Talking Simpsons - Ian Jones-Quartey Interview About OK KO

Episode Date: October 26, 2017

Ian Jones-Quartey is yakking it up on the old yak box with Bob and Henry this week! Ian is the creator of the new Cartoon Network series OK KO, and he graciously chatted with us about the show, such as the influence games, anime, and The Simpsons had on it, as well as what it's like to direct Captain Planet, animating Sonic the Hedgehog, and so much more! We posted a shortened version on the free feed, but here's the full thing for you awesome folks on Patreon!

it's lord boxman everyone to battle stations this is not a drill go go go cheese and crackers ahoy ho everybody welcome to the talking simpsons uh patreon interview show we don't have a really good name for this yet but uh this is sort of our space to interview people associated with animation. I mean, this is not just a Simpsons Patreon. It is also an animation Patreon. And Henry's here as well. Hello, Henry. Hey, it's me too.

Yeah, we obviously have that goal of the animation conversation show and start that. But in general, we want this to be more of a celebration of animation. And so we reached out to somebody who turns out is also a listener of the show. Actually, Henry did all the work. So please thank Henry nicely. He set all of this up and it turned out really well. This next is a conversation with Ian Jones Cordy. So just a quick setup for him if you don't know him.

He, first of all, the creator of OK KO, this new show currently on Cartoon Network, which cartoon network which i am loving it is such a funny exciting show it's really fun to watch it's funny and it's very visually inventive and interesting yeah but he also has a ton of other experience too that he worked on he had worked on steven universe he was a former executive producer on that he was the animation director on venture brothers which honestly if i've run we're recording this after the interview there's one regret i did not ask him enough about venture brothers but there's only an hour he's done too many things he's younger than me yes and he worked on adventure time which we don't really touch on either right but but he's also a big time like gamer animation fan simpsons fan anime fan anime fan so we have a lot in common with him as like basically nerds who grew up in the 90s

nerds who grew up in the 90s and love very similar things yes yeah and it was great to dig into this with him he's he's such a cool guy so yeah i guess uh listen and enjoy okay You're my best friend Let's be heroes OK KO Let's start the show Well, hey there, Ian. I first wanted to ask, I see a lot of influence from your childhood in OK KO. So I was curious, what was it like to be a nerdy kid growing up in the 90s? I don't know.

I think it was a really great time uh like all you know uh i think i was really lucky definitely people of my generation were really lucky to live through the like rapid development of video games um like getting to see like i i feel kind of sorry for kids who didn't get to see like have the attack like 2600 be their first system be like everything like grow and change overnight and like you know get a super nintendo and a sega genesis and think wow it's never gonna get better than this and then to see like you know everything open up see like you know more developers and more, like, to where we are, like, at this time, it seems like the most amazing time for video games and cartoons. And, you know, we've seen media become, like, so much more, like, niche.

And I don't know. I think it's just amazing. As a kid, I got Cartoon Network when it started, and that was a huge, huge deal for me to just have, like, wow, there's a cable channel that shows nothing but cartoons all day? I don't know. It was great. Yeah, I remember, too. I had that same thing of, like, wow, this could be Penelope Pitstop straight into her wacky races. I would watch it all day yeah i think um being obsessed with things in the 90s might have been more gratifying because you had you had to go out and and

personally seek out all the information yourself like you know collecting tapes of shows now i turn on a streaming network and there's like 300 episodes of an anime and i'm like uh this is too much immediately it's like it's it's so fun because like yeah when I go back and watch old Mystery Science Theater 3000 episodes, it's sort of like, how did they allow this to be on TV? You just remember that, oh, these cable networks are new. They had no programming. A show like this could thrive at that time. I feel really lucky to have lived through that well you talked

about video games i uh we just did a whole retronauts on yoshi's island and i know you said that's been like a huge influence in you in general like what's so special about that that game to you so yeah for me i mean i don't know how blasphemous this is going to sound, but it feels like Nintendo's last super great 2D platformer. I feel like there's been, like, you know, in, like, that classic era of Nintendo 2D platformers. Obviously, they've gone back and done things since, like, you know, really good and amazing stuff, but it feels like it was, like, the pinnacle of, you know, you had all these designers and all these artists, like, at the top of their game. Like, before they all sort of spread out and eventually, like, started directing, like, their own games. Right.

