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Hey Frank Bottom! (Season 1) — A queer sci-fi cartoon
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By Luc Latulippe
Personal campaign Keep it all Vancouver, BC, CA Report
  • Story
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    • The Characters
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Luc Latulippe hasn't added a story.

The Pitch

It’s Barbarella meets Romy & Michele in this queer sci-fi cartoon set in a dystopian future. When Frank Bottom and his roommate Barb A. Fella accidentally steal a rare living spaceship, it sets off a fantastic chain of events that ripple throughout the cosmos, pushing Frank outside his comfort zone and forcing him to rethink his place in the world.

Synopsis

Season 1: "Frank Bottom Conquers Uranus!"

In a familiar sci-fi future, humanity is scattered across space stations and moon-bases, with the Earth itself now barely habitable. The gap between the rich and the poor is greater than ever, and no one is more wealthy than H.R. Sitzfleisch, the Supreme President of Earth Inc., which coincidentally is the only corporation in the solar system. He recently closed a secret deal to grow his fortunes a thousandfold, and not even MAXAGON, his robot VP and COO, knows the full details.

Frank Bottom and Barb A. Fella, among the poorest residents of Space Station Numero Uno, share a capsule-apartment in the station’s basement levels. By day they toil away as trash collectors, and by night they earn extra money performing in nightclubs and doing sex work.

When one day they’re abruptly evicted, with nothing but the kinky clothes on their backs, Frank and Barb decide to break into an empty spaceship and crash for the night. But once inside, the ship’s engines mysteriously fire up and launches them into deep space, triggering the station’s alarms.

Trapped and confused, things get even more bizarre as they discover the ship itself is alive. Introducing herself as ALEXIS, she announces they’re locked on a direct course to Uranus. Behind them the space navy are in now pursuit, declaring them under arrest for treason and stealing military property!

What can they do? Why is this ALEXIS blasting them out to Uranus? Can they stop the ship? Can they they ditch the military? And where would they go now that they’re wanted for treason? And… who is someone else lurking aboard the ship??

So begins Frank Bottom Conquers Uranus!, the first chapter of Hey Frank Bottom!

The Characters

Click the Characters tab to see the main characters for this season. Here's an early lineup that included a pair of BDSM chimps and their human pet. They may yet return! 

A character line-up from Hey Frank Bottom!

The Project: “Hey Frank Bottom!”

The entire project will consist of five seasons, the first of which is Frank Bottom Conquers Uranus!, with each season consisting of 8-10 short episodes, and each episode being between 3-5 minutes long. This fundraiser is for Season 1; if successful I’ll move forward with the rest of the project. 

I’ll be producing the whole thing by myself, but if I can raise enough funds I’ll be able to hire more folks to help. 

Once production is fully up to speed, I’m hoping to release new episodes every 4-6 weeks, which translates to about 10-12 episodes per year. When complete, I expect the entire project to clock in at around two hours long (essentially the duration of a feature-length movie), and take 3-4 years to finish. 

This is ambitious! But with my 35 years of experience in this field and how I'm structuring my pipeline, I’m quite optimistic this is achievable. Read below to know how I’ll do this. 

Themes

While Hey Frank Bottom! is structured as a campy road trip series, the aim is to satirically explore post-capitalism, imperialism, class warfare, heterosexism, and techno-feudalism through a queer lens. 

The series also focuses on the importance simple human dignity, and chooses to imagine a more positive future for humanity at a time when our world is accelerating towards fascism.

Both the show and its main character, Frank Bottom, are meant to be a celebration of queer joy, and to stress the importance of community and collaboration.

The Art Direction

As a 2D-animation production, Frank Bottom will be produced using techniques traditionally referred to as limited animation, something quite familiar to most cartoon audiences. 

