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.
ADRIAN TOMINEWho 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.
More Adrian Tomine Quotes
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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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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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But if there was a mini-comic here in my hand, I’d read it while I ate my lunch.
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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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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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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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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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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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For me, like, the more interesting a letter is I just get more excited and I know that this going to be great for my friends who are looking forward to reading that in my comic.
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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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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 get the impression from some people that unless they get direct access to characters’ thoughts and realizations.
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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.
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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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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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Underground and alternative comics existed in a vacuum for years, where money really wasn’t an issue.
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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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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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“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’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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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 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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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 wanted to avoid doing what I thought people wanted me to do.
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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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