Every day I run into people who don't know what I do. And even after I explain it they still don't know what I do. So now I can just say, 'Pick up the Locas book!' And that tells them all.
Jaime Hernandez
The Tom Strong thing was totally for the money. I plan to get looser after I finish this Maggie saga.
The sizes and shapes of the panels have never been important to my stories. It has always been the words and images that drew me in, kind of like watching a movie.
Half of me is very excited and the other half is 'Haven't we seen this stuff before?' But I'm very impressed. I almost couldn't picture it when it was being put together. I couldn't picture it being in my hand, what it would look like.
I leave a lot open so I can fill it in later. If I don't have any ideas right away, I can fill it in later.
I used to always read my stuff. And I could never understand why artists would say, 'Oh, I can't read my older stuff.' I'd go, 'Are you crazy? I could read my stuff forever!' Now it's a little harder.
It's rare that I actually have a story in my head. I have events or 'what's the next move?' Like, Maggie, 'where's she going to go in this story, where's she going to end up?' Then the story has to fill in the in-between, and that comes as I'm starting it.
I've done illustration on the side. But other than that, comics have been my main things.
Every time I copy something, I can draw it for the rest of my life. But research is so painful - I mean just opening up a magazine looking for a picture of a car or looking out the window looking for a car is just hard!
Comics as art. I do comics as comics, and my opportunity to tell stories. Simple. Basic. Let the characters have the excitement, not the package. That's where I come from.
To me, sex is sex and I don't think it is or should be a problem. Maybe my presenting it that way will unscrew up a few heads out there, including my own.
Hey, every once in awhile the secondary form works better than the original but it's certainly a rarity.
