'Nimona' is about identity and if who you are is defined by what you look like. It's not a book about body image at all, but I would be lying if I said that wasn't in there even at the conception of it.

Noelle Stevenson

I am very interested in female characters and bringing a new perspective to mediums where not necessarily that's been valued at all.

Noelle Stevenson

Kids aren't dumb - they might not get something, but they're going to figure it out.

Noelle Stevenson

I've always kind of gravitated toward characters who are a bit distant from the narrator or the point-of-view characters, so that's kind of important to me, to set up a different character who would be the point-of-view character for the story.

Noelle Stevenson

I tend to bristle at people praising alt comics as some kind of perfect comics paradigm, because there's quite a lot of misogyny in its history as well. Like, in my first comics class, every single great comic creator we studied was male.

Noelle Stevenson

'Nimona' was originally a vague idea I had when I was in high school, when I was just getting into shapeshifting characters. It was a straightforward superhero story at the time. Nimona was named Nightshade, and she had an eyepatch for some reason. There was nothing really special about it, though.

Noelle Stevenson

Question everything. Don't try to emulate someone else's path. Look at what you have, the tools you have, the place you're in; know the rules, and break them.

Noelle Stevenson

I didn't get into comics until college, and it was sort of an accident.

Noelle Stevenson

It's easy to feel like you don't have any control over yourself or your life or your body as a teen - everything is changing so fast, and a lot of it feels so outside of your power. I think that's why a lot of teens form really strong attachments to fictional characters or celebrities, draw their own characters or write themselves into fan fiction.

Noelle Stevenson

I kind of understood inherently - and I wasn't really conflicted about this - that comics were not for me or by people who looked like me. That was just something that I accepted about the world.

Noelle Stevenson

It felt like a huge risk when I first started putting my comic online. It was very scary to put myself out there that way and to open up something that I cared about very dearly - and to be the only creator involved with it.

Noelle Stevenson

The reason I wanted to do a webcomic was that I could be my own boss, and I could call the shots myself.

Noelle Stevenson

The good thing about doing a comic that's entirely my own voice as a debut is that people approached me with similar jobs, with stuff that they knew that I could do justice to because they had read what I'd already done. It meant that I was getting jobs that I was actually interested in, and I didn't have to prove myself on someone else's property.

Noelle Stevenson

Even in stories that I like, with a female character that I love deeply, it always feels like there's something that she has to prove to the male characters before she can even get started.

Noelle Stevenson

I think comics has this rap of being misogynistic, and that's certainly not untrue.

Noelle Stevenson

Like a lot of young women, I went through an entire period where I hated female characters - I didn't want to read about them! I thought I was going to be the cool girl who was not like other girls.

Noelle Stevenson

It was not until Web comics that I saw stories about women and stories by women and things that were aimed specifically at female readership. It was just kind of this free-for-all that was achieving something amazing with creativity. That was where I got my start.

Noelle Stevenson

I really liked Quentin Blake, who did all of Roald Dahl's stuff. I don't think I really got Quentin Blake as a kid, but as I grew older, I really appreciated the kind of knowledge and the skill that went into those seemingly effortless drawings, and I really wanted to capture some of that in my own work.

Noelle Stevenson

We can make this industry and this environment and comic book shops and comic book conventions and comic books themselves, we can make them a thing that is accessible to everybody so that nobody feels unwelcome, and nobody feels like this isn't their place.

Noelle Stevenson

Usually I start with a concept, which I then sketch out so that I can get a feel for the character. The character doesn't really become real to me until I draw them.

Noelle Stevenson

Noelle Stevenson Quotes

'Nimona' is about identity and if who you are is defined by what you look like. It's not a book about body image at all, but I would be lying if I said that wasn't in there even at the conception of it.

I am very interested in female characters and bringing a new perspective to mediums where not necessarily that's been valued at all.

Kids aren't dumb - they might not get something, but they're going to figure it out.

I've always kind of gravitated toward characters who are a bit distant from the narrator or the point-of-view characters, so that's kind of important to me, to set up a different character who would be the point-of-view character for the story.

I tend to bristle at people praising alt comics as some kind of perfect comics paradigm, because there's quite a lot of misogyny in its history as well. Like, in my first comics class, every single great comic creator we studied was male.

'Nimona' was originally a vague idea I had when I was in high school, when I was just getting into shapeshifting characters. It was a straightforward superhero story at the time. Nimona was named Nightshade, and she had an eyepatch for some reason. There was nothing really special about it, though.

Question everything. Don't try to emulate someone else's path. Look at what you have, the tools you have, the place you're in; know the rules, and break them.

I didn't get into comics until college, and it was sort of an accident.

I kind of understood inherently - and I wasn't really conflicted about this - that comics were not for me or by people who looked like me. That was just something that I accepted about the world.

It felt like a huge risk when I first started putting my comic online. It was very scary to put myself out there that way and to open up something that I cared about very dearly - and to be the only creator involved with it.

The reason I wanted to do a webcomic was that I could be my own boss, and I could call the shots myself.

Even in stories that I like, with a female character that I love deeply, it always feels like there's something that she has to prove to the male characters before she can even get started.

I think comics has this rap of being misogynistic, and that's certainly not untrue.

Like a lot of young women, I went through an entire period where I hated female characters - I didn't want to read about them! I thought I was going to be the cool girl who was not like other girls.

It was not until Web comics that I saw stories about women and stories by women and things that were aimed specifically at female readership. It was just kind of this free-for-all that was achieving something amazing with creativity. That was where I got my start.

We can make this industry and this environment and comic book shops and comic book conventions and comic books themselves, we can make them a thing that is accessible to everybody so that nobody feels unwelcome, and nobody feels like this isn't their place.

Usually I start with a concept, which I then sketch out so that I can get a feel for the character. The character doesn't really become real to me until I draw them.