Mainstream comics can be categorized in terms of two major strands: homonormative and [gender] integrationist.
There are times when a beautiful image makes sense as good storytelling in ways that are not easily explained.
There’s nothing more demoralizing than to be presented with a script that a writer has knocked off in an afternoon and that you then have to spend the next month drawing.
Comic books in general were a real need for me; a key to survival in what I perceived to be a lonely world.
When I first read of Hergé’s troubles, years ago, I was not surprised. It seems an archetypal cartoonist story. The fact that this depression became fodder for his work strikes me as just what I would expect.
The beautiful thing about comics being decently below the mainstream radar is that you [as an author] have no excuse and no pressure to hold back.
Personally, I don’t have a problem with the fact that comic books have grown up. I do wonder, though, if perhaps comic books are now being taken a little too seriously.
The graphic purity of the superhero costume means that the more effort and money you lavish on fine textiles, metal grommets, and leather trim the deeper your costume will be sucked into the silliness singularity that swallowed, for example, Joel Schumacher’s Batman and Robin and their four nipples.
Alan Moore does have a sheen of class. He’s a smart guy, and I’m sure there was a metaphoric level, I’m not denying that, but let’s face it: the main reason he was doing a super-hero comic was because he was working for a super-hero comic book company.
Seeing comic art on the wall is really interesting as a cartoonist. But I really don’t like people reading my work on a wall. It’s not how it was intended to be seen.
It’s one of the problems you run into in a mainstream comic — lots of them have the illusion of change, but because all these are huge properties owned by giant companies, they’re never really gonna let you keep a Superman dead, never gonna let you cut a Batman in half and keep half of him alive.
When it comes down to it, comics are one of the most labor-intensive and skills-intensive art forms there are.
Comics are a sub-set of pictorial narrative; therefore, all comics are pictorial narratives, but not all pictorial narratives are comics.
I think someone who says “I am doing this to appeal to women” is already making a mistake. I think what appeals to women is good comics.
I find that the longer the period is between actually working on a comic strip, the more likely I am to be depressed.
I have sometimes indulged in the fantasy that I am at the gates of Heaven. St. Peter questions me about what good I have done on earth. I reply proudly that I have read and analyzed thousands of comic books – a horrible task and really a labor of love. “That counts for nothing,” says St. Peter. “Millions of children read these comics books.” “Well,” I reply, “I have also read all the articles and speeches and press releases by experts for the defense [of comic books].” “Okay,” says St. Peter. “Come in! You deserve it.”
There was [in Angoulême, France] a huge bust of Hergé’s head in the middle of an open square. He’s smiling, but he doesn’t look genuinely happy. He seems too exposed. It was raining when I looked at him, but I’m sure he wouldn’t have seemed any happier if it had been a warm and sunny day. I wish they had given him a body. Maybe they will one day, and he’ll be as big as the Colossus of Rhodes. At that size, anyone would be happy.
I had no interest in comics, but when I read Spiegelman’s book, I discovered there was a way for me to tell all the stories I had carried in my head all these years.
The idea of a comic book has been lost in the ghetto, whereas the graphic novel is now being held up as something to aspire to and as something that’s respectable for adults to read.
A lot of people can only do this [comics] when they’re young, but once you have a family and a job, you get house payments… they have to buckle down and do commercial art.
I got to loving to read, because he [Tutu’s father] allowed me to read comics, which most people said you shouldn’t let your child read because they will spoil him. But that gave me an extraordinary hunger for reading.
If you really think about it, even what you might call realistic styles of cartooning are actually very abstracted. They’re all symbols.
When it’s not notable and it’s not special to be a woman in comics — when it’s just normal. That will be the mark of us having come really, really far.
In print, the comics are as much a part of many people’s morning routines as a cup of coffee. The question now is whether daily comics can make a jump to mass electronic distribution and a younger readership — or whether they will be tossed aside like yesterday’s news.
