Gene Luen Yang Quotes
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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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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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I think every time you work with another collaborator, there's an adjustment process where you figure out the other person's strengths, and that has definitely happened for me.
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When you work with somebody else, you automatically get a mixed voice. You hope it will benefit the story. But you don't know what the result will be.
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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.
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There's bleeding between age groups in terms of reading material, and there's bleeding between media. So there are books that are clearly comics and books that are prose, and then there are these books that are kind of in-between.
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I was really worried that sitting at home by myself in front of a computer was going to make me crazy.
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During the Cultural Revolution, the communists came in, and what they wanted to do was eradicate all sense of traditional Chinese culture.
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Dwayne McDuffie was one of my favorite writers. When I was growing up, he was one of the few African Americans working in American comics.
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I think a lot of the things in my life that I become most passionate about, and most excited about, are all from comics.
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Figuring out a way to balance the Boxer story with the Chinese Christians was difficult.
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Nobody really knows for sure how the Boxer Rebellion started. It began among the poor, and the history of the poor is rarely written down.
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Every superhero has this superhero identity and a civilian identity. A lot of their lives are about code switching.
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When I first started making comics, I was living with a bunch of guys, old college friends. We had this deal. At the end of each day, they would ask me how far I'd gotten on my comic. And if I hadn't made my goals, they were supposed to make me feel really bad about myself. They happily obliged.
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There's something about the intimacy of comics that gives you a false bravado; you don't always consider the consequences.
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I would hope that maybe math teachers could use 'Prime Baby' as a way of establishing an emotional connection between students and numbers.
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In my classroom, I would start my lessons with a quick review of an old topic. Then, I would introduce a new topic. Finally, I would give my students a problem to solve on their own, one that would reinforce what I'd just taught.
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Carl Barks and Don Rosa are two of my favorite cartoonists ever.
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Superman has been around for so long; he's been around for, what, eight decades now? And he goes through these different eras where different aspects of who he is get emphasized.
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'Shadow Hero' was my first superhero story. I don't know why it took so long.
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The thing about research is that there's no end. You constantly have this fear that an expert who knows more than you will call you out on some detail in your book.
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Comics are such a powerful educational tool. Simply put, there are certain kinds of information that are best communicated through sequential visuals.
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I took a Logo programming class in fifth grade. Logo is a language specifically designed for the classroom environment. It was basically doodling through words.
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My brain subconsciously limits itself to panel compositions that my hand can actually draw.