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I sense a real difference in my work from the time I was younger and single and more involved in the world of music and going out to bars and all that.

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Especially for people of our generation, who really celebrated certain attitudes – the outsider.
ADRIAN TOMINE

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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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The experience of reading a comic should not be the time it takes to turn each page.
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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 wanted to avoid doing what I thought people wanted me to do.
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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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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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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’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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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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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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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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I get the impression from some people that unless they get direct access to characters’ thoughts and realizations.
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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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Who was trying to be cool by writing about young people and a certain kind of Bay Area culture that I was tangentially a part of.
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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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