Luke Pearson

Luke Pearson is a British cartoonist, illustrator, and comic book writer renowned for creating the Hilda series of graphic novels, which blend whimsical adventure, folklore, and subtle mystery in a richly illustrated world centered on a fearless young explorer.^[1][2] The series, first published by Nobrow Press in 2010, follows the titular character Hilda as she encounters trolls, elves, and other mythical creatures in a Scandinavian-inspired landscape, earning widespread acclaim for its charming storytelling and Pearson's distinctive, fluid linework that captures both childlike wonder and quiet lyricism.^[1][2] Pearson graduated with a degree in illustration in 2010 and quickly emerged as a leading talent in the UK comics scene, contributing to various anthologies and self-publishing small-run homemade comics before achieving breakout success with Hilda and the Troll, the debut volume of his flagship series.^[2] His work has been recognized with the 2012 British Comic Award in the Young People’s Comic category, a 2013 Eisner Award nomination for Best Publication for Kids and Best Writer/Artist, and a 2025 Eisner Award for Best Publication for Early Readers for Hilda and Twig: Hide from the Rain.^[2][3] Additionally, Pearson served as a storyboard artist on the animated series Adventure Time, honing his skills in dynamic visual narrative.^[1][2] The Hilda franchise expanded into animation with a Netflix series in 2018, for which Pearson contributed as a writer and designer; the first season won a BAFTA Children’s Award for Best Animation in 2019 and multiple Daytime Emmy Awards, with the series concluding its third and final season in 2023 and receiving Emmy nominations in 2025.^[1][4] Through his blend of traditional and digital techniques, Pearson returned to the Hilda universe in 2024 with the spin-off series Hilda and Twig, continuing to produce works that emphasize exploration, friendship, and the magic in everyday oddities, inspiring a new generation of readers and viewers.^[2][1][5]

Early life and education

Childhood and family

Luke Pearson was born on 12 October 1987 in Stockton-on-Tees, County Durham, England, but he mainly grew up in Tamworth, Staffordshire.^[6][7] He grew up in a supportive family environment with two parents and at least one sibling, where reading aloud fostered his early love for stories and illustrations.^[8] His father, for instance, read J.R.R. Tolkien's The Hobbit to him, leaving a lasting impression of iconic fantasy scenes that sparked his imagination.^[9] From a young age, Pearson was notably shy, preferring to stay indoors and immerse himself in drawing rather than outdoor socializing.^[10] This hobby evolved into sketching fantasy worlds inspired by childhood books; for example, Paul Stewart and Chris Riddell's Beyond the Deepwoods prompted him to begin plotting and illustrating his own adventure novel.^[9] He also discovered illustrated stories like Tove Jansson's Moomin series during primary school, where he frequently drew the characters, marking an early encounter with comics that shaped his storytelling style.^[9] Pearson drew from personal experiences in his youth for elements in his work, such as his time as a scout, which involved camping trips that felt challenging and unskilled to him—memories he later incorporated into Hilda and the Black Hound.^[8] These formative years highlighted his introspective nature and passion for creative expression, laying the groundwork for his career in illustration.

Academic training

Pearson attended Loughborough University, where he pursued a Bachelor of Arts in illustration. He graduated in 2010, having developed his skills through focused studies in visual storytelling.^[11] During his university years, Pearson rediscovered his interest in comics, incorporating them into his coursework to explore sequential narratives and artistic experimentation.^[7] This period marked his initial exposure to alternative comics, influenced by works in pop surrealism and artists such as Chris Ware and Tom Gauld, which shaped his approach to character development and illustrative sequencing.^[7] Family encouragement in his early artistic pursuits had sparked this path toward formal training in illustration.^[7]

