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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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Just in terms of being able to be a professional artist, but also it’s nice to not have to dread introductions.
ADRIAN TOMINE

Able Artist Dread Introduction Nice People Professional Term
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.
ADRIAN TOMINE

Evolution Happened Intangible Lot Term Thinking Way
That partially due to the world of media and commerce, the idea of a comic book has been lost in the ghetto.
ADRIAN TOMINE

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Either thought balloons or narrations or some sort of showy action, then those thoughts and realizations never existed.
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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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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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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 TOMINE

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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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But not the kind of comics that they were used to, and no, it’s not pornography, etc.
ADRIAN TOMINE

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It’s psychologically a weird experience to be so aware of the fact that the real time of your life is moving much faster than the fictional time you’re trying to depict.
ADRIAN TOMINE

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I think there’s this general hunger for greater diversity, where publishers are really excited about finding different voices than what has been done.
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You start to feel very weighted down sometimes.
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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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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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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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Especially for people of our generation, who really celebrated certain attitudes – the outsider.
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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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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 in terms of getting new artists who are not in that sort of stereotypical teenage boy demographic.
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I never go home and take out those business cards and go to those websites.
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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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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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There’s been a lot of progress recently. And I shouldn’t make a definitive statement about this.
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I’m getting to a point in my life where my whole attitude about the relationship between myself and the audience is totally different.
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I do think it’s getting more and more rare in this country to raise a kid with the attitude that creativity is something valuable.
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But if there was a mini-comic here in my hand, I’d read it while I ate my lunch.
ADRIAN TOMINE

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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.
ADRIAN TOMINE

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