Mattie Lubchansky

"Comics was the thing that I always wanted to be able to do."

"I'm hard-pressed to think of a thing that happened in politics that is purely just comedy, because people's lives are at stake. I think the worst kind of political cartoon is just, like, "Look at this thing that happened." Like, "Here's a drawing of a news event with nothing to say about it." No point of view, nothing to say. That's not funny to me. What is funny to me is a point of view. It's something to say that is interesting or surprising about the subjects. Like, what is bad about Trump? 'Cause there's a million things, right? I think what's bad about Trump is the system that produced him. I try to think much more about the root causes of things and less about the aesthetic differences that I have with a politician. The jokes that are just like, "Oh, Trump's hands are small" are less funny to me. It's a little easy to poke fun at a person; it's harder and more interesting to poke fun at a structure. Because when you see Trump do something, it's not just him; it's hundreds of thousands of people enabling his policy-it's a whole support system there. For me, it was really clarifying when Trump was elected. A lot of the reaction, especially the more center-left, was like, "Oh no, Trump has dropped out of space, like from a meteorite. He's this rogue figure!" That's distorting everything he is. You can draw an extremely straight line from where the Republican Party was at with Reagan to Trump. I think it's more interesting to talk about that stuff."

"My style is very self-taught. I sort of taught myself drawing from watching The Simpsons and reading The Far Side. I think you can see those two things come out in my comics. I really like drawing gross stuff. I really like drawing gooey shit. I like to draw Ted Cruz, because he's really melty. I love to draw someone melting, or with extra eyeballs. I love a skull. Fire is really fun. So there's all these things that I just like to draw, and they'll end up in my comics."

"The reality of how America functions is it's hard to be an artist, period. It's really undervalued work. You have to convince so many people to like what you are doing before you can do it all the time. That's a real barrier, and it's scary and seems impossible. For a long time, I had, like, three strips a week running on various websites and I wasn't getting paid for any of it. The Nib was the first paid work ever got. It's important, I think, to step back and think, "Oh man, I managed to do this." Now I'm doing it full time. And it is unserious and unprofitable, but at least I'm happy with it."