![]() I’d really like to develop the “Card Wars” game. But it shouldn’t, because we are those characters and we are making them live. I feel like when I answer, “There’s no plan,” it bums everyone out. All of the writers on the show are living these lives. ![]() I don’t know what’s going to happen in Finn’s relationship because we haven’t totally figured everything out yet, but that’s okay because we are those characters. I don’t know where they are going to go yet, but I am them when I am writing it. It’s just like playing D&D, where I’m role-playing these characters. I get this question at Comic Con, “How far in advanced have you plotted anything out?” And the answer everyone wants is that, “Yes, I have plotted out every bit of it!” So that people can feel safe, that, “It’s all unfolding in front of me.” But in reality, we are faced with deadlines. It will go on as long as the show stays popular. Considering how broad the content is, it seems like you can never run out of subject matter. But I don’t think anyone else could see where it could go, in the beginning. It was boring and you couldn’t see where it would go. I just liked that it was friendly and nice, just two friends that hang out in a weird world. I couldn’t come up with a tag line for it. And my show really didn’t have a strong hook to it. So it makes sense to buy up established properties, like Ninja Turtles. I don’t think the weirdness is where the risk was. They don’t feel bizarre to me, to write about magic, to write about strange creatures. ![]() ![]() So all of those elements feel really natural to me. I grew up watching Ren and Stimpy and Beavis and Butt-Head, and playing Dungeons and Dragons. It all comes from us, from the writers that work on it. Was that weirdness the mission of the series or does it just come naturally from you and the other writers? The show has a post-apocalyptic candyland and it’s filled with geek references. Luckily, Fred was with me and he just pitched it really hard to Cartoon Network and took a chance on it. It didn’t really have anything that you would want to invest millions of dollars into. It was just two friends that got along perfectly fine and they live in a fantasy world together. I feel like Adventure Time was a hard sell, in the beginning, for a network to pick it up. The storyboarder gets to write and draw out all the dialogue and expressions for every episode.įred Seibert took the short and pitched it to Cartoon Network. Thurop Van Orman was the creator of Flapjack and his philosophy for running Flapjack is what I used when I started running Adventure Time, which is a storyboard-driven show. I spent a year storyboarding and writing on a show called The Marvelous Misadventures of Flapjack for Cartoon Network, which really taught me how to run a show. I pitched my storyboard for Adventure Time that I had boarded straight ahead–I didn’t really know what a storyboard needed, but I did my best and threw together a comic script. And they were taking pitches from anyone, and you didn’t have to have any representation. They were accepting pitches for a shorts program. I was lucky enough to have my first lead on a job at a company called Frederator. Pendleton Ward: My first job out of school was the Adventure Time pilot.
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