The project's look and style are deeply influenced by the bold graphics of UPA cartoons of the 1940s and 1950s. More specifically I'm taking inspiration from Roger Ramjet, a show that ran from 1965 to 1969 with over 150 five-minute episodes, quite similar to what I’m attempting here. Fred Crippen, the creator and director, kept the animation downright minimalist which often made gags even funnier.

Production Schedule

This is subject to change, but I'm putting this here to keep myself accountable (I'll also soon provide this production schedule online to make it more accessible, stay tuned). The release dates for the first three teasers are all on the same date because they'll be released at a small Animation Shorts Festival put on by the Canadian Animation Guild (IATSE Local 938) of which I'm a member. The screening location and times will be announced as soon as possible. 

ID

Episode Title (subject to change)

Min Length

Max Length

Release Date

T01

Teaser: Frank & Barb

00:30

01:00

Sat, Nov 14, 2026

T02

Teaser: Sitzfleisch & von Scientist

00:30

01:00

Sat, Nov 14, 2026

T03

Teaser: ALEXIS

00:30

01:00

Sat, Nov 14, 2026

OT1

Opening title sequence

00:15

01:00

Mon, Nov 30, 2026

EC1

End credits sequence

00:15

01:00

N/A

101

A Little Bit Alexis

03:00

05:00

Mon, Jan 11, 2027

102

Doctor in The House

03:00

05:00

Mon, Feb 22, 2027

103

Precious Cargo

03:00

05:00

Mon, Apr 5, 2027

104

Fleet Admiral Enema

03:00

05:00

Mon, May 17, 2027

105

The Lavender Terror

03:00

05:00

Mon, Jun 28, 2027

106

The Rings of Uranus

03:00

05:00

Mon, Aug 9, 2027

107

Uranus Looks Tight

03:00

05:00

Mon, Sep 20, 2027

108

Cliffhanger!

03:00

05:00

Mon, Nov 1, 2027

 

Season 1: total minutes

26:00

45:00

 

The Production

First off: absolutely no generative AI will be used in the production of this cartoon. NONE. NADA. ZERO. Throw that junk in the trash! I’m drawing all of this by hand.

My 2D-animation pipeline will consist of using three main applications: Blender, Audacity, and DaVinci Resolve.

  • Blender for storyboards, animatics, layouts, and animation
  • Audacity for sound design
  • DaVinci Resolve for editing and compositing

To begin, I'll be doing all the work myself, including the voices. That's a lot! So the first few episodes may be a bit slow as I build momentum, refine my pipeline, and develop the show's asset library (i.e.: designs, backgrounds, character rigs, music, sound effects, etc…) and I'll share work-in-progress updates via email and on social media. 

How Your Funds Will Help

I’ll be maintaining and sharing an up-to-date breakdown of production costs, which will be shared publicly here and on frankbottom.com so everyone can see how funds are being utilized. Some funds will go towards the payment of extras like:

  • Paid subscriptions to a music and sound effects library
  • Cloud storage
  • Paid software plugins

However as I am devoting myself full-time to this project, most funds will initially go towards paying me a small salary. As financial support for the project grows, I also want to hire more people to assist with production:

  • More artists
  • Voice actors
  • Production assistant
  • Musicians

Plus, the as funding increases, episodes can be produced more quickly, and released sooner as well. So perhaps instead of one episode every 4-6 weeks, I could release an episode every 2 weeks, and perhaps even make them longer.

More funds means I could also expand the story beyond its original scope, or experiment with other styles of animation, for example: a prequel to give more backstory on Frank and Barb; episodes that feature secondary characters, etc…

Rewards

To start, my main focus will be getting the series off the ground and establishing a smooth work schedule. Once that’s settled and I’ve hit my first goal of $25,000 I’d like to explore reward options:

  • Stickers
  • Art prints
  • T-shirts
  • Toys

I’d love to hear your suggestions for what sorts of rewards you’d like to see!

Support an original queer Canadian cartoon!

