So Ted Anderson, writer of Adventure Time Season 11, unexpectedly hopped onto the Adventure Time Discord yesterday for an impromptu AMA. He talked a lot about what his plans were for the rest of Season 11 and beyond, and also talked about his other work including Beginning of the End, My Little Pony, Moth & Whisper, and Orphan Age. Here’s most of his answers. I’ve rearranged them to be in a more coherent order.

You can read the full AMA on the r/adventuretime Discord.



Mordo: Before the cancellation, was the stuff with Finn and the humans going to be longer than 2 issues?

Ted: That particular story was always planned to be 2 issues.

The way S11 was going to work is, it would be broken into 3 chunks of 4 issues apiece. The first story was the Empress Marceline 4-issue story. The second chunk would be the 2-issue Humantown story, followed by two single-issue stories. Then there would be one big 4-issue finale story.

Also I should clarify the breakdown of the first arc: Sonny Liew wrote the story, but that was just a summary of events. I wrote the actual script and laid out the events and so forth. I think technically he’s credited for Plot and I’m credited for Script?



The first single-issue story was already sort of revealed—that’s the one about Jake and Jermaine. The second one would have been about Finn deciding he wants to make something, and going on a big adventure to make a new, handmade sword. And the 4-issue finale would have followed off of the Humantown story and wrapped up more of that.

I was actually already starting issue 8 before I heard it was canceled. Issue 7 is done, but unfortunately it can’t see the light of day. It’s the property of BOOM and Cartoon Network, not me.



[Issue #7] was a very standalone kind of issue: Jermaine is a successful painter and gets invited to a big fancy party, and Jake invites himself along. Jake ostensibly came to invite Jermaine to the family reunion [in the finale arc], but he knows that Jermaine doesn’t like to travel. So he actually came to do a big mystery adventure. One of Jermaine’s paintings gets stolen, so the two of them investigate to find out the truth. In the end it’s revealed that the whole thing is a big setup by Jake, who wanted to give his brother a fun bonding experience, Mostly I wanted to write some done-in-one stories and get some Jermaine in there, because I like him.

Issue 8 would have been about Finn, who’s feeling restless after making the cabin, and deciding he wants to make more stuff, so he decides to make his own sword. He meets various characters traveling around Ooo, checking in with them and talking about what he’s doing now. I wanted to focus on Finn feeling adrift now that the biggest adventure of them all has happened, and he’s kind of without a purpose.

Boulder/Stert: What would the comic’s finale have looked like? What would the end of S11 have looked like had you made it there?

Ted: So thematically, I wanted to get to the idea that Finn was feeling useless as an adventurer. The world was getting more saved, things were getting rebuilt, people don’t need a “kid with a sword” any more. But Finn would’ve realized that it’s not about him as a lone adventurer—he’s part of a community, a whole bunch of people who are working to make the world a better place.



The finale story would have revealed that Dr. Gross had been offered amnesty and was secretly working in Humantown, plotting a takeover of all of Ooo. Dr. Gross would’ve created a plague to affect the candy people and something called “GO Juice” [Genetic Optimizer Juice], which was just Finn’s DNA injected into the humans to make them into adventurers too. But, crucially, it wouldn’t have made them teammates—they would’ve just been a bunch of lone wolves. So when Jake and Lady and PB and Marceline and all the rest work together, they defeat the humans easily. Rather than fight Dr. Gross, [Finn] escapes and helps his friends, who are fighting everyone else.

There’s a little bit of that story still in issue 5: Finn gets a scratch fighting the robot and Minerva patches it up, and that’s how they would’ve gotten his DNA.



I was going to bring back Samantha the dog as a side villain. She would’ve taken over the Candy Kingdom with a dog army, in order to plunder their technology and lead a dog revolution in the Crystal Dimension, but really she was just being used by Dr. Gross.

Also Jake would’ve had a family reunion, because I really wanted to write all his kids. Originally it was going to be him and Lady finally getting married. [Cartoon Network] specifically said that Jake and Lady couldn’t get married, because they were, and I quote, a “modern couple”. I still have no idea exactly what that means, haha.



I had some thoughts about how I wanted to handle the humans. I didn’t want them to immediately integrate into Ooo, but I didn’t want them to be completely standoffish and weird, either. Issue 12 would’ve ended with them more or less being led by Minerva, and slowly putting themselves out there.

