I caught up with CLX to talk about how his obsession with the TV series Lost is fuelling our fantasies.
Did you watch the series Lost when it was first on TV?
I watched the entire show in French when it was broadcast in my country. Like millions of viewers, I was totally hooked at the first episode. I remember thinking it was like no other TV show that I’d seen before. So many characters, so many different stories, so many questions along the way.
It was the first time that I’d seen Matthew Fox, the actor that plays Jack. To me, he’s a hell of an actor — expressing so many emotions with his face, his eyes. Plus, he’s also very good-looking.
At first I was blown away by the story-line. I guess the fantasies came later.
When did you start to explore those Lost fantasies in comic-book form?
The first ideas came during 2008, while the fourth season was airing in France. The project didn’t start as a comic at all. I wanted to produce some kind of animated comic — an animatic in animation. At that time, I was working for an animated studio, doing some compositing, special effects, and some storyboards. It would have been a storyboard with sound and music, so to speak. Similar to the trailer that I created.
The problem is that it would have taken so much time, time that I didn’t have back then. More importantly, I didn’t have the skills to draw the stuff I had in mind. It would have required lots of pre-production, training in anatomy, and art techniques. For a number of years I put the project to one side.
When I started to finally work as a cartoonist, a comic artist in 2010, I was appealing to all audiences with comic strips and humorous stories. A project like Lust was still way beyond my league.
But I was lucky enough to meet people that pushed me in the right direction, people that believed in me. Suddenly, the project became a reality.
Why did you decide to use Patreon as your publishing platform?
I launched a Patreon page prior to the Lust comic. I realised that this was a very good way to share my art with mature audiences who know what they get to see and want to support the artists who usually never get paid for their training, or the huge amount of hours required to prepare, produce, and draw illustrations and comics. I hope to be able to make a living from my art at some point, I know fellow artists who succeed in thanks to the Patreon system, so why not me? It’s a long process, but I draw comics so I know how to be patient.
How long does each page take you to create?
Since the beginning, the plan has been a page a week. It depends on the content of the page. If there are complicated, tricky panels, poses, or lots of backgrounds then it may take longer. I draw some other things too, still training my art skills, or working on other comic series. But Lust is the main project.
The writers of Lost said that they had the entire series and all of its story-lines mapped out before they started filming. Have you got the full narrative of Lust mapped out, or are you seeing where the characters take you?
Originally, I had a whole story in mind. The beginning was all written. When the reboot as a comic occurred, I saw the story as five books. The first two comic books were written, the third is in process. The next instalments are ideas and concepts mostly — they can evolve. If the series is a success, I have room for more than five comic books. I’d like to go further, but I need readers and patrons along the way.
But your characters can drive you to places you never thought you’d go. I added characters, I let them make me draw things I’d never thought I’d be drawing. It’s something I’ve discussed several times with Patrick Fillion from Class Comics, who has created so many universes and characters. It’s amazing how at some point your creation seems alive and takes control of the story, or the posing, the layout. As I’m drawing the latest pages for the second chapter of Lust, I can’t believe where the action has taken me. I sometimes think that I’ve let myself get carried away, but actually I think that it’s the characters that have led me down this path.
You’ve now published Chapter One of Lust, what sort of feedback have you had so far?
I’ve had great feedback — the hard work and years of training have paid off. I was afraid of getting praised only for the hot action, and hot bodies. But the readers are very enthusiastic about the emotions that the characters are giving, as well as the story-line. Readers have also told me that they find the comic very arousing, which is what I set out to achieve.
Who is your target audience for Lust?
My target audience is gay men. Mature people who are interested in gay porn stories, gay eroticism. I was expecting a very small audience of gay men. What I didn’t expect is that straight women would go for it too. Even straight guys, like comic geeks, find the project very interesting and worth supporting.
It’s a pretty arousing encounter between Jack and what looks like Hugh Jackman as Wolverine. Did you intentionally build Wolverine into this story or am I just projecting my fantasies?
