Quotes of All Topics . Occasions . Authors
The term comics long ago became obsolete and inaccurate. It merely defined the content of the early joke-based comical strips. Sequential Art is a more accurate description of the form. I first suggested it because I believed something needed to be done to correct the feeling of inferiority by artists and writers in this field.
I noticed that I used to go to second hand shops and flea markets and find funny, cute things, but now I go into those stores, and I think, This is dead people's stuff. This is all, like, somebody cleaned out their parents' house, and I don't want any of it. If I didn't want it from my parents, I don't want it from your parents.
When you do anything creative, you really have to live entirely in that world. I think my ability to do that is what makes me such a bad dinner guest. I'm always looking over someone's shoulder, taking in stuff around the room, immersed in the world of whatever I'm writing about, and keeping the characters completely in my head.
I think it's very dangerous for people who do anything that's public to venture on the Web and check out what people are saying about them. Yes, you're bound to find things that will delight you - but you also find things that will make you brood and feel bad about yourself. Why would you intentionally invite that into your life?
There's always room out there for the hand-drawn image. I personally like the imperfection of hand drawing as opposed to the slick look of computer animation. But you can do good stuff either way. The Pixar movies are amazing in what they do, but there's plenty of independent animators who are doing really amazing things as well.
There's a particular sensitivity required to be an artist, and a certain vulnerability, perhaps, and also, somewhere between, you're in your body a lot, too. It's much more physical than one would imagine because I think it's the body where the imagination lives somehow. I do feel the imagination isn't just in the brain up there.
Surely comics require more effort on the part of the reader than movies or television. I'm always learning new things you can do with comics that wouldn't work in any other medium, and often they require the need to process a lot of dense information. Of course, the trick is to make the complicated seem effortless and spontaneous.
More and more, I tried to make comics in the way I like to read comics, and I found that when I read comics that are really densely packed with text, it may be rewarding when I finally do sit down and read it, but it never is going to be the first I'm going to read, and I never am fully excited to just sit down and read that comic.
I make mistakes, but I am on the side of Good," the Golux said, "by accident and happenchance. I had high hopes of being Evil when I was two, but in my youth I came upon a firefly burning in a spider's web. I saved the victim's life." "The firefly's ?" said the minstrel. "The spider's. The blinking arsonist had set the web on fire.
I've always believed comics should bring in things like that, and they haven't for a very long time, in general. You always get people complaining, "What's it going to look like in 10 years' time?" It's ridiculous. Everything is going to age. If you try and avoid dating it, you just end up with something that doesn't mean anything.
Editing should be, especially in the case of old writers, a counselling rather than a collaborating task. The tendency of the writer-editor to collaborate is natural, but he should say to himself, 'How can I help this writer to say it better in his own style?' and avoid 'How can I show him how I would write it, if it were my piece?'
When all is said and done, it looks like the Palestinians have been massively robbed and abused, and are engaged in a desperate struggle for survival and liberation. Israel, on the other hand, would appear to be conducting an imperialistic campaign of oppression supported and substantially armed by the most powerful nation on earth.
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.
Hard work is about risk. It begins when you deal with the things that you'd rather not deal with: fear of failure, fear of standing out, fear of rejection. Hard work is about training yourself to leap over this barrier, tunnel under that barrier, drive through the other barrier. And after you've done that, to do it again the next day
In America, there's a very long tradition of a comic strip that comes in newspapers, which is not true all over the world. To sell papers, they put color comics in. It's worked, up until now. Now these papers can't afford it. They always had minuscule ad budgets, and now the things which people probably read these papers for are gone.
Comics, which are really best described as an arrangement of images in a sequence that tell a story - an idea - is a very old form of graphic communication. It began with the hieroglyphics in Egypt, it first appeared in a recognizable form in the Medieval times as copper plates produced by the Catholic church to tell morality stories.
What's that?" "It looks like something from Linus... It is! He sent me a little birch-bark canoe from camp! He said he made it himself... Sometimes I think I don't deserve a nice brother like Linus..." "I have often thought the same thing." "Dear Linus, please send me another canoe. The first one broke when I threw it at Charlie Brown.
I think a comic looks better in the magazine. The colors are designed to be on paper, not illuminated on screen. I don't like the aspect of people reading it for free. When people get things for free, they tend to not take them as seriously. But I don't know. I'm sure 10 times more people are reading it online than in the actual paper.
