A Quote by Harvey Pekar
I just continue to be kind of disappointed that people don't realize that and try and diversify the kind of work they are doing in comics.
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I continue to be disappointed that people don't try and diversify the kind of work they are doing in comics.
Just in terms of being able to be a professional artist, but also it's nice to not have to dread introductions. "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, but not the kind of comics that they were used to, and no, it's not pornography, etc. And now people even of our parents' generation are familiar with the term "graphic novel," which is kind of amazing.
I was always most interested in drawing - most of my childhood drawings are black-and-white line work. And when I kind of abandoned comics, through college and art school, I was doing a lot of painting. But once I started doing comics again, everything else just fell by the wayside.
In early comics, you see the amazing awkwardness and bizarre reasoning in the storyline, and it's because comics hadn't really been invented yet. There was no format for them to follow. They were just making it up. So I try to incorporate that kind of awkwardness in my comics quite frequently, which is odd. In some ways, I can't be as awkward as I'd like. But I do think that's one way in which my comics are unusual, because I will try to make the artwork look bad, occasionally.
A lot of people record on a laptop and use plug-ins, which might be OK for the kind of music that they're doing. But for the kind of music that I'm doing, that just doesn't work. I can't cut corners; everything has to be organic.
I love the students - they are remarkable, inspiring people. I would miss teaching if I stopped doing it. The kind of work I do is pretty diverse: I can cast a play while doing a polish of a screenplay, while thinking about a new play and revising another. In other words, the kind of work that I do during my work day is not just writing, yet it is all part of the job of being a playwright.
I just try to make comics for myself, try to give it some kind of unity throughout. That often involves tiny details. I'm never sure what's going to be obvious or what nobody will ever notice. I put stuff in my comics that I thought was blatantly obvious, and nobody noticed. And things that I think are buried in the background, everybody gets it. So I try to be consistently aware of every part of the frame.
Are you doing the kind of work you were built for, so that you can expect to be able to do very large amounts of that kind and thrive under it? Or are you doing a kind of which you can do comparatively little.
Whenever I get an audition to do something that is sci-fi-related, it makes me really happy because I realize that I can continue doing the work that I'm doing and continue meeting people all over the world. It does baffle my management team sometimes, though!
People, they think that animation is a style. Animation is just a technique. It's like, people, they think that comics is a style, like comics is a superhero story. Comic is just a narration, and is a medium, you can say any kind of story in comics and you can say of any kind of story in animation.
But more than anything I kind of pride myself in continuing the process that we're trying to accomplish, and that's just to get better and work on my fundamentals. So that's been kind of in the theme now for a couple years and we stuck with it and that's kind of what I want to keep doing.
But I think what Liam said just kind of hit it spot on, that the people in the capital are brainwashed and such a disconnect with what's actually happening. They don't realize what if it was their kids that were being put into the games? They just don't have the mindset to have that kind of compassion for people.
I tend to be known for different things. I mean, there are a lot of comics or sci-fi fans out there who sort of think of me doing that kind of work, but there are just as many people who like the CD covers I've done, or the children's books I've done. So different people like different things.
If you ever have a mistake, you try to just kind of forget about it because if you carry that with you for the rest of the routine, then the rest of your routine might not go as planned. So you just kind of shake it off, and you just continue your routine like you didn't fall.
The good part of what comics trains you to do is it trains you - especially if you've worked in mainstream comics like Marvel and DC, or if you're just doing your own independent comics - to compartmentalize things and work on multiple things at the same time. And that's a skill that is incredibly handy in Hollywood, because within the first year that you get here, you realize there's a reason why every successful person in Hollywood has like seven or eight projects up in the air at any point.
I tend to bristle at people praising alt comics as some kind of perfect comics paradigm, because there's quite a lot of misogyny in its history as well. Like, in my first comics class, every single great comic creator we studied was male.
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