Quotes of All Topics . Occasions . Authors
I love romance comics. I grew up with 'Archie' and got into other classic series as I got older, and I've been diving into 'Patsy Walker' since starting work on this project.
The great thing about having digital comics is that it is like having a comic-book shop on your digital device. It has turned comics from a destination buy to an impulse buy.
Even the strictest religious person from the strictest religious sect allows a little levity. Today, they congratulate you for carrying the Christian message into the comics.
Oh yeah, I grew up with comics. You know, I always like to describe myself as a 'narrative junkie.' I love novels, I love comics, movies, TV. If it's a good story, I'm hooked.
When I was cast in 'Batman v Superman,' I was sent a huge stack of comics. They provided a ton of information about Cyborg and how he has evolved as a character over the years.
I'm a wall to wall geek. I love sci fi; I've had a crush on Spider-Man since I was five years old, and there's an uncomfortably large shelf in my living room just for my comics.
Us comics guys tend to get really good at the things we draw a lot. I'm good at creepy old forests, Victorian houses, underground goblin cities, and beautiful but creepy fairies.
The president of CBS handpicked me for the 'Star Search' revival, which Arsenio Hall hosted. He picked 12 comics, and I was the only female. I always look to that as inspiration.
We were always drawing comics as kids. My brother Charles made me draw comics. I was very much under his domination. He was actually a much stronger artistic visionary than I was.
My favorite comics are the ones who say funny stuff but also give you the message. They give you the laughter, but there's also the, 'Mmm - I didn't take that into consideration.'
I don't like 'graphic novel.' It's a word that publishers created for the bourgeois to read comics without feeling bad. Comics is just a way of narrating - it's just a media type.
After 'Blankets,' I was sick of drawing myself and doing this autobiographical, mundane, Midwestern sort of comics. I wanted to create something bigger than myself and outside myself.
I went to an art school in Brooklyn and painted Fine Art, if that's what you'd call it for eight years in New York, until I saw the first underground comics in the East Village Other.
Repeats are the worst, and 'Peanuts' was the one that started that. They don't rerun the news, do they? They don't repeat any other part of the paper. Why do they do it in the comics?
'Just looking at pictures' used to be considered cheating. No longer. The graphic novel is booming. Comics, heavily illustrated texts, books with no words are now accepted as reading.
It was an unwritten law that black comics were not permitted to work white nightclubs. You could sing and you could dance, but you couldn't stand flat-footed and talk; that was a no-no.
The reason I love comics and have collected them for 37 years is because I always wanted to be an illustrator and a writer - and comics are really the perfect blend of those two mediums.
A study last year showed that the page you turn to first in the newspaper can be a predictor of how long you will live. No surprise, turning first to the Comics Pages prolongs your life.
In comics, my experience has been mostly artists whose visual storytelling chops are either weak or they're more invested in rushing to a paycheck than in doing work they can be proud of.
There are many comics around who don't really have a feel for comedy. They can say outrageous things, have clever thoughts, and deliver some funny angles. But they are not genuinely funny.
I've never tweeted. 'Funny or Die' started my Twitter account for me, and so I don't even have the password or anything like that. They started it, then they handed it off to other comics.
I'm not a big crossover person, I'll be honest. I try to keep 'Hellcat' separate from the larger Marvel world because I want it to be a book anyone can read, not just a hardcore comics fan.
My grandfather was a newspaper publisher and his paper had all the comics in NYC, so some of my earliest memories are of reading the family paper and heading straight for the comics insert.
Part of running DC Comics is that it's much larger than Image Comics is, or was. There's a challenge to being one of the industry leaders in that everything you do is scrutinized and watched.
Oddly, the anti-heroes of both 'The Chill' and veteran comics writer Peter Milligan's 'The Bronx Kill' share a first name, though their occupations and plights couldn't be any more different.
So many of these comics are just frustrated singers or actors - they want to get a gig doing a sitcom. It's paint-by-the-numbers comedy, lame joke-telling. They're drawn to it as a career move.
