"My brother was a great audience, and if he liked the picture, he would laugh and laugh and laugh, and he would want to keep the picture. Making people laugh with an image I had created... what power that was!"
About this Quote
It starts small: one sibling, one drawing, one uncontrolled fit of laughter. Then it quietly swells into a manifesto about art as leverage. Lynn Johnston frames her origin story not around talent or ambition, but around a live, intimate feedback loop. Her brother is described as an "audience" before he is described as family, which is telling: the domestic space becomes Johnston's first stage, the place where a private sketch can trigger a public reaction.
The repetition of "laugh and laugh and laugh" does more than mimic the sound of it. It captures comedy's addictive escalation, the way a joke stops being a joke and becomes a shared atmosphere. That he wants to "keep the picture" matters too. Laughter is fleeting; a cartoon is portable. The kid's impulse to hold onto the image is an early lesson in how cartoons turn a momentary feeling into an object you can revisit, show, and treasure.
Then comes the pivot: "what power that was!" It's not the sinister kind of power; it's the dawning recognition that a drawn line can move a body, change a mood, tilt a day. Coming from Johnston, whose work in For Better or For Worse proved that comics can carry both punchlines and real life, the subtext is clear: humor isn't escapism. It's agency. It's a way to earn attention, to connect, and eventually, to tell hard truths without losing your reader.
The repetition of "laugh and laugh and laugh" does more than mimic the sound of it. It captures comedy's addictive escalation, the way a joke stops being a joke and becomes a shared atmosphere. That he wants to "keep the picture" matters too. Laughter is fleeting; a cartoon is portable. The kid's impulse to hold onto the image is an early lesson in how cartoons turn a momentary feeling into an object you can revisit, show, and treasure.
Then comes the pivot: "what power that was!" It's not the sinister kind of power; it's the dawning recognition that a drawn line can move a body, change a mood, tilt a day. Coming from Johnston, whose work in For Better or For Worse proved that comics can carry both punchlines and real life, the subtext is clear: humor isn't escapism. It's agency. It's a way to earn attention, to connect, and eventually, to tell hard truths without losing your reader.
Quote Details
| Topic | Brother |
|---|---|
| Source | Help us find the source |
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