I like good, straight reporting, too.

It became clear to me that I had to push it toward a more representational way of drawing.

When I went to Bosnia, I was there to tell someone else’s story and I was more methodical.

I like listening to people, it’s not even out of – I’m not like a professional listener or anything like that, but I enjoy people’s stories.

It’s a visual world and people respond to visuals.

With comics you can put interesting and solid information in a format that’s pretty palatable.

I think any journalist who spends time in a place realizes that there are lots of stories around beyond their primary story. You meet so many interesting people and have all kinds of experiences.

It’s like a film director trying to represent a scene that took place in the 1700s. You reconstruct it to the best of your ability.

I think I’m generally a good listener anyway.

My guide had a copy of Palestine on my last trip to Gaza. He’d bring it out and show people what I was trying to do. That usually went over pretty well.

I tried to draw people more realistically, but the figure I neglected to update was myself.

Of course, I’m drawn to a place like Iraq because It’s the biggest story of our generation.

I chiefly concern myself with those who seldom get a hearing, & I don’t feel it is incumbent on me to balance their voices with the well-crafted apologetics of the powerful. The powerful are generally...

I try to ask visual questions. I’ll ask what someone was wearing, if that seems relevant. If possible, I’ll walk over the same ground that they’re depicting. Of course, I can never get it precisely...

Oh, it’s essential. I mean, you have to – if I’m writing about the Middle East, I have to go there, and if possible, stay long enough to get a real feeling for what’s going...

And I think I find, I know a lot of people around, in different cities, and so it’s not – it might sound strange – but it’s not that hard to say good-bye, because I...

I will interview bigwigs if I get the chance, but you are seldom surprised by people in power – you’ve got to get awfully damn close to get anything new.

Robert Crumb is an influence on how I draw, but not on the subject matter I take or my approach. One thing I do like about Crumb is that he’s chronicled his age, his times,...

And, in some ways I like traveling, in other ways I’m sort of fed up by the whole notion.

I’d much rather hang out in a cafe. That’s where things are really happening.

The people whose work I’ve admired are people like George Orwell and others like Michael Herr and, of course, some of Hunter S. Thompson’s work.

For me, one advantage of comic journalism is that I can depict the past, which is hard to do if you’re a photographer or filmmaker.

I’d rather go to a place and spend a couple of months, get to know it, get to know the people.

There’s probably one more story about Bosnia that I’d like to do, because I spent a fair amount of time on the Serb side of the lines, which isn’t apparent in the other books.

I don’t like just traveling in for a short time. I’ve done that before, because sometimes you work for magazines and they have a budget, and if you’re working for them, they want something by...

I’m not a good tourist, I don’t like tourism.

What I’ve learned is that people like to talk about themselves. And that’s kind of the advantage you have when you’re asking people questions.

I don’t often go to a place just to check out all the cultural sites of a city.

In this case I just wanted to be in one place, much like the Gorazde book, I feel it was a better way of doing it, get to know some people well.

When I was there, something clicked in my head; I found myself interviewing people, searching out facts and figures. Later on I became much more self-conscious of what I was doing.