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It wasn't until I started to do 'Poison River' that the readership started falling. 'Poison River' started out very slowly and simply, but then it got really dense and complicated. I don't know, I think the readers just got fed up or burned out. They started dropping off.

Gilberto Hernandez Guerrero

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Gilberto Hernandez Guerrero
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I've dealt with Hollywood about having my work made into a film or cartoon but nothing came of it. That's not to say I wouldn't like to see something happen.
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I used to get people criticizing me for drawing so many women with gorgeous idealized bodies, but I pointed out that I draw a lot of men with muscular bodies, washboard abs, and enormous wangs, and they never got criticized. So those criticisms have stopped.
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For me, the reason to make the movie is that if people like the comic, then people would like the movie if it was well made. There are good movies for them, but very few. And I mean that in a true sense. If they love your story for freaking 30 years, then they can do a movie about it.
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I think I related more literally to the early 'Spider-Man' comics from Steve Ditko because it could be upfront and direct about the problems of being a kid. He captured being a teenager so beautifully.
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Sex is the main way we exist on the planet. It's an essential part of life.
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I had always shown childhood as something difficult, something you want to get the hell out of, but now I wanted to do a story that was the opposite, about that moment in time when you're in that world of discovery, doing what you want to do. That fleeting moment when you're in your zone.
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I've seen that most people change as they get older.
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In the old days, I just could not leave characters alone. Now I just try to keep the ones that still have something in the way of stories to tell.
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Once we got going on the Fantagraphics version of Love and Rockets, our encouragement was constant. People wanted us to do more, do more. Thirty years later, here we are.
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It takes time to learn to draw. It takes years, not a few weeks.
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I've known gay people - men and women - since I was a young person. To me it's just naturalistic and realistic to portray gay characters in a humanistic light. As a young man, I knew enough gay people as people not to fear them. On the other side of the coin, I like to irritate conservatives and homophobes.
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I get to draw what I like to draw, basically people hangin' around, and write very humanistic kinds of situations and characters. But I do also like to draw adventure stories - more in terms of drawing them than writing them - and letting my imagination go wild.
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I like doing whatever interests me. It's a challenge for me to try to make good comics out of any genre I tackle. I trust my instincts in getting me through the more difficult genres for modern readers, like violent crime or horror stories.
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I'm working so much I don't see the work of many young cartoonists so it's hard for me to tell which are my favourites. Maybe when I get to stick my head out of the sand I'll be able to let you know.
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I grew up when comics were only sold in food markets and news stands, so the direct market is vital to me. The best way to make it stronger is if everybody buys my comics in multiple copies before they buy any others.
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I know what a good movie is.
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I felt like challenging myself and challenging my readers with something darker and heavier. I don't know how to explain it, because I'm not a political person. I have two political stories, and that's it: 'Human Diastrophism' and 'Poison River'.
Gilberto Hernandez Guerrero
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I notice a lot of younger artists have difficulty telling stories. They might have short stories where they express themselves well, but they don't really know how to tell stories with characters. That craft just passed them by.
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If a good cartoonist can make a living making his comics, he'll continue to do that the lesser insincere cartoonist that gets a lot of press will fall by the wayside eventually.
Gilberto Hernandez Guerrero