Of all the 2000s kids films, Lilo & Stitch felt markedly different. Maybe it was the Hawaiian setting, our cute-but-surly alien hero, or the balance of kids and adult humor, but Lilo & Stitch was a beacon of joyful weirdness amid an integral era of animation. No wonder they went on to make Lilo & Stitch video games, a pretty good animated show, and even a forthcoming live action remake. Now, thanks to the folks over at Dynamite, we’re getting our very first Lil0 & Stitch comic series slated for early 2024.
The aptly-titled Lilo & Stitch comes courtesy of writer Greg Pak and artist Giulia Giacomino. Per the solicitations, Lilo and the whole family are enjoying an extended bit of quiet — until “evil aliens come hunting for everyone’s favorite blue-furred troublemaker.” It’s up to Lilo and Stitch, then, to destroy these “giant robots that are powered by Stitch’s own DNA” and save the whole wide world. It’s a book that promises to be as cute, kooky, and compelling as the series, and a proper continuation if there ever was one.
Lilo & Stitch #1 is due out January 3, 2024. In the meantime, we asked Pak a few of our most essential questions, including the story’s continued appeal, the influence of his other all-ages projects, working with Giacomino, and even his favorite part of the Lilo & Stitch-verse.
Main cover by Joshua Middleton. Courtesy of Dynamite.
AIPT: What about Lilo & Stitch was appealing to you? I feel like it’s one of those great kids shows that’s also super appealing for adults.
Greg Pak: I loved the movie when it first came out. Its combination of big, fun, sci-fi elements, compelling characters from underrepresented backgrounds, underdog heroes, and incredibly affecting emotional journeys hit all of my buttons in just the right way.
AIPT: Similarly, do you think the film stands up even though it’s been 20-plus years?
GP: Absolutely. I’ve rewatched it several times over the past few months and it dazzles and destroys me every time. I absolutely love the aesthetics — those watercolor style backgrounds and the hand drawn animation is so organic and compelling. And the emotional story is so incredibly well done.
AIPT: What is this film/story ultimately about? Friendship? Acceptance? Finding your own way in life? Does all that seem more relevant nowadays?
GP: I don’t think the term “found family” was floating around much when the movie first came out. But that’s at its core and it’s eternally relevant.
AIPT: Do you touch on/reference at all the TV series from 2003-2006?
GP: We’re designing the comic book for maximum accessibility, so that anyone who’s just seen the movie can immediately feel at home. So we’re not delving deeply into the continuity of the television series, although we’re also trying not to contradict anything in the series, either.
Variant cover by Jennifer Meyer. Courtesy of Dynamite.
AIPT: You’ve written great all-ages stuff before, including Mech Cadets. What are the challenges and opportunities of gearing things for a more well-rounded audience?
GP: I don’t think about it all that much, honestly — I just write from the heart while trying to lean into as much emotional honesty and sheer fun as I can in the telling. I mean, I’m more conscious about how any violence and any possible romance are portrayed, of course. But I’m not shying away from real emotional struggles. That’s key to the success of any story, whether the reader is six or sixty.
AIPT: Similarly, what are the tactics or techniques for a book that proves to be good for both kids and adults? Is it just plain old effective storytelling?
GP: Mostly the latter! But I think one thing that writing all ages books does especially encourage is keeping things lively. I’m always looking for ways to visually show what a character is going through emotionally, not just say it in words alone, but working in all ages books makes that feel especially important. I think there’s also real value in not overcomplicating plot for the sake of complication. Yes, mystery and suspense is key and fun, and we’ve got it in this book, but somehow when writing for all ages readers especially, I make a special effort not to get lost in overly complex plotting at the expense of emotional storytelling.
AIPT: This book marks the first big bit of interior work for Giulia Giacomino. What was it like working with her, and what did she bring to the table in shaping or influencing the story?
GP: We’re still pretty early in the process, but my gosh, have you seen her art? She’s doing tremendous work, keeping the characters right on model while giving them incredible life and energy and emotional truth. That can be really hard, but she’s absolutely nailing it.
Variant cover by David Nakayama. Courtesy of Dynamite.
AIPT: How do you balance adding something new or novel to the story and preserve whatever is most essential and beloved about it?
GP: That’s always a huge challenge with licensed work. You want to be true to the heart and soul of the work and characters, but you also have to find something new and special so readers have a real reason to pick up this new story. It’s easier than you might think as long as you get just a little wiggle room, a little space where you can do something fun and surprising with the plot while also adding something real to the emotional lives of the characters. I think we’ve got that kind of sweet spot here with Lilo & Stitch and I can’t wait for readers to have a chance to dig in.
AIPT: Do you have a favorite moment or page from the debut issue that you can tease us with? Anything you can perhaps hint at (cryptically or otherwise)?
GP: Robots from the Cluster Sovereign! Who are kind of funny and kind of terrifying! And who need something from Stitch!
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