Something else I should make clear: I had absolutely no contact with the AT people, so I don’t know if any of my ideas fit with what they wanted to do. All of this stuff is just out of my head.

Stert: Yeah I feel like you would’ve been good as long as you didn’t straight up contradict the show.



Ted: Oh, speaking of contradicting the show, I got a funny note about the Empress Marceline story. Originally, in Sonny Liew’s notes and my script, it actually took place 10,000 years in the future, not 1,000. But for some reason CN changed it to 1000. And I have no idea why, because all that does is mess with the timeline more. Like, if it’s 1000 years in the future, it should have Shermy and Beth and look like that setting. But by the time CN changed it, it was too late for me to add in any of that stuff. So if you think it’s weird that Shermy and Beth didn’t show up, and Marceline wasn’t trying to rescue Bubblegum from an ice prison: that’s why!

SpaceGiraffe/Owlz: Were there any plans for Simon to meet with the humans and/or Minerva? I wanted to know if you had any plans for Ice King or if that was just Olivia’s job?



Ted: Once I heard that Olivia was doing the Simon & Marcy series, I deliberately kept my hands off of Simon, just in case. I didn’t quite know what I would want to do with him, either. He could play an interesting role in post-finale Ooo, but … idk, he’s been defined so much by tragedy and loss, it would’ve taken a while to build him back up again.

Stert: Do you know if Gross and Minerva would have interacted in these new comics?



Ted: I hadn’t planned for Gross and Minerva to interact too much? Minerva would’ve come along with Finn when he infiltrated Humantown to find out what happened. Actually, my idea was that Minerva uses her “Mini-form,” which is literally a six-inch-tall action figure of her that would ride on Finn’s shoulder as he snuck through the vents, haha.

Stert: The final issue ends on a pretty negative note for Finn and humanity. He’s very angry at Malloy lying to him and storms off not wanting to have anything to do with Humantown. Looking back do you think it’s a good idea to end Finn’s arc in these comics with the humans on a pretty downer note?

Ted: I don’t think it’s the best way to end S11, no. It makes sense because it’s a natural story break, but it also leaves Finn angry and resentful, and deliberately separating himself from other communities. I do love those last two pages, because Mar Julia did some amazing art on them, but emotionally it leaves Finn kind of out in the cold. I did tweak issue 6 a little by adding the HW scene. Originally Finn went to see Aunt Lolly to see if she made the robot monsters. Frankly, the HW scene is better in every way, haha.

Owlz: Did you have ideas for Finn’s closure with Huntress?

I like [Finntress]! I like a lot of Finn relationships. But I also like how it’s very casual and not labeled. I should be clear: I really didn’t change anything based on people’s feedback from here. But the [Discord] server and poking around Tumblr reminded me that I needed to include some HW. I feel like their relationship has always been ambiguous, so I liked them not getting a super specific ending.

Boulder: Did you have anything in S11 for Mars?

Ted: I didn’t have anything for Mars, actually! I should’ve! I like Mars a lot, mostly because we see so little of it and it’s so dang weird.

Boulder/StephanFS: What plans did you have after S11, with or without a cancellation? If BOOM announced S12 with you as the main writer, what would you write?



Ted: I didn’t have anything specific for after S11, since I already knew that it was probably going to be the last time I was going to write AT. I had some vague ideas of trying to bring back Fern, but like … that’s a very fanservice type of thing to do, haha. I probably would’ve brought him back just to let him die again, but this time with a little more closure. Also I might have done more stuff with magic? I love the weird elements of magic they’ve got set up in the show. Maybe doing something with four new elements of magic, one of which would have been grass. But that was just very vague thoughts.

Stert: Who did you like writing for most/have the most trouble with? Between Beginning of the End and the S11 issues you mostly handled Finn with a touch of Jake and the rest in smaller amounts, interested in if you were happy with that or wanted to play with other folks.

Ted: Jake was definitely the most fun to write, just because of his way of speaking. Whenever I did a line of his dialogue, I ran it through John DiMaggio’s voice first to see if it sounded right. As for favorite in general, that’s a tough one. I was told to try and keep the focus on Finn and Jake rather than the side characters, just because they’re the main characters. But that suited me just fine. And yeah, for BotE I was also told to keep the focus on Finn and Jake. But that’s what I was planning to do anyway. (And yes, I still plan to finish the annotations for BotE! One of these days! Promise!)