Professional career

Early works and influences

Pearson's professional journey began shortly after graduating from Loughborough University in 2010 with a degree in illustration, which equipped him with essential skills in narrative visuals and character design.^[12] That same year, he self-published Dull Ache, a 40-page black-and-white zine compiling short comics, drawings, and sketchbook pages, including an original strip titled "Beds."^[13] This modest release marked his initial foray into independent comics production, showcasing raw, experimental storytelling that reflected his developing style. Between 2010 and 2012, Pearson continued producing self-published zines and small-run homemade comics, often distributed at events like comic conventions, allowing him to refine his craft outside traditional publishing channels.^[11] In 2010, Pearson made his professional debut with short stories contributed to UK-based anthologies, including Solipsistic Pop and Ferocious Quarterly.^[14] These pieces highlighted his emerging talent for concise, introspective narratives. His submissions drew the attention of Nobrow Press, resulting in his inclusion in their 2011 yearly anthology and the publication of his debut graphic novella, Everything We Miss, a poignant exploration of a deteriorating relationship through subtle, everyday moments.^[14][11] This collaboration with Nobrow solidified his entry into the indie comics scene, emphasizing his ability to blend emotional depth with minimalist visuals. Parallel to his comics work, Pearson built a freelance illustration portfolio through commissions for magazines and book covers. Early projects included music-themed strips for The Stool Pigeon in 2012 and cover art for literary classics such as Lucky Jim by Kingsley Amis and Moby Dick by Herman Melville, demonstrating his versatility in adapting his whimsical linework to editorial and publishing needs.^[14][15] Pearson's early aesthetic was shaped by a range of influences from comics, animation, and folklore. He drew heavily from Tove Jansson's Moomin series, first encountered through its 1990s television adaptation, which sparked his interest in Scandinavian mythology and gentle, fantastical worlds.^[10] The adventurous spirit and intricate environmental details in Hayao Miyazaki's Studio Ghibli films, such as My Neighbor Totoro, further informed his narrative approach, emphasizing wonder and harmony with nature.^[10][15] These elements, combined with broader inspirations from indie comics and manga, guided his pre-breakthrough experiments in capturing the mundane infused with the magical.

Hilda series development

The Hilda series originated in 2010 as a 24-page short graphic novel titled Hildafolk, later retitled Hilda and the Troll, published by Nobrow Press.^[16][17] In this initial story, Pearson aimed to capture a simple tale of curiosity and encounter with the unknown, introducing Hilda, a bold blue-haired girl living in a remote cabin with her mother, as she ventures into the wilderness and befriends a seemingly menacing troll that proves to be the gentle Wood Man, a woodland spirit.^[16] Building on this foundation, Pearson expanded the narrative into a series of full-length graphic novels, beginning with Hilda and the Midnight Giant in 2011, which marked a shift to more intricate storytelling and larger page counts to accommodate an evolving world.^[16][18] The publication history continued under Nobrow and its children's imprint Flying Eye Books, with subsequent volumes including Hilda and the Bird Parade (2012), Hida and the Black Hound (2014), Hilda and the Stone Forest (2016), and culminating in Hilda and the Mountain King (2019), each delving deeper into Hilda's journeys while increasing the scope of her fantastical environment.^[18] At its core, the series weaves themes of adventure and folklore within a lush, Scandinavian-inspired landscape populated by mythical beings such as elves, giants, and nisse, often highlighting environmentalism through Hilda's respectful interactions with nature and critiques of human encroachment on wild spaces.^[17][19] These elements underscore a sense of wonder and coexistence, as Hilda confronts eerie yet non-violent perils that blend the eerie strangeness of traditional tales with personal growth.^[20] Hilda's character develops across the volumes from an independent explorer embracing solitude in the wild to a more socially integrated figure adapting to the bustling city of Trolberg, learning lessons in empathy and resilience.^[16] Her loyal companion, Twig the deerfox—a hybrid creature who starts as a silent pet—evolves into a more expressive and proactive ally, with expanded roles that reveal his inner thoughts and budding leadership, particularly in later stories.^[16] The Wood Man, revealed as the "troll" from the debut, recurs as a wise, enigmatic guide, embodying the series' folklore roots and aiding Hilda in unraveling mysteries tied to the natural world.^[16][21]

