on fire. So they could see from the school windows that the river was in flames, burning oil on water. School wasn’t even cancelled. It’s a super heavily polluted river.

Have you ever visited there?

No, thank God.

So why does Tyler WANT to be Mayor of Cerealtown? Why is that of value?

Because they’re kinda losers, and that’s the kind of thing that’s important to them. These guys don’t really have jobs. The house was bequeathed to them. Moe does some tech repair, and he and Rex do freelance ghost hunting. Tyler’s big project is repairing a car, which’ll be his and Lil G’s way to get out of town. That’d be a big thrust of the show’s plot if it got a series.

Where do they want to go?

Anywhere else.

Let’s talk about the music in this, cause it’s great. How’d it come about?

All the music was done by Bo-en, and yeah, he did an awesome job. He composes music for games a lot, which is how I found him. He has this unique, glitchy style. I emailed him out of the blue, not even expecting a response. But he got back to me and immediately sent over a test composition. That was good because he was actually excited about the project. Overall, I went with everything that he chose.

Which cartoons inspire you most?

I’m more of an anime fan, usually. I’m a big Soul Eater fan – it’s stupid in the most creative ways, like I love the moon and sun up there gnashing their teeth and laughing when there’s a heavy emotional scene happening below them. FLCL and Gurren Lagann. Masaaki Yuasa is a big guy for a lot of people right now: his shows Kemonozume, Kaiba, and Tatami Galaxy inspire me, even if they all turn into trainwrecks by the end. That happens to a lot of stuff I like. My favorite scene in animation is from Kaiba; it has a lot of quick worldbuilding and weighty animation that i really like and tried to replicate in “Tyler” a bit. But I get a lot of inspiration from outside of animation too. Games, music.

Let’s hear about those influences, from games, comics, music, everything else?

One game is “Cave Story”, it’s incredible: it was made by a Japanese dude – all by himself! I think that the more you can do on your own, the more your original soul and vision shine through. The character designs in the “Professor Layton” games are also pretty incredible, like retro anime with a european flair. Those two games are very different, but they both tell impactful stories! 

I was all about Mike Mignola’s Hellboy comics for a long time; they ended recently. I probably steal a lot of how I draw slouchy characters from him. Hellboy is probably my favorite character design ever, for a lot of reasons: the asymmetry, his big arm, the sanded down horns… just looking at him tells a story, and it’s crazy rare to see a character design get that thoughtful. I like Soul Eater for a lot of the same reasons. Just about my favorite written comic is King City by Brandon Graham, which is all over the place but manages to stay very human at its core. Osamu Tezuka, Naoki Urusawa, Katsuhiro Otomo, Inio Asano, Enrique Fernandez…. I get too pumped talking about comics!!

(Moonkiller, a dope comic and to-be short film)

My favorite bands are probably Gorillaz and Passion Pit, and i think a lot about telling stories that feel like their music feels. I guess it’s mostly about hanging onto the feeling that the music gives you and drawing with that, like translating a language? I do my best work when I can already *see* a show in my head before i draw it. When I made Bombadiers, my old Frederator pitch, i was thinking of this song Beck made for a videogame. They don’t like, sync up perfect, but they still ~feel~ the same to me. Beck’s composing work in films like Scott Pilgrim and Nacho Libre is really great! I’ve also been into The Postal Service recently because a lot of their music sounds… backwards, almost, and it’s interesting to me. Baths is another cool guy who I almost worked with on Tyler; his music can sound very otherworldly.

On a whole other note: why did they put snakes in the attic?

They put them up there to clear out another infestation. It might have been rats, might have been gorillas… I don’t remember. But they didn’t expect the snakes to breed so fast. They put the rats or gorillas up there too. So it’s really been a series of bad decisions.

Why snakes thoo?

Well once, I caught a baby rattlesnake with a plastic bottle in the Lodge. It wasn’t until I let it go that we realized it was a rattler – and the baby ones are actually the most lethal, because they can’t control how much venom they release when they bite.

