Sergio Aragonés Domenech (/ˌærəˈɡoʊnɪs/; born September 6, 1937) is a Spanish/Mexican cartoonist and writer best known for his contributions to Mad magazine and creating the comic book Groo the Wanderer.
Comics is a great medium to get a lot of stories out.
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.
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 live in a very small town and now that I've closed down my studio, I'm working at home.
I keep very weird hours. I never know when I'm going to get an idea.
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 I'm drawing a bottle or a town or a market, I transport myself there. So I start drawing everything that I'm looking at while I'm there. Here's a guy selling the meat, and he will have a hook, and you start adding things, and it's a lot of fun.
Freedom is not an individual effort. Yours comes only when you grant others theirs
I think that true horror is accomplished by slowly getting into your brain. The old way is much more scary.
Once you've established where you are, you go to the character and elaborate on expressions and action.
If the gag is complicated, you spend more time thinking about the way you're drawing it.
The difference between me and many young people is, I don't carry music with me. I like to think. I don't use any modern convenience to be talking to other people, because I like my time to think. I go to the garden in the morning, and this time, I'm thinking ideas, I'm not drawing, I'm thinking.
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.
Fortunately, cartooning is not a job. It's something like eating or sleeping.
I have always loved horror very much. I used to write stories for DC's House of Mystery. It was one of my first jobs writing for comics, and I loved it.
Many of the American cartoonists that want to have a job and go so much for the total right without thinking, sometimes they get a slap on the face when their politician lets them down. So it goes on and on. The thing is staying in the middle and not getting committed, trying to get the best of both and do that with a sense of humor.
The Western, when I do one, will be one long, continuous story.
A comic book is the opposite of a cartoon. In a cartoon, you want to simplify the idea, so when they look at it at a glance, they get it. Boom. Simple. Direct to the point. But when you're drawing Groo, now it's a narrative, a story. You want the viewer to get involved in the story. You want him to feel like he's in the town to follow your main character. So I love to add lots and lots of things in it. Things that people will enjoy going back to and say, "Oh yeah, that's how a market must have looked in this fantasy world, with people selling meat here and dishes here. "
The Boogeyman is your conscience. The Boogeyman is the result of your own bad behavior. I love this Boogeyman.
My best sources are my travels and my collection of National Geographic.