You know, it was, like, really important to me uh and also just as an artist the art style was a huge revelation for me because i had never uh seen something that like the way that uh form and function worked in that game so like you know they had like the kind of with all the sprite rotations and scaling and stuff so it gave everything this kind of chunky pixel pixelated kind of feel. And so they took that and kind of made that like the entire aesthetic of the game. There's something that's really gratifying about that to me. And it's something that I've tried to sort of echo in OK KO, where, you know, because the show is hand animated, we work with the animation studio really closely and all the designers. We've given them this edict to keep the drawings in pencil. So they kind of have this like rough, sketchy sort of outline to them. So there's like a little noise and a little like grit to all of the lines. Like it doesn't feel super polished and super smooth.

And I think that's something that I really learned from Yoshi's Island, like studying the aesthetic style of that game. That actually ties into a question about the animation of OK KO. I really wanted to ask, as someone who's obsessed with animation, but maybe not clear on all the granular elements of it, I was very impressed by how a digital show could emulate the sort of warmth and physicality of classic cell animation. Can you go into the challenges of that? Is that necessarily a more expensive process than sort of the other digital shows that

just feel like there are established shapes that are sort of just moved around and not individual drawings for every frame of the show? Well, yeah, thanks so much. That was definitely a goal of mine. You know, before I get the the production thing of it like you know i mentioned yoshi's island but also a huge one of my influences is uh simpsons especially like much earlier simpsons uh season one actually in particular like it's something that a lot of people like look at season one and they're like oh it's so weird it's not really the show but to me it's like it's so charming like this it's got this like roughness and grit

to it and it's something that i really wanted to um kind of call back to and make sure that the show had this like lively feeling so that like you never in your head forget that oh these are drawings these are funny drawings these are funny drawings, these are funny expressions, they're, like, weird drawings, like, stuff like that. But to sort of go into kind of, like, the feel of the show, so, yeah, I had this goal of kind of trying to make the show feel, yeah, warm and kind of retro in that way. I think the interesting thing about a lot of animation, you know, there are shows that we know, like, say, like Rick and Morty or BoJack Horseman that are like, they're done in flash,

the animation is done by people, but it's, it's drawn directly into the computer. And so you get a lot of like asset reuse, and sort of like the feel of something moving, when something moves around, a lot of times times it's like the same image sort of being puppeted around. And I think that's actually, it's a really effective technique, especially for like those shows where like the characters are sort of supposed to keep this sort of like flat consistency to them. And I think that's definitely one way to go.

However, on all the shows I've worked on, we've gone sort of another way. So for instance, Adventure Time, which I worked on, Steven Universe, which I also worked on, The Venture Brothers, which that's one of my, was one of my first jobs in animation as an animation director, and my show are all animated traditionally. So instead of using Flash and sort of puppeting drawings around, every single movement, every single frame is drawn by an animator. So, you know, even though, basically, even though they look slick, like something like Adventure Time or Steven Universe, people believe that, oh, are these like vector lines? Are these like flash animated drawings? They're not. In fact, it takes like a lot of work

to get that sort of line consistency. Steven Universe, like I've been in Korea and I've watched these artists like ink these drawings and it is the most incredible thing you've ever seen. You would think that a machine, no one could do like it with that high level of skill. But these are all like hand drawn, hand inked drawings. Wow.

And sort of my, one of the things I wanted to do is really highlight that. And so when talking with the animation studios and also my pre-production team, I've sort of, we've sort of, I've had like the creative edict of, hey, let's never forget that these are drawings. Make sure that you have the feel of like the hand drawn, like hand inked line in there. And so it came down to even, let's just do the entire show in pencil. And basically what they do is they animate all of the layouts and animation in pencil like traditionally like on a light table for everything in fact like i tweeted like months ago like an image of like someone slipping like one of my scenes like on paper you know these are like this is done like the old school way and basically what they do is they take those drawings, scan those drawings, and they color them in this process where they keep the line work, the rough line work on top, and they sort of color the spaces under it.