Stert: How well did you know the show before you started work on the comics?

Ted: So, total honesty: I loved AT and stuck with it until about season 5. Which, not coincidentally, is when Steven Universe started. I didn’t ever stop loving AT, I just fell off the wagon for a while.

Stert: Tale as old as time 🤣

Ted: So once I got the news about BotE, I binged everything from the start. I didn’t actually get to see the finale until after I’d started writing S11. CN was being very careful about leaks, so they wouldn’t actually let their comics people watch upcoming episodes. But Whitney, my editor, had seen it, so she described it to me over the phone. Very weird experience.

Mordo: What is your view on Come Along With Me?

Ted: I feel like it was as good as it could be, under the circumstances. After hearing about their plans and how they thought they’d have another season, it made more sense. Like, if they’d had a bunch more episodes, they could’ve set up Gumbald and used the Candy Kingdom Haters some more (remember them???) The finale had a tough job to do: they wanted to give a satisfactory ending to as many of the threads in the series as they could, and yeah, some people didn’t get as much as others. Again, I really wish they’d had another season.



Owlz: What do you think of characters like Martin or Ice King?

Ted: I would’ve LOVED to bring Martin in somehow. He never really got his comeuppance. I don’t think I could’ve put him in S11, but if there had been a S12 or a miniseries or something, that would’ve been ideal. He’s such a ****ty dad, haha. I hate him as a person but love him as a character. I probably would’ve brought him back by saying, like, “Oh yeah, I hung out with that transcendent being from beyond space, but she got sick of me after a week and dropped me off on an asteroid.”

Stert: Were there any characters you were very intimidated to write for, like you thought you would screw them up?

Ted: Oh that’s a great question. Honestly, I was a little worried about writing Marceline, because I feel like she’s very specifically tied to the experience of being a teenage girl. Which I’ve never been. Like, the best stuff with Marceline is by Olivia Olson, or Meredith Gran, or Kate Leth, who have written about (and actually been) a teenage girl dealing with Feelings. So getting her right was a challenge.

Owlz: Who’s your favorite AT character?

Ted: Oh man, favorite? That’s an impossible question, haha. I have a lot of fondness for Susan Strong. I like her as a kind-of counterpart to Finn, as well as a more driven and adventurous type. She also got to have a really neat arc that ended well, but also left open the door for future adventures. Her design is also great, and her backstory is really cool.



Stert: The stuff you did with her, Billy, and Fern to show off different avenues of heroism and stuff with Finn was very cool.

Ted: Yeah, that was super fun. I think I mentioned this in the annotations: originally it was just going to be Finn meeting a bunch of his alternate versions, like Farmworld Finn. But then I realized, wait, there are characters who are way more interesting than that. (Not to hate on Farmworld Finn! But he’s no Susan Strong)

Owlz: What are your thoughts on Betty Grof? The show didn’t reveal much about her.

Ted: Oof. She deserved better. I wanted her to be developed more, frankly. But I sympathize with the creators. I don’t think they had the time they needed to flesh her out. I wanted, like, an entire spin-off series about her learning the secrets of magic.

Stert: So to ask another possible impossible question, what’s your favorite episode (or multiples)?

Ted: I really do like “Mama Said”. It’s maybe my favorite one-off episode, just for how surreal it is. Plot-relevant episodes … I liked the one about Finn building a tower to tear off his dad’s arm, haha. I have a real fondness for the wacky one-off episodes, like anything about Jake’s kids. The Card Wars tournament episode, or the one about Bronwyn.

Owlz: What if AT got rebooted and you got to be a writer?

Ted: On the one hand, I would’ve liked creating a more coherent mythology, like exactly how this or that happened. On the other hand, the weird inconsistencies are what make this show so fun.

[While talking about some of the Easter eggs included in Ted’s comics, somebody posted this panel from BotE]



Ted: Part of that panel is actually a quote from Guillermo del Toro. The line about “animated by incredible humanism” is from the introduction he wrote to the Art of Ooo book. I love dropping in weird easter eggs. So when I started writing BotE, I caught up on the entire show, but I also tried to catch up on all the supplementary materials, too. That’s why I slipped in that thing about Hunson’s nickname of “Johnny Corndog,” for example.

