Quotes by: Gene Luen Yang
My experience of Chinese culture is indirect, through echoes. When I approach the cashier at my local Chinese supermarket, they switch to English before I've even said a word. They somehow know that I'm not quite Chinese enough.
I noticed that when my daughter was born, my son really, really liked her. But then as she started getting older, and as she started crawling around our house and touching different things that were his, sibling rivalry issues started appearing.
My experiences growing up in both a Chinese American household and the Catholic Church define much of who I am.
It's just nerve-wracking in general to write 'Superman,' right? I'm a life-long superhero fan, and he is the character that kicked off the entire genre.
'The Green Turtle' was created in the 1940s by a cartoonist named Chu Hing, one of the first Asian Americans to work in the American comic book industry.
The project that I did between 'Boxer & Saints' was 'The Shadow Hero,' which is illustrated by Sonny Liew, an artist who lives in Singapore.
I'm a cartoonist. I write and draw comic books and graphic novels. I'm also a coder.
Going from idea to production is a huge hurdle. It took me a while to overcome it. It's basically all about self discipline, right?
During the Cultural Revolution, the communists came in, and what they wanted to do was eradicate all sense of traditional Chinese culture.
In my classroom, I would start my lessons with a quick review of an old topic. Then, I would introduce a new topic. Finally, I would give my students a problem to solve on their own, one that would reinforce what I'd just taught.
Creativity requires input, and that's what research is. You're gathering material with which to build.
Dichotomies are an inherent part of comics, aren't they? Comics are both pictures and words. They blend time and space. Many feature characters with dual identities like Bruce Wayne/Batman. Cartoonists also tend to live dichotomous lives because many of us have day jobs.
I would hope that maybe math teachers could use 'Prime Baby' as a way of establishing an emotional connection between students and numbers.
This is a profession for me, but I started off as a self-publisher working on my own schedule and my own stuff before moving on to graphic novels with First Second Books, where there was definitely a schedule, but it was very different from monthly comics.
With my own comics, I try hard to get the vision in my head onto paper, to have one match the other as closely as possible. With the 'Airbender' comics, I'm working with someone else's vision, an already-established vision. I want to stay true to what's come before.
There's bleeding between age groups in terms of reading material, and there's bleeding between media. So there are books that are clearly comics and books that are prose, and then there are these books that are kind of in-between.
I never worked a job that required research. I'm not really good at it, to be honest.
I general don't color my stuff - I'm pretty horrible with color. Usually, I'll get one of my cartoonist friends to help me out.
A lot of Asians and Asian-Americans have liver problems. If you basically ask anybody who is Asian, they or one of their relatives will have some sort of a liver issue, and the liver actually falls into the jurisdiction of the gastroenterologist.
Writing, for me, is very inspiration-dependent. And inspiration can be a jerk.
Comics are such a powerful educational tool. Simply put, there are certain kinds of information that are best communicated through sequential visuals.
I think every time you work with another collaborator, there's an adjustment process where you figure out the other person's strengths, and that has definitely happened for me.
If I'm writing about a modern-day suburb, there's going to be details of the home and furniture, and if I'm writing about a historical period, those details, those pieces of the world are going to be there as well, but they'll be simplified, because I'm cartooning it.