So it has like, you know, this sort of bright colored in feel so yeah, I was going to ask if you were a Simpsons fan growing up. The stuff about the animation, it's something I kind of wish I had focused on a little more earlier on the show. Bob and I are writers, I think, so maybe we come at it of just like, oh, the writers who wrote the show, and then it gets animated. But did it have influence on you as an animator, The Simpsons? i would guess it did oh absolutely in fact um i do there's something that i've done like throughout my career so you know i'll sit down and i'll i'll marathon the simpsons basically i'll do like one through nine or one through eight and half of nine and i will basically like i will go back every couple of years and do that. The things that I've learned throughout my career in how to put a show together and how to make a show really changes the way that I look at certain episodes and certain, the way that I look at certain sequences in The Simpsons. Like, for instance, I don't know, I would say Itchy and Scratchy and Marge. Amazing episode, all about animation, something I really like. The sequence in that show where all the kids, because they don't like the show anymore,

they go outside and play. Watching a sequence like that, it had an effect on me. And I was like, wow, this is really well animated, really well done. I watch it now and I'm like looking at all the layouts that they did, like all the like awesome camera cheats that they did to like affect things. There's like these incredible bypass shots where they're using foreground elements, wiping the screen, and then they cut to like a different layout of all the characters doing something like there's like some really like technically impressive like

animation in that show um and it was something that was like a huge huge huge influence on me it was one of my it was one of my big influences i mean along with ren and stimpy and dexter's lab but like uh that yeah it was huge for me yeah i remember that like super long panning shot where they kind of hide like they hide one cut between a Frisbee. Like a Frisbee will cover the screen. That was a Jim Reardon episode. He's a master class animator. Yeah, I mean, he's amazing.

Also, that episode, is it true that pies are easy to draw? Are they easier to draw than ice cream? I mean, I feel like that's kind of just a writer's joke yes yeah i don't know we we did an episode with a pie fight at the end and it was super fun so i don't know maybe they're right uh going back a little bit to games like were you more of a sonic or mario guy well man i loved both growing up however However, so when it came to 16-bit, actually, as a kid, Super Mario Bros. 3 was like my favorite game. And it's still like one of my favorites. But at 16-bit, controversially, I got a Genesis instead of a Super Nintendo.

Because my friends owned Super Nintendo, so I always felt like, well, I could play that over at their house if I want to. But I feel like I grew up sort of appreciating both. I know that there's this Sonic-Mario dichotomy, but I think a lot of that comes from people who played Super Mario World

and loved it, and then they played Sonic and then they were like, hey, this isn't Super Mario World. This is bad. And then they just were like, you know, they just are like, and that's why there's all these articles and think pieces like Sonic was always bad.

And it's usually from a point of view where they're like, well, it wasn't Mario so I didn't like it. To me, I guess I always saw them as two different games with completely different aims. So yeah, I really loved both of them. And I loved the art style of Classic Sonic and Classic Mario.

Those were huge influences on me. Just the clear silhouettes, the clear lines, the very expressive cartooning of those characters and what's interesting is that like limitations of those systems like made them have to be like more deliberate and more clear with like their cartooning of those characters and i think it really pays off and and i know you were involved a little bit with the Sonic Mania animated opening. Like, that thing was so gorgeous. Because I always thought, well, the best animated Sonic will always be the Sonic CD opening. Oh, yeah.

But then I saw the Mania opening. I'm like, oh, my God. This is it. When I was a kid, I didn't have a Sega CD original. I eventually bought one. But I didn't have a Sega CD original. I eventually bought one, but I didn't have one. And I was in, I think, like Radio Shack or like Sears Fun-tronics, and they had one. And I saw that intro, and it wasn't – the Sega CD that they had hooked up had no controllers.

So they were just playing the Sonic CD attract mode on loop. Wow, what a tease. I just like sat there and watched it over and over and over. And I was like, this is my life. This is like the greatest thing I've ever seen. And it inspired so much of like my work. I was constantly trying to animate something that cool. And then, yeah i just

happened to have through animation connections i just happened to have some friends who were involved in the production on the sonic mania intro and they reached out to me and you know i'm running an animated tv show so i i have like no time i have like, my schedule is so busy. Like I have like no time to like work on personal work or anything else. But they approached me and they're like, hey, we're doing this Sonic intro. Like, do you think you could animate a couple shots?

And I was just like, I will clear my schedule. I will do whatever it takes. I'll cancel my show. Yeah, so I ended up animating two shots for that intro and it was like, it was a dream come true. I did want to talk about the, the influence anime has had on you because I feel like we're now just starting to get into an era in which creators are now deeply influenced by

anime instead of, you know, people saying, well, I guess the kids like anime. Let's make our show look like that. Can you talk about the titles you liked and sort of just how you appreciate the craftsmanship and the the style yeah yeah let me see gosh i would say like super early on like the things that had like big influences on me were well i would say

some of my hugest influences would be like project echo uh yeah just mind-blowing to me seeing that kind of action definitely like a lot of the classics ninja scroll was huge in my childhood i played that over and over uh evangelion uh was like just like one of those like early teenage uh blow, kind of like, oh my gosh, like a cartoon can do this? Like I'm so smart now. Just like reading a book. Yeah, exactly. But one of my hugest influences actually is an early Miyazaki series called Future Boy Conan.