Your intent to find a mate sends out 'strands of consciousness' however, composed of desire and intent. Like detectives, these search the world, looking in a completely different way than a physical sleuth. The world is probed with your characteristics in mind, seeking for someone else with characteristics that will best suit your own.
The people who successfully start independent businesses (franchises, I think are a different thing) do it because we have no real choice in the matter. The voice in our heads won't shut up until we discover if we're right, if we can do it, if we can make something happen. This is an art, our art, and to leave it bottled up is a crime.
For me, the very last great strip is 'Peanuts.' After 'Peanuts,' there are a very few strips that I enjoyed for different reasons, but I don't think they were great. I don't think anything's come along since Charles Schulz - and I mean since 1950 - that I think rises above the professional or the eccentric into that realm of greatness.
Both law and comedy are heavily focused on thought and viewing all angles. To write a good joke, you have to look at a premise every way possible. And with a good legal argument, you have to see all sides to get the best line of argument for your client. Law school made me a better comic, and comedy has made me a better public speaker.
Dear Lord, I've been asked, nay commanded, to thank Thee for the Christmas turkey before us... a turkey which was no doubt a lively, intelligent bird... a social being... capable of actual affection... nuzzling its young with almost human- like compassion. Anyway, it's dead and we're gonna eat it. Please give our respects to its family.
As a cartoonist, I am not interested in defending the dominant, the powerful, the well-resourced and the well-armed because such groups are usually not in need of advocacy, moral support or sympathetic understanding; they have already organised sufficient publicity for themselves and prosecute their points of view with great efficiency.
I don't know how comic artists feed their families, if they do. But it's a fascinating form and so I think that after a long period of nothing happening and work, nothing very impressive, we are into another golden age of comics. Unfortunately, it's not a golden age for the artists themselves economically. I don't know how they get along.
I'm not sure about that role any longer. The role used to be to mix things up and I think to a great extent it still is, but the quality of the work of the political cartoon has been succeeded by the wisecrack, the gag cartoon, so that the cartoonist becomes more of the equivalent of the Jay Leno monologues, or David Letterman monologues.
Don’t try to change someone’s worldview is the strategy smart marketers follow. Don’t try to use facts to prove your case and to insist that people change their biases. You don’t have enough time and you don’t have enough money. Instead, identify a population with a certain worldview, frame your story in terms of that worldview and you win.
When I was in the middle of the 'Scott Pilgrim' series, and it was slowly becoming more popular, though still not financially solvent, I had this real bratty instinct to turn around and do something super arty and dark. I felt dismissed by comics culture, stuck in between the artcomix world and the nerdcomix world, and I was cranky about it.
In my writing class, we never, ever talk about the writing - ever. We never address a story that's been read. I also won't let anyone look at the person who's reading. No eye contact; everybody has to draw a spiral. And I would like to do a drawing class where we could talk about anything except for the drawing. No one could even mention it.
To be a pleasant person, you would at least need to see the point of being a pleasant person, or have it explained to you at some sort of 'finishing school' where you could actually learn the laws of propriety and the skills of appearing well-adapted, easygoing and attractively trouble free. But where do you learn these things? I don't know.
I love seeing original cartoons. You get to see the artist's corrections, like erasures or Wite-Out or patches, and you get to see the artist's line in better detail, and what kind of ink they use - whether they like a cold black or a warm black, and what kind of paper they like, how big or small they like to draw - art nerd stuff like that.
Do not personally give any more conscious consideration, either of you, to events that you do not want to happen. Any such concentration, to whatever degree, ties you in with those probabilities, so concentrate upon what you want, and as far as public events are concerned, take it for granted that sometimes even men are wiser than they know.
Liberal, shmiberal. That should be a new word. Shmiberal: one who is assumed liberal, just because he's a professional whiner in the newspaper. If you'll read the subtext for many of those old strips, you'll find the heart of an old-fashioned Libertarian. And I'd be a Libertarian, if they weren't all a bunch of tax-dodging professional whiners.
Where's my tax form? Where's the file that's supposed to hold my W-2 form and interest statement? Where's the mileage log I specifically asked be kept last year?? Where's the monthly check summary? And who's been stuffing Visa receipts in the aluminum foil drawer??!! How embarrassing. I'm surrounded by idiots and I'm the only one in the office.
