When email and the Internet came along, I never publish an email address. I just stuck with this P.O. Box address.
ADRIAN TOMINEI never go home and take out those business cards and go to those websites.
More Adrian Tomine Quotes
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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’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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Either thought balloons or narrations or some sort of showy action, then those thoughts and realizations never existed.
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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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That partially due to the world of media and commerce, the idea of a comic book has been lost in the ghetto.
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I never go home and take out those business cards and go to those websites.
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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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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’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 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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The experience of reading a comic should not be the time it takes to turn each page.
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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.
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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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You start to feel very weighted down sometimes.
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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 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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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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And now people even of our parents’ generation are familiar with the term “graphic novel,” which is kind of amazing.
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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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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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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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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 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 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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