Oh, yeah. Yeah, Future Boy Conan is like, it's just like one of the best animes I've ever watched. It's basically, so this was post the second series of Lupin the Third. Miyazaki directed a couple episodes of that. And he eventually had his own series, which I think was aired on,

I think it was maybe like a public television network in Japan at the time, and he directed the series. He directed all of the episodes, I think except for two, that I think maybe, I don't want to misattribute who did that, but he directed all the episodes in this show,

and if you like the Miyazaki film Castle in the Sky, you'll love this show, Laputa. This show is like that, but kind of blown out over 26 episodes. It's got everything that I think is really cool. It's got planes, maps. Of course. It's got a super strong kid

who does all this really amazing action. It's got a super strong kid who does all this really amazing action. It's got the pure love of children, which is the best thing in a Miyazaki thing, where there's a boy and a girl, and they just love each other with no questions asked. And they're risking their lives to save each other. It's just mind-blowing and super fun if you ever have a chance to watch future boy conan i would say uh dig into it because it's like it's one of my favorite miyazaki things you know that and that and porco rosa yeah i've always been meaning to it's been it's been hard to see and it's never been officially localized in the u.s i think i

but yeah after i after i watched nadia's Secret of Blue Water and saw clips of shots from Future Boys, like, hey, wait a minute. Yeah, yeah, exactly. Well, that anime influence, too, I could definitely see on the show. One of my favorite moments of that was in TKO when you guys had the eye catches, especially with the, like, not-for- resale chiron just on the screen that was so funny and when characters are introduced you see all the texts pop into the screen that describe who they are and their powers and their level and things i just i love that so much in anime it's great to see it in your show oh thanks so much yeah i would say like i've you know and it kind of goes along with that sort of the thing the observation you Bob, is about sort of trying to emulate that warmth and feeling of like it being like a lazy Saturday afternoon and you're just watching like some old cartoons or anime or something.

And I like to like put in things that like just take you back to that sort of feeling and create that feeling for kids who never got to experience it. So I did want to ask about guest stars on the show have just been like amazing to me, especially when I don't even recognize them at first and then see it in the credits, like Keith David, Marina Sirtis, LeVar Burton, like Carol Kane. And the biggest one to me was like when I saw that Jonathan jonathan davis of porn was on the show i was like like how do you go about getting those kind of guest stars what's your what's your approach to casting for that kind of stuff well i think you know it's something that we sort of all talk about as a crew when how we make the shows is you know we basically um the board artists get a outline

and then they draw a storyboard and then they pitch it to the room, and we all kind of talk about it. I mean, this is the way they pitch Hanna-Barbera cartoons and Disney cartoons and Warner Brothers cartoons. It's a very old-school process. We basically sit in a room. We look at all the jokes. We try and figure out what's funny and stuff. In that process, like, when you're pitching, you know, to sell, like, your jokes, you do different voices for all of the characters as you're selling the jokes. A lot of times, like, we get hung up on a character and be like, oh, my gosh, like, what a funny character. What a funny voice that would be.

Like, do we know any actors who could do that? And in the case of someone like Jonathan Davis, that was, so that was in an episode called Know Your Mom that was storyboarded by Parker Simmons and Ryan Shannon. And part of the idea about that episode was, we were like, oh, we're going to bring back one of, one of K.O.'s mom's old villains. And then we thought about like, know oh well what would an old villain be like in the in the show's current year and so we were like what if it was like early 2000s rap rock new metal guy and after they pitched it it was hilarious and then we were like what if we actually got someone to do that and we just we literally just reached out

to jonathan davis personally and he was super into it and the record was hilarious like he he just like every time he looked at the script he started laughing oh my god like do you want me to sing this because this is one of my songs like you know it was just like it was really great that's super sweet that's awesome you know that moment for me watching it was a kind of like oh i'm that old moment of i feel like oh yeah if i had a kid who was six to eleven like ko is then yeah my that would be the ancient past to that kid i was like oh my gosh that that that would be that long ago it was crazy to me yeah we had that moment of being like oh well if it's an old villain like i guess if it was say like i don't know a show in the 90s and they wanted someone to look outdated they would do like i don't know like a disco joke or something like that you know but i think like

we have to do something different because yeah it's current year needs to be jinko jeans instead of bell bottoms you are a voice actor on the show which you hadn't really done on the previous shows you'd you'd worked on so what's what's it been like to be to be a regular voice on on the series yourself including scenes where you're like, say, Rad is talking to Daryl. Yeah. So I kind of like fell backwards into doing the voice. It was literally because on the pilot, you know, we, you know, pilots are kind of fly by night sort of thing. And we have to, you have to just get stuff done like as soon as possible. So I was just like, you know what, I'll just do these voices. If I ever make it a show, I'll cast someone else or I don't know.

