Adrian Tomine Quotes
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I never really thought of myself as an Asian-American cartoonist, any more than I thought of myself as a cartoonist who wears glasses.
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I used to live in Chris Rock's former apartment. I've got some junk mail for him if he wants it.
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For a long time, I was very resistant to the idea of online publication or even e-books or something like that.
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To be perfectly honest, if it was up to me, I would be invisible as an artist.
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My early comics are really reflective of being kind of a befuddled, single loser in the Bay Area, and I think having kids has been by far the most profound impact on me as a person and as an artist.
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I'm not the best person to analyze any kind of evolution in my work, but I do feel like it's been an ongoing struggle to basically teach myself how to tell the kinds of stories that interest me in comics form.
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There have been a handful of assignments over the years that I've had to turn down due to time constraints, and I was fairly envious when I saw the finished product, beautifully illustrated by someone else.
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In general, daily strips were just a regular part of my childhood. So even if I wasn't a huge fan of most of those strips, I still read them religiously every morning while I ate my cereal.
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'Shortcomings' was me figuring out who I am.
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I think that artists, at a certain point, can either become defiant and say that the audience is wrong, readers don't get them, and they're going to keep doing it their own way, or they can listen to the criticism - and not necessarily blindly follow the audience's requests and advice.
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It's a strange thing to be a so-called alternative cartoonist, because in the early part of my career, I was really tethered to the superhero world.
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I think that if you are looking at a comic that's made by one person, that there's just a level of intimacy that I don't really see anywhere else.
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The most impactful comics that I've read are the ones where the artists swung for the bleachers and tried to immerse you in their world.
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The story entitled 'Good-Bye' is probably Tatsumi's most well-known work, and I think it's a good representation of many of Tatsumi's skills and stylistic tendencies.
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My responsibility is to present things in a way that is realistic and true to the multifaceted world I've known... This is how I think the world is, not how it should be.
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When I'm sitting at my drafting table in my studio, I could really be anywhere.
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I would honestly be elated if I could wave a magic wand and eradicate my back catalog and then have a fresh crack at some of those ideas.
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I had a mundane, happy childhood, without much struggle.
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I hated 'Dilbert.'
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I wanted to be as invisible as possible as an artist. I wanted to differentiate between myself and who I'm writing about.
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I'm an unabashed fan of 'The New Yorker.' I do feel proud when I see my artwork in there.
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I think having kids has been the biggest influence on my work since I started publishing.
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I think comics can be the basis for great films, but I think the focus of such a project should be on making the film as good as possible, not on painstakingly replicating the comic.
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A lot of the qualities in 'Killing and Dying' is sort of a response to work I'd done previously. I wanted to push myself in some different directions.