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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 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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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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I think in terms of getting new artists who are not in that sort of stereotypical teenage boy demographic.
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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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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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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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I wanted to avoid doing what I thought people wanted me to do.
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Look, there’s no denying that comics have moved dramatically into the mainstream in North American culture in the last 10 years.
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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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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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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.
ADRIAN TOMINE

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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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The experience of reading a comic should not be the time it takes to turn each page.
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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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And now people even of our parents’ generation are familiar with the term “graphic novel,” which is kind of amazing.
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“What you do for a living?” It used to be easier just to tell people that I was a magazine illustrator than try to explain that I did comics.
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