And then it just kind of stuck. And then we were never able to like do cast someone else or do anything else. So I ended up like just staying on and doing the voices. Voice acting is like it's I have a lot of responsibility throughout the day to make decisions and create stuff and, like, make calls on, you know, design, storyboards, stories, like, everything. Like, voice acting is kind of, like, one of the times during the day where I'm behind, I'm in a booth and someone else is telling me what to do. It's really nice uh the best thing about voice acting though has been gotten to sit in the booth next to like some of like my voice acting heroes like not only do i get to work every week with courtney taylor and ashley birch who are amazing voice actresses who have done like several video games and cartoons and amazing like amazing work but then also like

i get to be in the booth and with jim cummings who was like one of my voice acting like like this is like uh god to me basically like in terms of like i mean he can do anything like and like when i do a line and jim cummings or say say like Dave Herman, who also does like a lot of voices on the show. When I do a line and one of them looks over and it's like, hey, good job on that. I'm like, oh, oh, oh. Oh, wow. How intimidating. Yeah.

Yeah. Oh, my God. It's awesome that jim cummings thing that the second i heard boxman's voice in his first appearance likes oh my god this is the per it it was just perfection to me because he he is one of the all-time greats like he is like it's hard to say he's the i don't want to demean other voice actors from our childhood but it was like my favorite he was like the metal blank to me all else what i realized like oh wait darkwing duck is also winnie the pooh is also tigger is also like he's all these characters yeah he's pete yeah he's so different yeah uh he's and he's like scars singing voice in line yes yeah that jeremy irons couldn't do it. Well, he blew out his voice. Oh, yeah. But, yeah, the casting of Jim Cummings,

that had to be pretty early in the decision for him to do his villain dude voice, right? Yeah, in the pilot. So I made the pilot for OK KO. It was called Lakewood Plaza Turbo in 2011 and 2012. And I did have some scenes where Lord Boxman appeared. But unfortunately, it's a pilot. It's only seven minutes. I had to cut it down. So I didn't get to reach out to him. But later on, when we were doing our first mobile game and then doing the first short,

I got to reach out to him he was super he's super into it he just came in he he was he's an incredible professional and like he just like exudes this like uh his line reads are so confident it's so fun and so full of energy um for me it i'm like this is a thing that I made. So I'm like, is this legitimate in any way? And then hearing his voice coming out of the characters, I'm just like, oh, my gosh, it's a real cartoon. Yeah, actually, Jim Cummings is from my hometown. And growing up in the 90s, every kid claimed to be related to him in some way.

It's like, OK, he can't be everybody's uncle. Let's settle down here. That's awesome captain planet episode uh just aired and that was that was a great one i i especially love you know you got back the uh lavar burton and the original voice of captain planet and i especially love like lavar burton's readings in it or so he's like oh no like it's like yeah it's such an innocence to it i really like that but then it ends um i i also just love the ending it's just like a like bam slappy in the face like oh the world's we're doomed yeah uh that was super fun to do because yeah uh so i wanted to do this captain planet uh crossover Yeah, it's easy, I guess, because I work for Turner,

and they also own Captain Planet. And, you know, I approached it from, you know, I didn't want to actually, like, make fun of Captain Planet. I wanted to do something genuine and something that would fit in with, like, the actual goals of it. And part of that was, yeah, getting those original voice actors back, working with them was incredible. Working with LeVar was awesome.