There are comics in L.A. doing impressions, and the first thing they do is hunch over and then start to do this bad Rick Moranis voice I do as well when I really get going. It's pretty horrible.
A lot of those comics can't hold down relationships and they've got no other life apart from performing. They sleep in their Jags and a lot of them can't even talk. All they can do is tell gags.
When I was growing up in comedy, there were maybe 10 comics in the whole country. Everyone had a day job. You worked free for years in little clubs, then you got your big break and became a star.
I don't think anything connects with an audience as deeply as a long-form serialized drama, and much as I love television, I've always found a good ongoing comics series to be much more immersive.
Regular panelists on shows can be terrifying. They own that space, and many guest comics suspect they are favoured in the edit, while their own hilarious jokes end up being ejected into the ether.
I had done about 60 television shows, from 'Ed Sullivan' to 'The Hollywood Palace,' before I ever went to 'Johnny Carson.' At the time, that was the showcase for comics. And I couldn't believe it.
I kind of just write what I like to write. I'm thankful that readers of different ages seem to connect to my stories. I don't consciously think about age demographics when I'm working on my comics.
As anyone who reads Marvel comics will tell you, it's actually more important that you understand the people that are inside the mask, as opposed to the mask and the cowl or anything else like that.
There are two kinds of comics; there are the ones who build bridges, and then there are the people who walk across the bridges as though they built them. The bridge builders are few and far between.
Every city you go to has television and radio talk shows that are dying to give young comics a showcase. They all want to be able to say that so-and-so started here, got his first break on this show.
These 'mistakes' occur in my books for a reason. I have an agenda: I'm secretly trying to inspire kids to create their own stories and comics, and I don't want them to feel stifled by 'perfectionism.'
I think I related more literally to the early 'Spider-Man' comics from Steve Ditko because it could be upfront and direct about the problems of being a kid. He captured being a teenager so beautifully.
The U.S. museums weren't looking at my paintings at all - they hated them, irredeemably. People metaphorically threw up when they saw my work! They thought I was enlarging comics, or just copying them.
I know there are a lot of comics that put their kids all over social media, but I think it's weird. There are over 100,000 people following you. To me, it feels like you should probably tone that down.
Like most comics, I tried to come up with a sitcom idea that was based around my life. And it didn't work out. But maybe because it didn't work out, that's why I ended up on 'Breaking Bad;' I don't know.
I've always loved pinup art, and I've always enjoyed drawing women. I think it was a conscious decision that has resulted in me getting almost exclusive work on comics where the main character is female.
The popularity of '2 Dope Queens' just showed there was like a hunger for new stories because we have alternative comics on our show that wouldn't normally be featured on, like, a white guy's comedy show.
I didn't set out to be a singer. Actually, the earliest creative efforts I made were drawings copied from comics we got every week at the newsagent, or rearranging photos I cut out and pasted in scrapbooks.
Back when Jerry Seinfeld was just another comedian hanging around the clubs, I'd imitate him to amuse myself and the other comics. The club owners would say, 'What are you doing that for? Nobody knows him.'
Comics, in a sense, the style, the images - it's almost like music. They say music is a universal language, but when the eyes behold something, a figure, somebody moving; it's real, and it cannot be denied.
I discovered 'The Shield' back around 2010, when the Archie superheroes were licensed to DC Comics. From there, I went back into the archives and discovered this whole universe of characters, and I was hooked.
Most of my work - including everything from my own comics to the covers I've drawn for 'The New Yorker' - is the result of taking some personal experience or observation and then fictionalizing it to a degree.
I'm not the best person to analyze any kind of evolution in my work, but I do feel like it's been an ongoing struggle to basically teach myself how to tell the kinds of stories that interest me in comics form.
New York is a brutally expensive place to live, and the kind of person who might have the dedication and esoteric taste to make the comics that I would really love is finding it more relaxing to live elsewhere.