Other comics and illustrations

Pearson's standalone comics outside the Hilda series delve into introspective and relational themes. His 2011 publication Everything We Miss, released by Nobrow Press, captures the overlooked moments surrounding a deteriorating relationship through vignettes that span space and time, emphasizing subtle emotional undercurrents rather than overt narrative drama.^[22][23] The work showcases his ability to blend minimalist storytelling with evocative, hand-drawn visuals, drawing from personal reflections on longing and miscommunication.^[24] He has also contributed to several comic anthologies, expanding his range into adapted folklore and experimental shorts. A prominent example is his 2013 adaptation of the Japanese fairy tale "The Boy Who Drew Cats," featured in Fairy Tale Comics: Classic Tales Told by Extraordinary Cartoonists, edited by Chris Duffy and published by First Second Books; the story follows a young artist's encounter with supernatural elements, rendered in Pearson's signature whimsical yet eerie style.^[25] Additional pieces appear in Nobrow anthologies such as Nobrow 6: The Double (2010) and Nobrow 8: Hysteria (2012), where his shorts explore themes of duality and urban unease.^[26] In 2024, Pearson collaborated with Gosh Comics on How Long Have I Been Lying Here?, a curated collection of his previously out-of-print short stories from indie publications, highlighting his evolution in cartooning through varied narrative experiments and self-reflective motifs.^[27][28] Beyond comics, Pearson's illustration work includes high-profile assignments for major publications and publishers. He designed the cover for The New Yorker's April 22, 2013, "Journeys" issue, depicting a surreal space terminal launching a red pod into the cosmos, which blended science fiction with everyday travel motifs.^[29][30] Additionally, he provided interior illustrations for Karen Russell's short story "Bog Girl" in the magazine, using delicate linework to evoke mythological and contemporary tensions.^[31] For Penguin Books, Pearson created a series of covers for Kyril Bonfiglioli's Charlie Mortdecai novels, reimagining the crime thrillers with bold, illustrative flair that incorporated playful character silhouettes and period-inspired patterns.^[32] These projects underscore his versatility in adapting his fluid, expressive style to editorial and commercial contexts.

Graphic Novels

• Hildafolk (2010, Nobrow Press). The debut installment in the Hilda series.
• Everything We Miss (2011, Nobrow Press). A collection of short stories exploring everyday moments and subtle emotions.
• Hilda and the Midnight Giant (2011, Nobrow Press). The second Hilda graphic novel, following Hilda's encounter with a colossal figure.
• Hilda and the Bird Parade (2012, Nobrow Press). The third entry in the series, featuring Hilda's participation in a fantastical parade.
• Hilda and the Black Hound (2014, Flying Eye Books). The fourth Hilda adventure, reintroducing the series under the Flying Eye imprint with Hilda facing a spectral threat.
• Hilda and the Stone Forest (2016, Flying Eye Books). The fifth book, where Hilda navigates a mysterious forest of petrified creatures.
• Hilda and the Mountain King (2019, Flying Eye Books). The concluding mainline Hilda graphic novel, culminating in an epic journey to the mountain king's realm.
• Hilda and Twig: Hide from the Rain (2024, Flying Eye Books). The first in a new Hilda spin-off series focusing on younger adventures with her friend Twig during a storm.
• Hilda and Twig: Wake the Ice Man (2025, Flying Eye Books). The second installment in the Hilda and Twig series, involving an icy quest to revive a frozen figure.

Collections and Treasuries

• Hilda: The Wilderness Stories (2021, Flying Eye Books). A treasury compiling the first two Hilda volumes: Hildafolk (as Hilda and the Troll) and Hilda and the Midnight Giant, with additional sketches.
• Hilda: The Trolberg Stories (2022, Flying Eye Books). Collects the third and fourth Hilda books: Hilda and the Bird Parade and Hilda and the Black Hound, including bonus material.
• Hilda: Night of the Trolls (2023, Flying Eye Books). A treasury of the fifth and sixth volumes: Hilda and the Stone Forest and Hilda and the Mountain King, with creator notes.

Anthologies and Short Contributions

Pearson's short works appear in various UK and international comic anthologies, including:

• Contribution to Solipsistic Pop 10 (2010, Solipsistic Pop Books). A short comic exploring whimsical narratives.
• "Ahuizotl" in Spera: Volume 1 (2011, Archaia Entertainment). A fantasy short featuring mythical creatures.^[33]
• "The Boy Who Drew Cats" in Fairy Tale Comics: Classic Tales Told by Extraordinary Cartoonists (2013, First Second Books), edited by Chris Duffy. An illustrated adaptation of a Japanese folktale for young readers.
• Various shorts in Ferocious Quarterly (2010–2012). Experimental pieces on daily life and absurdity.

