He and his wife live within walking distance of his studio, and after more than seven years in New York, Oliver has developed a pronounced love-hate relationship with the city. “There’s something about living here that is inherently ridiculous because it costs too much, it’s not clean, it’s not pleasant and you just get addicted to it. Eight million people have made a bad choice. And I’m one of those 8 million. I don’t think New Yorkers are angry with each other as they are so much angry with themselves. It’s a huge character flaw.”
“Facebook is still far and away the best site for sharing photos with friends, but pretending that the acquaintances we’ve accumulated during life are our friends is an outdated way of thinking about social networking.”—Facebook’s friend problem | The Verge (via thisistheverge)
“I feel that a book influences, and has as much of a contributing effect, on the story as the drawings, ink, colors and paper,” Chris Ware observes. “To me, a book is a fairly obvious metaphor for a human body: aside from the fact that it has a spine, it’s also bigger on the inside than it is on the outside, and it can harbor secrets. One can either be put off or invited into it depending on how it’s structured and what’s offered as the point of entry. It can affect how the whole story is felt. I like books. They’re my life.”
Chris is sitting in the study of his house, a Victorian holding a Wonderland of old pop culture memorabilia and art. A clock ticks in the background as he sits straight up in his leather armchair, surrounded by shelves housing record albums and books. The soft-spoken Ware’s ACME Novelty Library not only defies the standard comic book conventions, with panel layouts designed to force the reader to physically turn the book, panels drawn at a smaller than conventional size—a less capable cartoonist would fail miserably and produce something unreadable; somehow, Ware makes it work.