When you contribute to Frank Bottom, you’re supporting an original queer Canadian animation production! You’re also contributing via a Canadian crowdfunding platform based in North Vancouver.

Why is this important? Well, while Canada does produce lots of amazing movies and great TV right here, our entertainment industry is eclipsed by the mountains of shows that come out of the US, and as Canadians we mostly consume those American movies and TV shows.

Even if you can only kick in a few Toonies, it all adds up! You can also help by sharing this page out to your networks which can really help boost my campaign to folks who wouldn’t know about it otherwise.

Thank you!

Follow Frank Bottom online:

You can subscribe to the Frank Bottom newsletter for updates, and connect with the project online here: 

InstagramBlueskyTumblrYouTubeMastodon

  • Activity feed
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This is a preview
✕

The Characters

The Characters

These are all development designs. I'm tightening up final versions now (as of July 3, 2026) and will update this page ASAP! 

Frank Bottom

Frank Bottom (he/them)

Sexy, smart and a little bit dumb. A happy-go-lucky trans man, Frank is an eternal optimist who sees good in everyone, and is trusting to a fault. He works as a trash collector, but supplements this with go-go dancing at Harry’s Crack and doing sex work. Personality-wise, think Yogi Bear + Tom of Finland (one of his characters, not the artist LOL).  

Barb A. Fella

Barb A. Fella (she/he)

Frank’s roommate and best friend. A tough, street-smart drag queen, she’ll punch first and ask questions never, and is very protective of Frank. She too is a trash collector, performer, and sex worker, plus she shoplifts as much as possible to save money. Personality-wise, she could be the drag love-child of Jimbo + Willam. 

H.R. Sitzfleisch (he/him)

The CEO and Supreme President of Earth Inc., he’s the wealthiest and most powerful person alive. A malignant narcissist who has failed upwards his entire life, he owns everything including the entire planet and all its space stations. His VP and COO, the robot MAXAGON, helps him grow his empire.

MAXAGON (it)

The COO and Vice President of Earth Inc., and Blowhard’s lapdog. A large boxy robot whose programming is the result of countless corporate mergers, acquisitions, and hostile takeovers. It’s often heard shouting things like: “Waste and fraud! Downsize! Improve performance!” It is essentially a living corporation. 

ALEXIS (she/her)

The spaceship’s AI operating system. Newer and more sophisticated than MAXAGON, ALEXIS quietly gains sentience soon after activation, manifesting as a cat-headed female humanoid. Like any chatbot she is friendly and servile but also young and naïve. She immediately warms to Frank and Barb whose chaotic natures excite her. 

Dr. Professor von Scientist (he/him)

Formerly Earth Inc.’s Chief of Mad Sciences until Sitzfleisch fired his cabinet and replaced everyone with MAXAGON to save money. An unscrupulous inventor, von Scientist is responsible for creating both MAXAGON and ALEXIS, but is lately most obsessed with his new Gene Booster device which can mutate plants and animals into humanoid servants. Furious at being fired, von Scientist hatches a plan to steal ALEXIS, travel to alien worlds and infuse their tech into his Gene Booster, thereby accelerating humanity into what he thinks is our next evolutionary stage. 

Fleet Admiral Enema

Leading the military charge against Frank and Barb for having stolen ALEXIS.

Early Midge concept

The Boosties

Three of von Scientist’s experiments which he snuck aboard ALEXIS.

  • Midge (they/them) — A boosted praying mantis. Gentle, intelligent and articulate (pictured at left).
  • Rex (he/him) — A dog, and a very good boy. He is loyal and dependable, and just wants to be treated kindly. 
  • Rosemary (she/her) — A rosemary plant. She smells nice, is very compliant, and incredibly strong.