Is a brazen and innocent confrontation with paternal authority an unbearably terrifying prospect to some? Are the consequences of a fathers anger and displeasure so catastrophic in the primal imagination that every semblance of it in the world both literally and metaphorically must be denounced in the strongest possible terms? It would seem so.
I try to employ a different strategy for each story. Often, I'll have a specific look in mind before I even have the story to go with it. I'm not so much interested in forcing the issue of reader identification through various graphic tricks. I'm more interested in creating specific characters that resonate with my own particular inner struggles.
There was all this loneliness in my cartoons and people would say, "Gee, these characters are so lonely, disconnected, depressed." And I'd say, 'Yeah well, that's not me. I'm just interested in that because I think it makes a funny drawing.' But later I understood it was me in many respects; my hand was doing it ahead of the head's understanding.
I'm usually the last to see my influence in other people's work. People give me stuff and say "Oh look, this guy's ripping you off," and I'm like "What do you mean?" Often I see the people that I've ripped off filtered into my own work. In other people's work, I can only see specific, tiny little instances of inflections stolen from another artist.
I seemed to have instinctually a strong idea of how the strip had to be written from the beginning. That changed too, but it was more in the direction of where it was headed. I didn't have a clue as to the drawing style, because the drawing style that I was groomed on from the beginning was newspaper comic strips, which were much more conventional.
Do you have your own room, Charlie Brown?" "Oh, yes... I have a very nice room." "I hope you realize that you won't always have your own room... Someday you'll get drafted or something, and you'll have to leave your room forever!" "Why do you tell me things like that?" "It's on a list I've made up for you... I call it, Things You Might As Well Know!
I assumed that the pencil market was collapsing, but then it turns out that from 2010 to 2011 in the United States, pencil consumption went up by over six percent. I mean, those are all foreign-made pencils. Those are probably Chinese pencils, mostly, and Mexican pencils. I mean, it is an archaic communication technology, but it is still ubiquitous.
Consciousness is, among other things, a spontaneous exercise in creativity. You are learning now, in a three-dimensional context, the ways in which your emotional and psychic existence can create varieties of physical form. You manipulate within the psychic environment, and these manipulations are then automatically impressed upon the physical mold.
A mind in control is always better than a mind out of control. For one thing, a controlled mind can learn much better and go much further than a chaotic one. A person with a steady-state mind has the potential to exit this life with a much greater understanding than someone who is continually learning and forgetting, gaining and misplacing knowledge.
Imagine a wall that's green on one side and red on the other. You stand on one side and only see green. I stand on the other side and only see red. We'll both be right about the color we see, even though we disagree on what color the wall is. Being able to realize that the other person has a valid point, even if you disagree with it, that's maturity.
I come here because it is fun. I have fun when I come here. I do not come here because I feel that I have any great responsibility for your beings or welfare. Who am I to set myself against the innate wisdom of your own individual being, or to take upon my invisible shoulders the great privilege or joyful responsibility for your behavior and destiny?
Perspective was always important. There are some cartoonists who can stand at the foot of a building looking straight up and they'll capture it perfectly. And then there are those of us who do the same drawing and it's the goofiest-looking thing in the world. But after a while I guess you just learn what you're capable of and what you can and can't do.
I am aware of existing in a nearly constant state of inner turmoil and argument. I become frustrated with my work when the solution to a creative impasse seems like a secret I don't want to tell myself. It's not that I lose faith in my work - I'm fairly certain the answers are there, but much of my energy is spent beating my psyche into revealing them.
When you're in a relationship, the dynamic seems to change over time. I only had two long-term girlfriends, but with both of them, as time went on, the sex tapered off in terms of frequency. We had sex less and less often. And talking with friends or whatever, hearing other people's stories, that seems to be the case with a lot of romantic relationships.
A picture story just doesn't run like a film. It doesn't have 24 frames per second. It doesn't deal with this illusion of movement. It's more like if you did an illuminated novel. I think both of those things should be running at full blast, not less of both so it becomes an easier thing. I think it should be twice as dense. That's just what interests me.
Remember when you were a kid and the boys didn't like the girls? Only sissies liked girls? What I'm trying to tell you is that nothing's changed. You think boys grow out of not liking girls, but we don't grow out of it. We just grow horny. That's the problem. We mix up liking pussy for liking girls. Believe me, one couldn't have less to do with the other.