A Quote by Gene Luen Yang

'The Green Turtle' was created in the 1940s by a cartoonist named Chu Hing, one of the first Asian Americans to work in the American comic book industry. — © Gene Luen Yang
'The Green Turtle' was created in the 1940s by a cartoonist named Chu Hing, one of the first Asian Americans to work in the American comic book industry.
The rumor is Chu Hing really wanted the 'Green Turtle' to be Chinese American, but the publisher didn't think that would sell. If you read those books, the hero almost always has his back facing the camera so you can't see his face. When he turns around, his face is obscured.
With the first novel, I was concerned I would be pigeon-holed as an Asian-American writer, and the book would be labeled for Asian-Americans only.
Does people not asking me about Asian American literature mean they don't see it as its own literary tradition? I certainly believe in it as its own literary tradition, because your race plays a great factor in how you are seen by the world, and how you see the world; the fact that I'm an Asian American isn't incidental to who I am as a writer. Where it becomes difficult is defining what, if anything identifiable at all, makes an Asian American book an Asian American book, other than the fact of its creator being Asian. And I'd argue that there is nothing identifiable beyond that.
On its 2015 list, the Fish and Wildlife Service included the 'ea, or hawksbill turtle, as well as the green turtle, Ridley sea turtle, leatherback turtle and loggerhead turtle. Four mammals are considered endangered: the Hawaiian hoary bat; the kohola, or humpback whale; the sperm whale; and the endemic Hawaiian monk seal.
I never really thought of myself as an Asian-American cartoonist, any more than I thought of myself as a cartoonist who wears glasses.
It's very difficult to be asking other people for opportunities. It is much more empowering to be creating opportunities, to be the one who is saying, 'Look, I'm going to take this from the ground up and create a story that is meaningful to me as an Asian American and cast it with Asian Americans and have Asian Americans writing it.'
As an Asian-American actor, I believe it is important to never settle for the status quo. I feel a responsibility to do everything in my power to create positive perceptions of Asian Americans through my work.
To me, my favorite comic book movies were the ones that were never based on comic books, like Unforgiven. That's more the kind of thing that get us inspired. Usually when you say something's a comic book movie, it means you turn on the purple and green lights. Suddenly that means it's more like a comic book, and It's not really like that.
Within the model minority rhetoric, Asian Americans are represented as “good” minorities and African Americans are represented as “bad” minorities. Here, the achievements of Asian Americans are used to discipline African Americans. As model minorities, Asian Americans achieved the status of “honorary Whites”. Again it is important to point out that the honorary whiteness of Asian Americans was granted at the expense of Blacks. It is also significant that as “honorary Whites,” Asian Americans do not have the actual privileges associated with “real” whiteness.
When I and the other young artists were working in comics, our work carried with it a particularly American slant. After all, we were Americans drawing and writing about things that touched us. As it turned out, the early work was, you might say, a comic book version of Jazz.
Our theme for this year's festivities, Dreams and Challenges of Asian Pacific Americans, speaks to the many generations of Asian Pacific Americans who worked hard to overcome economic hardship, racism and other barriers in their pursuit of the American dream.
We can make this industry and this environment and comic book shops and comic book conventions and comic books themselves, we can make them a thing that is accessible to everybody so that nobody feels unwelcome, and nobody feels like this isn't their place.
I created lots of characters in high school and college, and the first character I created in pro comics was Liana, Green Lantern of M'Elu, for a backup story in 'Green Lantern #162,' my first professional sale.
Asian Americans haven't had as many opportunities as other people to build their careers in Hollywood, just because there hasn't been that much of an interest, especially in Asian American males.
The comic book industry has turned into the wellspring for all of these movies that are all based on the comic books.
Asian Americans are the same as African American, Hispanic Americans, anyone: we deserve to be respected, too.
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