Illustrated Collaborations

• Hilda and the Hidden People (2018, Flying Eye Books). Tie-in novel based on the animated series, written by Stephen Davies and illustrated by Pearson.
• Hilda and the Great Parade (2019, Flying Eye Books). Second tie-in, written by Davies with Pearson's illustrations.
• Hilda and the Nowhere Space (2020, Flying Eye Books). Third collaboration in the prose series.
• Hilda and the Time Worm (2020, Flying Eye Books). Fourth illustrated tie-in novel.
• Hilda and the Laughing Merman (2021, Flying Eye Books). Fifth entry in the series.

Media adaptations and collaborations

Hilda animated series

In 2016, Netflix announced an animated adaptation of Luke Pearson's Hilda graphic novel series, with Silvergate Media producing the 13-episode first season for a premiere in early 2018.^[34] The series debuted on September 21, 2018, following the adventures of the fearless young explorer Hilda as she encounters mythical creatures and navigates urban life after moving from the wilderness. Pearson served as co-executive producer and contributed to the writing, ensuring the adaptation captured the whimsical folklore-inspired essence of his original comics. The series expanded with a second season released on December 14, 2020, and a third and final season on December 7, 2023, each comprising 13 episodes that further developed Hilda's world and relationships. Complementing the television run, the feature-length special Hilda and the Mountain King premiered on Netflix on December 30, 2021, adapting Pearson's 2019 graphic novel of the same name and focusing on Hilda's transformative journey into troll territory.^[35] Pearson reprised his roles as co-executive producer and writer for both the additional seasons and the film, collaborating closely with the production team to expand on the source material while preserving its core themes of curiosity and wonder. Produced in partnership with Silvergate Media and animated by Mercury Filmworks, the series featured a notable voice cast, including Bella Ramsey as the titular character Hilda, whose spirited performance helped bring Pearson's creation to life. Pearson's hands-on involvement extended to episode-specific contributions, such as co-writing the premiere episode "Chapter 1: The Hidden People," which introduces Hilda's encounters with invisible elves and sets a tone faithful to the exploratory spirit of the comics. Through his oversight, the adaptation maintained visual and narrative fidelity to the originals, blending hand-drawn aesthetics with dynamic storytelling to appeal to both young audiences and fans of the graphic novels.^[36]

Other television and film contributions

Pearson's involvement in television animation began with contributions to the Cartoon Network series Adventure Time, where he worked as a storyboard artist and writer from 2013 to 2015.^[37] He co-storyboarded episodes such as "Frost & Fire" with Somvilay Xayaphone, which explored themes of elemental conflict in the show's fantastical world, and "Candy Streets" alongside the same collaborator.^[38] Additionally, he partnered with Emily Partridge on storyboarding "Football," a lighthearted episode featuring sports and adventure.^[38] These roles allowed Pearson to apply his comic illustration expertise to dynamic sequencing and visual storytelling in animation.^[10] A notable highlight was his work on the Stakes miniseries, an eight-episode arc in Adventure Time's seventh season that delved into Marceline's vampire backstory. Pearson co-wrote and co-storyboarded the episode "May I Come In?" with Emily Partridge, focusing on supernatural tension and character development, and contributed teaser artwork for the series to build anticipation. His storyboard drawings for these projects, often shared publicly, demonstrate a seamless blend of hand-drawn whimsy and narrative pacing derived from his graphic novel background.^[37] Beyond Adventure Time, Pearson collaborated with his partner, illustrator Philippa Rice, on Soft Spot, an ongoing series of short stop-motion animations launched around 2014. This project consists of micro-anthology episodes featuring brief, intimate vignettes about everyday life, with Pearson providing animation segments, illustrations, and creative input.^[39] The series, available on YouTube, showcases his versatility in low-fi animation techniques, emphasizing humor and relational dynamics through simple, tactile visuals.^[40] Up to 2024, Soft Spot has released multiple episodes, serving as a personal outlet for Pearson's exploratory animation work outside major studio productions.^[41] In guest capacities, Pearson has provided illustrations and design elements for various animated shorts and projects, including contributions to Disney Television Animation initiatives, though specifics remain tied to broader illustrative support rather than full production roles.^[42] These efforts highlight his ongoing influence in animation, bridging comics and screen-based media through targeted visual contributions.^[43]