As soon as he got back into the booth, like instantly like Kwame's voice came out and he even sort of like took his own spin on some of the lines. And like, you know, it was like hearing that that character come to life again and it was amazing to meet him because he was a huge inspiration uh to me as a young nerdy trekkie who loved reading um but one of the best things about the captain planet uh episode

was so captain planet's voice david coburn is uhurn, he really embodies that character. And he also really believes in the ideals that that original show was setting forth. And when he saw the original script, that end sort of sermon that Kwame and Captain Planet give, he actually, when we were doing the record, he worked with us to make sure that, you know, it was very genuine. That, you know, the thing about Captain Planet as a show is that, yes, it was this cheesy show, but it was never afraid to drop, like, hard truths about, you know, how bad things have gotten in the world and, like, you know, how, like, if we don't pay attention to our environment, like, you know, we, there are going to be like real problems. And like, one of the things that he helped us balance was, you know, in the original show, there was always this balance of hard truth, but then actionable steps and optimism, so that there's ways that even you as a kid can feel involved

in the fight for the planet. And so he really brought that to that to that final bit in the show, which was like, you know, he he helped us like sort of craft those lines where it's like he says the hard truth, but he's like, hey, but if we work together today, we can still have a brighter future. And that was something that was really important to me. So before we let you go, I have one question for you about a really obscure reference. I spotted when I just started watching the show, I was extremely surprised and delighted to see just an explicit clash at

demon head reference in okay. KO. And I want to know if you have any idea what I'm talking about. Oh, are you talking about the character a real magic skeleton who looks a little like Tom Guycott? Yes, and actually I noticed

if you squint, the protagonist is sort of like a squashed down version of the protagonist in Clash of Demon Head. I was like, oh my god, somebody else has played Clash of Demon Head and they recognize how cool Tom Guycott is. Yeah. That was a game that I played super early as a kid. I think it was a thing that I didn't have a manual for that game or anything,

so I was just kind of making it up in my head. Who are these characters? What is this world? It's so crazy to me. Yeah, that was something that was definitely an influence. That's awesome. Yeah. Well, I guess a last question for me. You know, the show's now aired over 30 episodes and seems like it's really chugging along.

Like, with these later episodes and this run, like, what have you guys learned from the beginning of the show that you're you've put into action in these more recent episodes so yeah what's been one of the most fun things about the process has been so you know these are characters that i've um been working on since 2011 uh these are characters that i've you know i've had for and, you know, they've become sort of real to me, and when we're working on the show, it's really, it's really awesome that, like, when we come up with a new story or a new situation, the characters almost are, like, they feel like they're alive, like, we know what they're going to do and we understand what their chemistry is and we have a lot of fun like just throwing the characters at a situation and

seeing like the fun ways that uh they would approach it one of like my best um experiences on the show is going into a pitch and thinking like oh kao would do this and then the board artist is like actually kao would probably say. And then the board artist is like, actually, Kao would probably say this because he feels this way. And I would be like, oh, yeah, I guess you're right. Like the characters begin to have a life of their own. And sort of as the show goes on, we have a lot more fun with that and also sort of dipping into the characters' backstories and their motivations and sort of having fun with the fact that it's like this big, interconnected world of heroes and villains.

That's something that, yeah, we go into a lot more. Well, all right. Well, we kept you long enough, Ian. Thank you so much for your time. Thank you so much, Ian. It was so awesome to talk to you about all this stuff. Yeah, absolutely. And, hey, you know, in the future, I would love to talk to you guys again.

I'm a huge fan of Retronauts and Talking Simpsons. You know, I'd be down for all that stuff. If you ever someday get around to talking KO, I would totally get started. That could be in our future. That very well could be. Oh, man. Well, thank you so much.

Yeah, thanks a lot ian oh man i want to thank ian jones cordy so much for his time uh that is our interview with him though that is the regular edition of it. We actually have a longer special edition of it up on our Patreon. Just if you're a new listener here, I just want to let you guys know that Bob and me, along with Chris Antista, every week do a Talking Simpsons podcast where we go through every episode of The Simpsons chronologically. And the way we're able to do that is because Bob and myself do this full-time

thanks to being fully funded by Patreon and that is on patreon.com slash talking simpsons so if you want to check that out we go a little bit more into Ian's influences and his love of old video games all that stuff we talk a bit more on that it's about 20 minutes longer but we want to give you guys this awesome talk we had with Ian again a super duper thank you to Ian Jones Courtney for doing this interview we really really appreciate it he's uh I seriously do love OK KO it's one of my new favorite shows and everything that Ian has worked on I have been a huge fan of so this was such an honor to get to talk to him OK KO it airs on Cartoon Network it's on the Cartoon Network app you can get it on the

digital storefronts like amazon and itunes and all that stuff it's it's super easy to get access to i'm usually waiting with bated breath for every new episode so be sure to check those out too and again the extended interview is on our patreon and you can check that out at patreon.com slash talking simpsons. Sign up to listen for yourself. And thank you very much for joining us. Bye! KKO! Let's start the show!