Suspense is very important. Even though this is humor and they're short stories, that theory of building suspense is still there.
Sometimes, you start with the drawing and then the gag comes to you in the middle of it. That is when you start working on the solution of the gag, which is composition, placing, equilibrium, and character design.
The sad events that occur in my life are the sad events that happen to everybody, with losing friends and family, but that is a natural occurrence, as natural as being born.
When sadness happens in the middle of work, I separate my personal grief from my train of thought.
I don't enjoy the boo scare when you're watching a movie and then suddenly there's a big shark on the screen. The only thing they're doing is catching you off guard.
When you're drawing comics, you get very involved in how the story is going to develop and you spend more time daydreaming on that particular subject.
I have 40 years of unpublished material, the ones they don't pick, and the reason I don't redraw them or use them again is that I like to use my brain every day and come up with new jokes.
Comics is a great medium to get a lot of stories out.
I think that true horror is accomplished by slowly getting into your brain. The old way is much more scary.
If the gag is complicated, you spend more time thinking about the way you're drawing it.
My best sources are my travels and my collection of National Geographic.
Once you've established where you are, you go to the character and elaborate on expressions and action.
The Boogeyman is your conscience. The Boogeyman is the result of your own bad behavior. I love this Boogeyman.
The Western, when I do one, will be one long, continuous story.
Anyone can write a story based on the kind of horror where you see a guy in car and then there's the bad guy in the back seat. It's infantile to rely on that for telling a story. That's like going to bed and thinking there's a monster under your bed. It's silly.
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