Filmography

Pearson's contributions to film and television began with animation work on the Cartoon Network series Adventure Time, where he served as a storyboard artist on select episodes from 2013 to 2015, including "Candy Streets" (Season 5, Episode 25; July 29, 2013), "Frost & Fire" (Season 5, Episode 30; August 5, 2013), "Football" (Season 7, Episode 5; November 6, 2015), and "May I Come In?" (Season 7, Episode 10; November 18, 2015).^[37][38] He transitioned to a more prominent role as creator, writer, and executive producer for the Netflix animated series Hilda, which aired from 2018 to 2023 across three seasons totaling 39 episodes.^[44][45] In 2021, Pearson wrote the screenplay for the feature-length animated film Hilda and the Mountain King, a direct continuation of the series produced by Silvergate Media and Mercury Filmworks.^[46] No additional credited film or television projects have been announced or released through 2025.^[6]

Recognition and legacy

Awards and nominations

Pearson's work in comics has garnered several prestigious recognitions in the industry. In 2012, Hilda and the Midnight Giant won the Young People's Comic Award at the British Comic Awards, highlighting its appeal to young readers through its imaginative storytelling and artwork.^[47] In 2013, Hilda and the Midnight Giant received Eisner Award nominations for Best Publication for Kids and Best Writer/Artist.^[48] For his contributions to children's graphic novels, Pearson received an Eisner Award nomination in 2014 for Best Publication for Kids for Hilda and the Bird Parade, which was praised for its engaging narrative of urban adjustment and folklore-inspired adventures.^[49] In 2025, Pearson achieved a significant milestone by winning the Eisner Award for Best Publication for Early Readers for Hilda and Twig Hide from the Rain, the first British comic to secure this honor, recognizing its innovative format with full-page spreads and focus on friendship during a storm-bound escapade.^[50] The animated adaptation of his Hilda series also earned multiple nominations at the Annie Awards, including for Best Animated Television/Broadcast Production for Children in 2019 and 2021, underscoring the successful translation of his original vision to screen.^[51][52]

Critical reception and impact

Pearson's Hilda series has received widespread acclaim for its whimsical storytelling, which blends everyday adventures with fantastical elements drawn from Scandinavian folklore, creating a captivating world of trolls, giants, and elves. Critics have praised the narrative's ability to weave humor and thrill through contrasting scales of miniature and gigantic realms, as seen in reviews of Hilda and the Midnight Giant, described as a "stunning graphic novel" featuring a "feisty blue-haired heroine and a variety of strange wondrous creatures."^[53] Similarly, The New York Times highlighted the "exuberant and lively" plots in Hilda and the Bird Parade, noting its "faintly Miyazakian" charm and visually arresting style that immerses readers in a "glorious, exciting if also rather menacing place."^[54] The series has also been lauded for its diverse representation, portraying Hilda as an independent, resourceful young girl who serves as a positive role model, particularly for female readers, while depicting a racially diverse human world among her peers and addressing themes of prejudice through her empathetic interactions with mythical creatures.^[55] In the animated adaptation, this extends to storylines where human attitudes toward non-human beings mirror racism, with Hilda actively challenging biases by forging individual friendships, such as with a Nisse spirit.^[56] The New York Times further commended Hilda's use of "brains and heart" to navigate challenges and make unlikely friends in her magical, vaguely Northern European setting, emphasizing her as a "fearless little blue-haired heroine."^[57] Pearson's work has significantly impacted children's graphic novels by sparking greater interest in the format among young readers and elevating indie publishing through its mainstream success. The Hilda books, gorgeously drawn and focused on emotional growth, have inspired budding creators by demonstrating accessible, imaginative storytelling that encourages drawing and exploration, as evidenced by young fans replicating giants from the tales.^[53] This influence is amplified by the Netflix adaptation, which Pearson helped develop through writing and storyboarding, bridging comics' solitary authorship with animation's collaborative process and expanding the audience for graphic novels via tie-in prose books and reprints.^[58] Following the 2025 Eisner Award win for Hilda and Twig: Hide from the Rain as the first British comic in the Best Publication for Early Readers category, industry analyses have noted Pearson's growing legacy in fostering innovative children's comics that blend folklore with modern themes, further solidifying his role in indie publishing's expansion.^[59]