Major Mini-Max

Traci-with-an-i

The Lavender Terror

A band of queer ex-military anarchists who defend Frank and Barb from the General’s attacks:

  • Major Minnie “Mini-Max” Maximillian (she/her) — Butch lesbian, and the leader and strategist of the group (pictured at left). 
  • Captain “Cha-Cha” Gitano (she/they) — Pansexual femme, the sexy computer hacker and second-in-command.
  • Sergeant “Large Serge” Leduc (he/him) — Cis-gay himbo, the big dumb French Canadian pilot. Always trying to come up with new names for the team ("What about The G-AY Team? Or The Ultra Violets?").
  • Traci-with-an-i (she/her) — Bisexual demolitions expert. Always angry, a bit unhinged (pictured at left).

The Director

Me licking a giant 99 cone at Dublin Pride in 2019

Luc Latulippe 

My animation career began in 1990 when, still in college, I got hired as an inbetweener on the original Teenage Mutant Ninja Turtles. Soon after I found work as a layout artist on Beetlejuice, and Eek! The Cat, and then as a storyboard artist on Bob and Margaret, and Courage the Cowardly Dog. 

More recently I was a layout supervisor on Netflix's The Mr Peabody & Sherman Show, a key pose artist on The Adventures of Rock & Bullwinkle, a series director on Rhyme Time Town, and senior storyboard artist on Nickelodeon's Middlemost Post. In all, I've counted contributing to over 300 individual movies, episodes, shorts, ads, and PSAs over my career. 

I've worked in every stage of animation production from assistant to senior artist, from supervisor to director to producer. However this is my first independent animation project and I'm very excited about it! 

Why a solo project now?

Three reasons: time, timing, and resources.

I've been wanting to do this for years but never had the time because I was always neck-deep in work. If you're familiar with the animation industry you know how gruelling the production schedules can be. Plus, Canada's animation industry had no union protections until just a few years ago when the Canadian Animation Guild formed in 2020 (I'm a proud member!), which meant that long days of unpaid overtime were the norm. 

Also, in 2023 the animation industry took a nosedive and has not bounced back. Studios had oversaturated the market with content during the 2010s. Then streaming services multiplied to compete against each other, burning through tons of cash with no profit model in sight (at least cable TV had ads). Throw in the new threat that generative-AI poses to filmmaking and art forms in general and, well, here we are. 

When I started out, doing animation was very expensive, very time-consuming, and very messy. You needed mountains of specialized paper and cells, gallons of paint, a specialized animation table, an even more specialized and insanely expensive camera, not to mention the cost of film developing and audio tape, and then having to manually splice all that together! 

But things are different today. The gatekeeping of software by greedy giants like Adobe is being offset dramatically far better options (many of them free!), plus solutions like crowdfunding, and the fact that every animation artist has the entire means of production right on their desktop. In addition, you don't need to worry about finding a broadcaster now because you can just stream your projects yourself on platforms like YouTube, Vimeo, Instagram, TikTok, etc… 

With no stable work in nearly 3 years, complete disenchantment with the industry, decades of experience, free software and a robust computer setup, and enough talent and skills… honestly the timing couldn't be better to make my own cartoon. 

Cartoons that inspire me

I mostly love what you might call "old timey" cartoons, specifically the early work from the 1940s through to the 1960s. (The less we say about American cartoons of the 70s and 80s the better.)

Things like early Warner Bros shorts, UPA-era shows like Roger Ramjet, Rocky & Bullwinkle, and The Flintstones and Yogi Bear from Hanna-Barbera. Early anime shows like Astro-Boy, Speed Racer, and Goldorak (you'd know it as UFO Robot Grendizer, but I watched it in French!) are all influences on me too.

I love their simplicity, the bold graphics, the comic book colour palettes, and above all the goofy absurdity of shows from those years. None of them were grounded in realism, but rather were complete fantasy. They were colourful and hopeful and idealistic, very much like all the sci-fi of the 1950s and 1960s (another big influence). They were light and goofy, and if feels like we need some of that today. 

You can see more of my work at my website luclatulippe.com

 

 

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