Adrian Tomine

Most normal boys, as they're growing up, they - in order to become attractive, they might, you know, get good at sports or join a rock band or develop good social skills, and for some reason, I thought that drawing comic books might be my route.

What was a very private childhood hobby turned into a very a public, professional job, and I think that there's a lot of inhibition that can grow from that.

Fortunately, I've never had to be too critical of my own work, because the world is critical enough.

I started my career so early and developed in print for better or for worse, so I think there's a sense some of my earliest readers are kind of copilots on this voyage with me.

It's a strange thing to be a so-called alternative cartoonist, because in the early part of my career, I was really tethered to the superhero world.

I had relatives who would go to Japan and bring back random stuff they bought at the airport or whatever - 'Ultraman' and 'Speed Racer,' stuff like that.

I would honestly be elated if I could wave a magic wand and eradicate my back catalog and then have a fresh crack at some of those ideas.

I do think that many Americans have a limited view of what constitutes Japanese cartooning based on what gets translated, so it's great to see an increase in diversity.

My early comics are really reflective of being kind of a befuddled, single loser in the Bay Area, and I think having kids has been by far the most profound impact on me as a person and as an artist.

I'm an unabashed fan of 'The New Yorker.' I do feel proud when I see my artwork in there.

To be perfectly honest, if it was up to me, I would be invisible as an artist.

I hated 'Dilbert.'