Top 18 Quotes & Sayings by Gilberto Hernandez Guerrero

I like doing whatever interests me. It's a challenge for me to try to make good comics out of any genre I tackle. I trust my instincts in getting me through the more difficult genres for modern readers, like violent crime or horror stories.

I've known gay people - men and women - since I was a young person. To me it's just naturalistic and realistic to portray gay characters in a humanistic light. As a young man, I knew enough gay people as people not to fear them. On the other side of the coin, I like to irritate conservatives and homophobes.

I've always been interested in the way males seem to need to start clubs, or cults, to keep girls out until they need them for sex. It comes from some weird immature tribal crap, I'm sure.

Sex is the main way we exist on the planet. It's an essential part of life.

Reviewers and critics can be overly cynical. If something the least bit sentimental comes up, they'll often start flying off the handle. But I'm like, 'Wait a minute, you've had those times in your life. Everybody has.

Anyone could identify with the human aspect of the characters.

I'm basically stubborn. If anyone disapproved of my being influenced by comics, I simply ignored them.

I get to draw what I like to draw, basically people hangin' around, and write very humanistic kinds of situations and characters. But I do also like to draw adventure stories - more in terms of drawing them than writing them - and letting my imagination go wild.

It takes time to learn to draw. It takes years, not a few weeks.

I used to get people criticizing me for drawing so many women with gorgeous idealized bodies, but I pointed out that I draw a lot of men with muscular bodies, washboard abs, and enormous wangs, and they never got criticized. So those criticisms have stopped.

I'm working so much I don't see the work of many young cartoonists so it's hard for me to tell which are my favourites. Maybe when I get to stick my head out of the sand I'll be able to let you know.

If you believe in what you're doing, and someone criticizes that, it's likely that they're just coming from a different place and they're bringing their own baggage and it's basically projection. I try not to let it get to me.

I notice a lot of younger artists have difficulty telling stories. They might have short stories where they express themselves well, but they don't really know how to tell stories with characters. That craft just passed them by.

If a good cartoonist can make a living making his comics, he'll continue to do that; the lesser insincere cartoonist that gets a lot of press will fall by the wayside eventually.

I wasn't sure what I wanted to do with my life. I always wanted to pursue either music or comics, so when the opportunity came from comics publisher Fantagraphics for my brothers Jaime and Mario and I to make a comic book together, we jumped at the chance: "Let's just do it and see what happens." Really, we weren't sure where we were going to go with it. We thought our work was good enough to be out there, but we didn't know that the response was going to be pretty good, pretty quick.

Once we got going on the Fantagraphics version of Love and Rockets, our encouragement was constant. People wanted us to do more, do more. Thirty years later, here we are.

I've seen that most people change as they get older.

I felt like challenging myself and challenging my readers with something darker and heavier. I don't know how to explain it, because I'm not a political person. I have two political stories, and that's it: 'Human Diastrophism' and 'Poison River'.