I don’t think I would have been a good businessman.īuddy wasn’t a particularly good businessman either, to be fair. I made Buddy Bradley more an entrepreneur. The author is always putting him or herself in the text in someway, somehow.ĭid you consider making Buddy a cartoonist in a parallel of our own life?
To some degree, everything ever written is an autobiography. People naturally assume that “he did this” and “he said this.” Also, is it always going to be okay for the people in your life to appear in this comic? You could draw yourself and just do some fictionalizing, but what’s the point? It’s always easier to just go with a stand-in. There are built-in problems with drawing yourself. There’s some of that in Hate, but why was it important to have an avatar for your own life?
That’s something I relate to - wanting to fit in, but not completely.Īlternative cartoonists tend to be drawn toward autobiography. He’s always trying to figure out if he should go with the flow or call out B.S. He was much more comfortable in an urban, artistic, hipster environment. Buddy has been something of a stand-in for me. When you were drawing Hate, was Buddy a way for you to contextualize the world? When we were working on The Complete Hate, I mainly just thought about how much times have changed since 1990. And because of that, I haven't thought about what he would do or say. I haven't drawn Buddy Bradley at all in 10 years. Publishers Weekly: Have you considered how Buddy would handle living through a pandemic? In honor of its release, PW asked Bagge what was it that made Bradley one of alternative comics’ most enduring characters.
The Complete Hate will be released November 24 and collects the full run of the series for the first time. By the end of Hate’s 30-year run, Bradley, much like Bagge himself, had settled down, and was raising a family in a scrap metal yard. Over 30 periodical issues and nine annual collections, Bradley aged in real time, while holding a managerie of unlikely jobs, from music promoter to memorabilia dealer.
Portrayed living in 1990s Seattle (and later suburban New Jersey), the surly but lovable anti-hipster (along with a memorable procession of trashy roommates and raunchy girlfriends) became an accidental icon of the burgeoning grunge music scene.
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