This is the original concept of the series — I wanted that every single character coming into Lust to be inspired by a famous character or person. There’s an explanation in the story-line, but far later and with major spoilers so I can’t say any more. When I was developing the original idea, I wanted to put my fantasies into images, storyboarding them, giving them life.
I really like how hairy the guys are, and you’ve got some great detail in the way that you’ve drawn these characters — even the way that you’ve drawn their cocks feels very authentic. What sort of technique do you follow to create the illustrations?
The technique is quite simple — mechanical pens with different ranges of hardness on grainy thick art paper. I use lots of photo references, often up to four or six for some panels in order to create the pose I have in mind. I used to need lots of references for the shading, but lately I’ve realised that I can get rid of these for usual posing. I’ve learned so much in the last couple of years.
The guys that inspire me are often models, photos I find on social networks. I look for lots of erotic or porn poses as I need naked bodies in every sort of position to help me create the comic.
You’ve begun publishing the pages of Chapter Two via Patreon, how far are you going to take the story before publishing the complete Chapter Two?
The people who support me on Patreon get to see the pages one after the other before anyone else. Each chapter takes about seven or eight months of work before it can be published as a comic book.
Through the interaction with my supporters on Patreon, they drive me into some ideas, thoughts, or directions that I hadn’t previously thought of. I really enjoy their comments on my artworks, it’s amazing to get such feedback and interactions with the readers.
Chapter 2 is nearly done — I’ve just published page 19, and I’m currently working on page 21 now. The second comic book will go to print in October. I’m already in pre-production for Chapter 3 — it’s really exciting!
Review of Lust — Chapter 1
To be honest I was never a huge fan of the series Lost — I wasn’t watching it regularly enough to be able to keep track of the multitude of characters and the complex story-lines. But I was a huge fan of Dr Jack as played by Matthew Fox and I love erotic comics.
Lust by CLX ticks a lot of boxes for me — incredibly evocative and arousing drawing, and this first chapter gives us Dr Jack being properly fucked which is everything I wanted out of Lost.
Often, the best erotic drawing doesn’t need a lot of dialogue alongside it — it fuels your imagination and you can fill in the blanks as to the heat and the connection between the characters. CLX cleverly gives us enough words to guide us through the narrative, but doesn’t let the text distract from the action on the page.
I’m a huge fan of the super-hero erotic comics by Class Comics — with their characters masculinity exaggerated in every aspect — but in Lust, CLX is giving us something that feels a bit more real and a bit more authentic. I love how hairy he draws the guys, their bodies captured with a realism that’s compelling.
The detail of the drawings is what really pushed me over the edge — the veins on a cock-shaft, the folds on a foreskin, the way that a hairy fuck-hole looks as fingers are pushed in or a cock penetrates. That’s quality erotica.
I can’t wait to see where this story takes in the chapters to come.
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The beauty is in the details
Torsten Schwick from Boner Magazine asked Walters about his series of work focused on naked men.
How did you first get into painting?
Both my grandfathers were artists. My American grandfather was a graphic designer at Mobil Oil Company. My German grandfather, who unfortunately I never got to meet, was a successful painter in Munich.
My early love for Renaissance artists like Raphael, Botticelli and Fra Angelico was also a big influence. Their aesthetics and the beauty of their work inspired me to create.
Where do you find your models?
Thanks to the flood of images on the internet, I can sit for hours in front of the computer and look at pictures. I look at everything — from antique paintings to porn images — each image has the potential to inspire me.
I look at images until something catches my attention — usually it’s a specific detail that fascinates me. Sometimes it’s the perspective of the photograph, or the way that the model’s body is positioned, or the way that their head is inclined. It might be something about the light, or the composition that draws my eye.
I then extract the image — play with it, manipulate it. I have a slight dyslexia, so I see some images as being distorted.
What sort of men do you usually feature in your work?
I look for models who have something unique and special. The typical or generic beauty ideal of today is very uniform. I like to see an interesting nose, a penetrating look, or someone that’s not aware of their beauty.
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