Gene Luen Yang Quotes
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The project that I did between 'Boxer & Saints' was 'The Shadow Hero,' which is illustrated by Sonny Liew, an artist who lives in Singapore.
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The most labor-intensive part of putting together a comic is the drawing.
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For 'Boxers and Saints', the tension between Eastern and Western ways of thinking was very personal for me, and I needed to control every aspect.
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My experience of Chinese culture is indirect, through echoes. When I approach the cashier at my local Chinese supermarket, they switch to English before I've even said a word. They somehow know that I'm not quite Chinese enough.
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With my own comics, I try hard to get the vision in my head onto paper, to have one match the other as closely as possible. With the 'Airbender' comics, I'm working with someone else's vision, an already-established vision. I want to stay true to what's come before.
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Both my mother and my father grew up in Asia, in a time of political instability. They'd earned college degrees before setting foot in the States but had to work menial jobs early on in order to make ends meet.
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I love hearing people who are smarter than me talk about my comics. It makes me feel smarter.
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I was a huge fan of the Bruce Timm animated series and, of course, the live action 'Lois & Clark' series. I watched that when I was in college.
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'Boxers' was more time consuming simply because it was longer, but 'Saints' was definitely harder. I think it's just hard to talk about faith in general.
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The rumor is Chu Hing really wanted the 'Green Turtle' to be Chinese American, but the publisher didn't think that would sell. If you read those books, the hero almost always has his back facing the camera so you can't see his face. When he turns around, his face is obscured.
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For 'Boxers & Saints,' I started by reading a couple of articles on the Internet, then writing a really rough outline, then getting more hardcore into the research. I went to a university library once a week for a year, year and a half.
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I grew up on monthly comics. My closet is full of monthly comics. I've always wanted to do a monthly comic, and while I've had a couple of offers, the timing has never worked out. Most superhero comics come into the world as monthly series, so we wanted the same for 'The Shadow Hero.'
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I got these big coffee table books about Chinese opera from the local library, and I loved looking through them. I loved studying the intricate costumes and figuring out how to 'cartoonify' them.
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Ch'in Shih-huang is the first emperor of China. He united seven separate kingdoms into a single nation. He built the Great Wall and was buried with the terra-cotta soldiers. The Chinese have mixed feelings about him. They're proud of the nation he created, but he was a maniacal tyrant.
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In traditional Asian arts, the word and the picture always sit next to each other. I have an aunt, a Chinese brush painter, who told me that when you do a Chinese brush painting, you have to pair the image up with some poetry.
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When you work on a pre-existing character, when you end up getting invited to be part of a legacy character like Superman, I don't feel like it would be true to the character if all I did was go in looking to express my own voice.
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I think, pretty much like everyone around my age, I grew up playing those classic video games. I wouldn't say I was addicted to them, but I definitely liked them.
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I grew up with an Apple 2E - I had a deep, emotional attachment to that machine - and I loved doodling.
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The premise of 'Secret Coders' is reminiscent of 'Harry Potter.' An intrepid band of tweens stumbles upon a secret school, only instead of teaching magic, the school teaches coding.
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I talk about religion because it's one of the ways human beings find power and belonging. Religion is more than just that - I think faith traditions give us ways to talk about experiences of the numinous, too - but power and belonging are a big part of it.
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We have to allow ourselves the freedom to make mistakes, including cultural mistakes, in our first drafts. I believe it's okay to get cultural details wrong in your first draft. It's okay if stereotypes emerge. It just means that your experience is limited, that you're human.
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In the early '90s, I was finishing up my adolescence. I visited my local comic-book store on a weekly basis, and one week I found a book on the stands called 'Xombi,' published by Milestone Media.
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Creativity requires input, and that's what research is. You're gathering material with which to build.
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I have a fairly limited drawing style. I'm not like my friend Derek Kirk Kim, who can pretty much change his style at will. My drawing style can handle some of my stories, but not all of them.