There are certain artists and filmmakers who, I get the impression, are trying to show off how bad their characters can be, how immoral their characters can be.
ADRIAN TOMINEFor a stretch of time, I got really caught up in the idea that what people liked about my work was that I was a young guy.
More Adrian Tomine Quotes
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I think, to its credit, this is one of the last forms of popular entertainment that I don’t sense to be discriminatory in any way.
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I started publishing my comic while I was still living with my parents.
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Just in terms of being able to be a professional artist, but also it’s nice to not have to dread introductions.
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The loner – it can have a real impact on the art when they realize, I have friends, I’m married, or I have kids. That’s certainly happened to me.
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And now people even of our parents’ generation are familiar with the term “graphic novel,” which is kind of amazing.
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I’m also probably one of the few remaining holdouts who hasn’t consented to making the e-book versions of all my work, which is annoying to some of my publishers.
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The idea of trying to make the effort to produce something, to put something out into the world, rather than just taking in all the stuff the world’s putting out at you.
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When email and the Internet came along, I never publish an email address. I just stuck with this P.O. Box address.
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And I do think it’s sort of too bad that what once was a safe haven for truly eccentric, outsider artists is no longer that thing.
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Whereas the graphic novel is now being held up as something to aspire to and as something that’s respectable for adults to read.
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Underground and alternative comics existed in a vacuum for years, where money really wasn’t an issue.
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If you’re changing diapers and going to the playground, any ambitions of being a cool guy have to fly out the window.
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But if there was a mini-comic here in my hand, I’d read it while I ate my lunch.
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I’m very grateful for it. But at the same time, it’s not a subculture-y thing anymore; it’s something that’s in the New York Times and the New Yorker.
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I get the impression from some people that unless they get direct access to characters’ thoughts and realizations.
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I think there’s a lot of evolution that’s happened in intangible ways, in terms of how I think about the work or how I plan it out.
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For a stretch of time, I got really caught up in the idea that what people liked about my work was that I was a young guy.
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But not the kind of comics that they were used to, and no, it’s not pornography, etc.
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But my impression is that the main impediment to progress in that regard is the number of people who are choosing to make a go of it.
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There’s been a lot of progress recently. And I shouldn’t make a definitive statement about this.
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I feel like if people are going to go to the effort to get a stamp and, you know, put it on an envelope that, you know, it’s a big effort these days. So I often write back.
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I think a lot of the criticism had to do with disliking the characters – which, again, I take as something of a compliment.
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There were points at which I was trying to use my art to reflect positively on myself, to almost be flirtatious through the work.
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But there are definitely pros and cons. You could also look at it as bringing in a more diverse crowd.
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No one would get into doing a black-and-white comic because they thought it might be a route to riches.
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And with this sort of increased visibility, there’s more money going around in the industry, and it changes a lot, in terms of who gets into the business as a creator, who sticks with it, and who gets pushed out.
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