What’s the Lodge?

Oh, so at CalArts, you’re assigned a cubicle. And there are two buildings with cubicles, the Palace and the Lodge. The Palace is a lot nicer, but the Lodge is more fun, fewer restrictions. My friend Justin and I – he was the board artist on “Tyler”, and a character designer on Rick and Morty – we built a shanty town out of cardboard boxes in the Lodge. It was our cardboard fortress. And there was one student who was in charge of keeping the other students in line, and he ordered us to take it down. And as we felt that was a violation of our liberties, we started a bulletin called the Lodge Gazette, which we posted around campus to air our grievances and report important Lodge news. I still write for it, when I can.

Tell us about your friendship with Jonni Phillips, which may be Frederator’s #1 most adorable friendship story?

I met Jonni through “Rachel” and offered to carpool with her to Frederator, and we became friends. We have a lot in common! We both share a sort of fatigue over mainstream animation in the west and east, and it was helpful for us to vent about these toxic animation communities, like, realizing that we’re not going crazy, haha. I make these comics about us in hell together.

She also convinced me to pitch Grandpa 2.0 to Nickelodeon, which was it’s own whole can of worms. 

(Pls click that link for the Grandpa 2.0 experience, you will not regret it)

Okay, gonna need the whole Grandpa 2.0 story please, stat. 

So Jonni DOUBLE dares me to submit it to Nick’s shorts program because “They’ll make anything!!” so I pretty much have to do it. I just submit the website along with the description, “I based this pitch off my own life in which i replaced my grandpa with a robot” and turned it in. First thing in the morning I get a response from them: “When can you come in and pitch the boards???” Boards!!! There were no boards!!! So Justin and I spent the weekend cranking out these rushed but actually pretty funny storyboards for an episode of Grandpa 2.0.
But I was suuuper unhealthy at the time, literally bleeding to death (42% of the blood an adult male should’ve had) and I straight up blacked out and missed my pitch date. We rescheduled, which is cool, but now I’ve gotta fight the ‘unreliable’ reputation that the first meeting got me. So I start by rifling through flash drives for 10 minutes. The files are actually in the folder “Grandpa 2.0”. The last place I’d ever look!!
While I’m pitching I get to a segment Justin drew at such low opacity that it’s straight up invisible on the projector screen. And I just have to describe to them whats going on. “IMAGINE if you will, a high tech display screen…” and this other part where grandpa has a guitar solo, Justin copy pasted the animation, like, an obscene amount of times, so even if I held down on the keyboard it still took minutes to chew through them. He wanted me to make the guitar noises.
After the pitch was over they were like, “What’s the emotional connection between the boys and grandpa?” and im just like “I dunno.. fear??”
And then way later i got an email saying that they were “blown away by how professional the pitch was…” (and I’m like um were you guys in the same room??) “…but the content just wasn’t right for Nickelodeon”. That part almost makes me think they actually noticed all the 9/11 jokes and stuff… So that’s how the pitch went, and for now Grandpa 2.0 sleeps, unless I can convince Eric to swing it by Netflix or something, hahaha.

What are you working on now?

I’ve always got a lot of projects going. An animated feature idea, Token Town. And Moonkiller, a comic I’ve been working on that I want to turn into a short. Paper Desperado is a game I’m making – my friend is coding it. We’re fans of the old Paper Mario games, so we’re trying to draw from those – not copying, more like figuring out how they made everything and trying to build off of those techniques. I’m also working on a radio play called Spookwood, about a drug that turns you into a ghost. It’s tough because I’m so used to describing stuff visually, and now I have to get everything across with just words.

When it turns you into a ghost, do you stay a ghost or turn back?

No, you stay a ghost.

So the drug kills you?

Yeah, it kills you, and then you’re a ghost.

Thus concludes our interview with Gabe Janisz! Thanks for taking the time Gabe, it’s always good talking with you. Sure we’ll be working together again in no time!

– Cooper