Artistic style and themes

Visual techniques

Pearson's visual techniques blend traditional drawing methods with digital finishing to create immersive, expressive worlds in his comics and illustrations. He starts with rough pencil sketches on paper, frequently erasing and redrawing elements—sometimes to the point of wearing through the page—before committing to ink using a range of tools including brush pens, fineliners, dip pens, and brushes for varying line weights and textures. This inking process allows for dynamic, fluid lines that convey movement and emotion, particularly in the expansive landscapes of the Hilda series. The inked pages are then scanned and colored digitally in Photoshop, where Pearson applies soft gradients and layered hues to achieve textured, painterly effects reminiscent of traditional media, enhancing the organic feel of Hilda's folklore-inspired environments.^[60][15] In Hilda, Pearson's color palette features vibrant accents like reds, golds, and blues for key characters and elements, set against muted earth tones in the backgrounds that evoke a whimsical yet grounded folklore atmosphere. These choices not only highlight protagonists against natural settings but also contribute to the series' cozy, adventurous tone, with desaturated greens, browns, and grays dominating the vast, textured landscapes to suggest depth and mystery.^[61][62] Pearson's sequential paneling techniques prioritize pacing and emotional resonance, varying layouts to match narrative needs. This approach builds tension and empathy, as seen in Hilda's explorations of discovery and peril, where panel transitions guide the reader's eye through environmental details and character expressions. Over time, Pearson's methods have evolved from the black-and-white limited palette of early works like Hildafolk (2010) to richer, full-color digital explorations in later volumes of the series.^[15][60]

Influences and inspirations

Luke Pearson's creative work, particularly the Hilda series, draws heavily from literary sources that emphasize whimsical world-building and a blend of everyday wonder with the fantastical. A primary influence is Tove Jansson's Moomin series, which Pearson has cited for its masterful integration of strangeness, delight, and curiosity into richly imagined environments.^[63] This inspiration manifests in Hilda's folklore-infused landscapes, where ordinary adventures intersect with mythical creatures in a harmonious, exploratory manner.^[64] Pearson has repeatedly highlighted Jansson's impact in interviews, noting how the Moomin books shaped his approach to crafting gentle, introspective narratives for young readers.^[10] Visually, Pearson's style reflects the environmental storytelling and expressive character designs found in Studio Ghibli films, particularly those directed by Hayao Miyazaki. He has acknowledged making a conscious effort to incorporate Miyazaki's influence, evident in Hilda's lush, nature-centric worlds where human and supernatural elements coexist in fluid, animated-like sequences.^[65] This draws from Miyazaki's anime, such as Spirited Away, which emphasize ecological themes and the innocence of youthful protagonists navigating magical realms.^[66] Critics and Pearson himself have connected these elements to Ghibli's tradition of blending folklore with detailed, immersive backdrops that prioritize harmony between characters and their surroundings.^[67] In the realm of comics, Pearson's influences span European bande dessinée traditions and the UK indie scene, informing his narrative pacing and visual experimentation. He has named artists like Chris Ware and Dan Clowes as key figures in the indie landscape whose work resonates with his own approach to storytelling infused with subtle fantasy.^[10] Personal experiences and cultural research further shape Pearson's output, particularly the Scandinavian folklore that underpins Hilda's setting of trolls, elves, and giants. In a 2018 interview, he discussed drawing directly from these folk tales to create the series' mythical wilderness, blending them with his imaginative interpretations to form Trolberg—a city named after local trolls and mountains.^[68] This foundation allows Hilda to evoke a timeless, folklore-driven world without relying on specific historical locales, prioritizing the low-key strangeness of Scandinavian myths in everyday contexts.^[63]