Comics are regularly asked to perform for impossible rooms. They're called 'hell gigs.'
I was definitely more of a movie/cartoon guy than comics, but I really do like graphic novels - I don't have the time to sit down and read Stephen King like I used to, so I find picking up 'Saga' every now and then and just diving back into it is a great way to stay reading.
I'm still awaiting the idea of drawing comics for a living being a reality. I feel like I've been dodging work for 20 years, and at some point, I'll have to get a real job.
I've always loved pinup art, and I've always enjoyed drawing women. I think it was a conscious decision that has resulted in me getting almost exclusive work on comics where the main character is female.
In the past, in the '60s and '70s, genres were much more segmented. You had action guys who were deadly serious about it, and I think you had comics that were comics.
The best comics enlist you to take accountability for who you are, whether you like it or not.
The type of cartooning that I think is generally referred to as 'alternative' or 'underground' is usually - the distinction is usually in terms of whether it's made by one person, the entire thing is done by one hand or more of a production line process, which is how the comics that we grew up reading were made.
I'm not the best person to analyze any kind of evolution in my work, but I do feel like it's been an ongoing struggle to basically teach myself how to tell the kinds of stories that interest me in comics form.
The comics work is very slow, and it basically involves working for sometimes years in isolation and not knowing how the work is going to be received.
The most impactful comics that I've read are the ones where the artists swung for the bleachers and tried to immerse you in their world.
