Every city began as a campsite - pg. 25

As children, as we learn what things are, we are slowly learning to dismiss them visually. As adults, entirely submerged in words and concepts, we spend almost all of our time thinking and worrying about the past and the future, hardly ever looking at or engaging with the world visually.

One of the most valuable things one of my art teachers said to me was, ‘Don’t get upset by criticism. Value the fact that at least someone noticed what you did.

I don't think that people are necessarily going to films simply because they were adapted from comics, though I could be wrong. Comics aren't really misunderstood either, they've just been mostly silly for the past century, and those genre-centered stories have found their way into the movie theaters over the past couple of decades because a generation who grew up reading them has, well, grown up.

I arrived at my way of "working" as a way of visually approximating what I feel the tone of fiction to be in prose versus the tone one might use to write biography; I would never do a biographical story using the deliberately synthetic way of cartooning I use to write fiction. I try to use the rules of typography to govern the way that I "draw," which keeps me at a sensible distance from the story as well as being a visual analog to the way we remember and conceptualize the world.

I guess I just don't like being physically in front of people I don't know very well, because I expect to be "seen through," or, even worse, instantly hated.

Whereas in a memory you edit things out and sort of restructure the things to seem a little bit more heroic, or to focus on particular aspects that magnify or reduce certain things.