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Description
Watching cartoons online has become a fun pasttime for me, which includes some of the earliest monochrome, downright surrealist ones back in the '20s and '30s (especially from the influential 'Fleischer Studios'). The 'Popeye' shorts never really drew my attention too much in the beginning because of the (later) formulaic nature of the '40s-'60s involving Popeye saving Olive from Bluto's charms or antagonism. However, watching some of the first Popeye cartoons was eye-opening. It was evident that such influences like the 'Hays Codes' really sanitized the original charm that organically evolved from the original 'Thimble Theatre' comic (which actually had OLIVE as the main character before Popeye became more popular!).

Interestingly, despite being a gruff but moralistic individual, Popeye was introduced as being someone truly strong as a smoking, beer-drinking rough-houser that didn't take any crap from anyone. The spinach gimmick came in later to serve more as a means of reviving and supernatural boost rather than ACTUALLY being the source of his power like later cartoons may suggest. And even more surprising is that Olive Oyl, a current 'poster girl' for the useless 'damsel in distress' romantic plot device, was originally conceived as being more tomboyish as a flapper-esque individual that, even if she was physically limited, was not afraid to fight back any man or woman that got between her and her sailor. It is pretty evident that she can handle (and possibly appreciate) Popeye's rougher and aggressive qualities because they are both emotional individuals that can become jealous, competitive, and scrappy when pushed. It is unfortunate that, as a side effect of keeping 'Popeye' cartoons alive through formulaic set-ups within limited time frames, Olive became more shallow and finicky (even downright vain and superficial) when it came to toying between Popeye and Bluto's affections (rather than being a funny and entertaining 'flawed' character like Popeye usually is).

Popeye and Olive Oyl are shown to have had a rougher start than other couples, and can still openly snark about each others' faults on occassion (e.g. Olive's bossiness and fickleness, Popeye's lack of romantic charm and traditional good looks). Nonetheless, there is something endearing to me about how much the pair grow to care deeply for each other anyway as unconventional sweethearts. Admittedly, they can be pretty cute in their moments of genuine affection; Popeye softening up in proclaiming and showing that his 'sweet patootie' is the forever owner of his heart, and Olive coming around to appreciate Popeye's goodness and loyalty even though he isn't a classic 'prince charming' type.

I remain uncertain as to whether I want to try making backgrounds for this comic later or not... but it is always fun for me to draw a character being covered in the kisses of their beloved.

Popeye and co. © Elzie Crisler Segar/Max Fleischer

Description
Watching cartoons online has become a fun pasttime for me, which includes some of the earliest monochrome, downright surrealist ones back in the '20s and '30s (especially from the influential 'Fleischer Studios'). The 'Popeye' shorts never really drew my attention too much in the beginning because of the (later) formulaic nature of the '40s-'60s involving Popeye saving Olive from Bluto's charms or antagonism. However, watching some of the first Popeye cartoons was eye-opening. It was evident that such influences like the 'Hays Codes' really sanitized the original charm that organically evolved from the original 'Thimble Theatre' comic (which actually had OLIVE as the main character before Popeye became more popular!).

Interestingly, despite being a gruff but moralistic individual, Popeye was introduced as being someone truly strong as a smoking, beer-drinking rough-houser that didn't take any crap from anyone. The spinach gimmick came in later to serve more as a means of reviving and supernatural boost rather than ACTUALLY being the source of his power like later cartoons may suggest. And even more surprising is that Olive Oyl, a current 'poster girl' for the useless 'damsel in distress' romantic plot device, was originally conceived as being more tomboyish as a flapper-esque individual that, even if she was physically limited, was not afraid to fight back any man or woman that got between her and her sailor. It is pretty evident that she can handle (and possibly appreciate) Popeye's rougher and aggressive qualities because they are both emotional individuals that can become jealous, competitive, and scrappy when pushed. It is unfortunate that, as a side effect of keeping 'Popeye' cartoons alive through formulaic set-ups within limited time frames, Olive became more shallow and finicky (even downright vain and superficial) when it came to toying between Popeye and Bluto's affections (rather than being a funny and entertaining 'flawed' character like Popeye usually is).

Popeye and Olive Oyl are shown to have had a rougher start than other couples, and can still openly snark about each others' faults on occassion (e.g. Olive's bossiness and fickleness, Popeye's lack of romantic charm and traditional good looks). Nonetheless, there is something endearing to me about how much the pair grow to care deeply for each other anyway as unconventional sweethearts. Admittedly, they can be pretty cute in their moments of genuine affection; Popeye softening up in proclaiming and showing that his 'sweet patootie' is the forever owner of his heart, and Olive coming around to appreciate Popeye's goodness and loyalty even though he isn't a classic 'prince charming' type.

I remain uncertain as to whether I want to try making backgrounds for this comic later or not... but it is always fun for me to draw a character being covered in the kisses of their beloved.

Popeye and co. © Elzie Crisler Segar/Max Fleischer