Adrian Tomine Quotes
Adrian Tomine (born May 31, 1974), a popular contemporary cartoonist, is best known for his ongoing comic book series Optic Nerve and his illustrations in The New Yorker
Read more about this author on Wikipedia
I'm always pointing things out to native New Yorkers that I think are weird about this place and their culture and all that. But I feel like my friends and family from California feel like I've totally "become a New Yorker."
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. You start to feel very weighted down sometimes.
That partially due to the world of media and commerce, the idea of a comic book has been lost in the ghetto, whereas the graphic novel is now being held up as something to aspire to and as something that's respectable for adults to read.
I certainly wasn't consciously hiding my identity in the earlier work, though a lot of people have brought up the fact that I drew myself without eyeballs.
I guess there's just a part of me that's not very enthusiastic about finding myself ten years from now halfway through a story that may or may not be any good.
I get the impression from some people that unless they get direct access to characters' thoughts and realizations, either through thought balloons or narrations or some sort of showy action, then those thoughts and realizations never existed.
Underground and alternative comics existed in a vacuum for years, where money really wasn't an issue. No one would get into doing a black-and-white comic because they thought it might be a route to riches.
It's important to make a distinction between becoming more precise and becoming better.
I was very aware of the fact that there are a lot of comics out there that I love, because I've grown up my whole life reading comics and I know every little nuance of the language and all the implications.
I wanted to try to create characters that happen to be Asian but who are pretty different from those we generally see in our culture, in our commercial culture.
When people see me struggling on paper, I think it invites an almost collaborative relationship with the outside world, and that includes readers and other artists.
You start to get nervous when the value of a comic book or graphic novel is relative to the achievements of some other medium.
I think there was a point in the past when I felt that my options as an artist were either to make race a nonissue and deny its impact on life and just say, "Don't think of me as an Asian cartoonist. Just think of me as a cartoonist."
Without fail, every cartoonist that I asked advice from bent over backward to be helpful and encouraging. It took many forms: some of it was just an implicit acceptance, like being invited along to the dinner with all of the good cartoonists, or sitting down at a drafting table with an artist and him showing me how to draw backgrounds and perspectives.
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. There were points at which I was trying to use my art to reflect positively on myself, to almost be flirtatious through the work.