Owlz: You should also check out the AT official cookbook. It’s adorable.

Ted: I have! In fact, there’s an easter egg from that in there! In issue 6, Minerva mentions something about making Finn her special macaroni and cheese, I think? That’s her recipe in the book.

CharlesOberonn: I have a question regarding pacing in comic books. Specifically, how stretched out and slow pacing is in comic books today compared to comic books in the past. A story that would take 1 issue in the 1960s-80s could take 3 or 4 or even 5-8 issues today. What do you say about that?



Ted: Ah, pacing in comics. An old nemesis, haha. I like both the issue format and the book format for comics. You can do very different things with them, just like the difference between movies and TV. If you are writing something with issues, then I feel like every issue needs to give you a complete story, or at least a complete slice of a story. I definitely feel like attitudes have changed regarding how much story you fit into an issue of comics, but that can be both good and bad. A little while ago I reread the original Iron Man story where he confronts his alcoholism, and he goes through withdrawal in literally one page.

Stert: I know this kinda stuff is usually not answered straight up, but how much do you make writing for comics?

Ted: I’m not yet at the point where it’s my main job. Right now I’m getting my teaching license so I can be a school librarian. And with licensed comics, I don’t get any royalties, just a flat fee for writing the script. But it’s a good gig regardless. I get to sit around and tell other people how to draw cartoons. I would absolutely love to write full time, and I’m in the process of getting together more projects to make that happen? But not quite yet. Which reminds me: I am currently trying to put together a pitch with Mar Julia, artist for both BotE and S11! But very different from AT.

Owlz: How long have you worked on comics?

Ted: I’ve been working on comics for … something like 6 years? I think? My first professional comic was MLP, actually, which is not at all normal, haha. I was a big fan of the show, and I knew I wanted to write comics. I’m also friends with Zander Cannon, who’s been a professional creator for decades and is a super cool guy. He knew someone who worked at IDW, who put me in touch with the MLP editor. I sent them some samples, I sent them some pitches, and bada bing bada boom, they let me write a story about Pinkie Pie. It’s all about networking, baby.

Mordo: What’s your favorite TV series of all time?

Ted: Oh jeeze, that’s a question. There are TV series that I love in different ways and for different reasons. AT is definitely one of my favorites, but I also love The X-Files, but for completely different reasons. Star Trek the Next Generation is also pretty high up there. Futurama is another one that I’m a big fan of. I should’ve included a reference to John DiMaggio from that, come to think of it. Showed Jake with a cigar and a beer, or something. Now there’s a crossover I’d love to see. Oh, Gravity Falls is definitely up there too. Regular Show is another fun one. I pitched a couple RS ideas around the same time as BotE, but they were already transitioning to the Twenty-Five Years Later series.

Mordo: Not sure if this was answered earlier, but why was AT season 11 the one that had to kick the bucket when it was doing better than the other comics?

Ted: I really have no idea. It was a money thing, to the best of my knowledge—they expected the comics to sell X copies, and they didn’t quite make it, so that was that. In the email they sent me, they emphasized that it was not a question of the quality of my writing, or how they were being received. I don’t really know any more than that, unfortunately. Yeah, I have no idea how they calculate anticipated sales or anything. But I guess S11 just didn’t hit the expected targets.

Mordo/StephanFS: What else do you write Ted? If you were to work on something original, what would it be?



Ted: I still do write for MLP, actually. I’ve got a three-issue miniseries starting next month. Plus I’ve got a couple creator-owned series: Moth & Whisper and Orphan Age. The trade collection of M&W comes out next week, and the first issue of Orphan Age came out this week. I have a lot more original stuff in the works, too. Not a lot of it is like AT, to be honest. I don’t tend to write stories that are so …. weird? Nothing against weird! Obviously! But it’s just not the kind of stories I tend to come up with. M&W is a cyberpunk heist thriller thing, and Orphan Age is a post-apocalyptic western.

That’s all for now. If you like Ted Anderson’s work, be sure to check out Moth & Whisper and Orphan Age. Catch them on ComiXology or wherever you get your comics.

Farewell for now!

