What does this post have to do with R. Kelly? Nothing, really. But keep reading anyway.
Awkward situations always make great comedy. For my cartoon that appears in this week’s New Yorker, I was thinking about those performers who get right in your face on the subway and demand that you pay attention to them. Of course, you never ever want to do that. What would happen if one of them found a way to get sweet revenge, and to confront you in a place where you couldn’t merely look away or pretend that they weren’t there? I thought of a situation where a singer somehow followed a guy into his office building elevator, and I drew it up like this:
Good enough, but I wasn’t sure the drawing was getting the job done. I like how you enter into the elevator the same way this employee does; you identify with him and so you’re drawn into the scene. It’s a dramatic way to set it up. But I thought maybe it was too dramatic. I don’t like how you can’t see the rest of the elevator. It somehow makes it scary, like there’s something hidden in there, but that’s not part of the joke. Also, by positioning him outside the elevator, he looks like he’s maybe not going to walk in, and the whole point is that he can’t avoid the situation. And I didn’t want to draw both of them inside the elevator from this angle because it’s forcing them into a space that’s too small. The narrative element would be lost. So I drew it from another vantage point:
This was the one that the editors approved. It’s a little less dramatic this way because as the viewer, you’re now an outside observer instead of identifying with one of the characters, but it works a little better. I mean, they both work – look, we’re not trying to solve world hunger here! I don’t even know if we’re trying to solve world laughter. But even for cartoons, if it’s worth doing, then its worth doing well, because if even one person can spend money on a New Yorker magazine instead of spending it on food, then I will have done my job. (And now I guess we know where I stand on world hunger.)
Another issue was that the viewer’s vantage point is a little too high. The reader should be standing in the elevator with the two people, not hovering above it. So I experimented with perspectives. I know – so much to think about! When do we get off this ride, right?
And that kind of looks like a notebook page from anyone who took drawing 101 and had to learn about vanishing points. For some reason it took me more attempts than usual to nail this:
It’s still not perfect. It might be funnier if the space was tighter and a little more uncomfortable, and it might have been better to widen the room (in other words, making the perspective not technically correct) in order to more easily show that it’s an elevator door. But I don’t know if I could do both of those things simultaneously. And in trying, there would probably be some cartooning version of Occam’s razor that I’d be violating in overthinking it. So this is the way it appears:
Man, I’m exhausted by that! Let’s all go eat something.