Cartooning is a lonely job. You have to sit by yourself in a room, masturbate and fool around with your stuff. Let the whole thing fester. You know. That’s the creative process. It’s sordid but that’s how it is.
The language of comics criticism is still young and scrawny — it’s so underdeveloped that there’s no good adjective that means “comics-ish”.
He [Will Eisner] sought for comics to be next to prose, where I always thought of comics as being another scrappy form, messing in popular culture.
A lot of boy cartoonists, especially, manage to have a crew who also do comics or like comics with whom they can figure stuff out. I never had that.
The superhero — that slightly embarrassing descendant of the cowboy and the private dick — is still around.
We’re all superheroes in our own stories and in comics we get to see our heroes wrestle with Guilt, Fear, Commitment, Love, Loss, in very direct, imaginative and entertaining ways.
New mainstream comics about anything other than superheroes aren’t entirely obsolete, but they’re definitely anomalies; if there are three war comics running at the same time, it’s like some kind of harmonic convergence.
I personally have no need to make a strict definition of the medium. I am more interested in what can be done with comics than how it can be described, and if I want to remain truly open to the creative possibilities, the less I define the medium, the better.
There is no reason why bigger letters would mean that a voice is louder though it has certainly become convention in comics.
I like it that comics don’t have sounds and smells. Sometimes a word is nice, seeing the words “garage door opening” is different than hearing a garage door opening or seeing it happen.
Why do musicians compose symphonies and poets write poems? They do it because life wouldn’t have any meaning for them if they didn’t. That’s why I draw cartoons. It’s my life.
Every professor I had discouraged me and said, “You’ll never make a living from that [comics]; nobody cares, nobody will think of you as an artist.” And now I realize, when I look back on them, that they were absolute failures.
Specific, closed cultures like that surrounding comic books have allowed voices to be heard that might not have been audible in a world in which all cultural texts speak the same common language.
One of the reasons for the resurgence of interest in comic books [as collectibles] must be that it’s an escapist medium.
It appears to me that this new generation wants to get some “fun” back into the medium and that they aren’t all that interested in producing “long and complex” narratives like the “old farts” of my cartooning generation.
Political cartoons have a powerful history in the United States. Many cartoonists were the Jon Stewarts of their day, quickly cutting complex issues to their cores.
People are always saying that comics are dead and something else will take over. But people keep coming back to the little pamphlet that they can hold in their hand. That’s something a computer can’t replace.
I’m probably not as worried about my dick as I used to be. Well, that isn’t exactly true — but I no longer deal with it by reading about mutant musclemen and the big-titted women who love them.
I worked in a comic book store in the mid-’80s and loathed the customers who came up to the counter with their own plastic bags and acid-free cardboard backing boards to begin the process of preserving their investments right away.
I don’t intend to get too flag-wavingly patriotic here, but it has to be said that British comics creators stand amongst the greatest in the world.
I’m interested in comics. Sometimes I’m interested in making them, sometimes I’m interested in looking at them, sometimes I’m interested in thinking about and writing what it is that I’m understanding about them.
My favorite comics are mine – I’m the only one writing the plots complicated and multi-faceted enough to rivet my attention.
In Austria, where I come from, there is absolutely no market for books like mine. The booksellers hate them, and are glad if the 5 copies they got by incident are gone, so they don’t have to bother with them no more.
Sometimes a comic can be a great thing because it’s a comic, not because it’s almost as good as a movie, or as good as a prose novel.
Comic art is the mother of the arts; no, the grandmother of the arts. They used to paint it on caves.
The kind of music I like and cartoons are all part of an old time proletarian culture, [a] low cultural form.
Whenever I hear someone say they met someone who doesn’t know how to read a comic book I am always perplexed.
The advantage in comics is that there’s no budget. What it costs to do a comic versus what it costs to do even the worst animated show… it’s so much easier to do it as a comic. Plus I get to do it myself.
Almost all popular comics, alternative or otherwise, is that they’re almost always about either kids; or young, horny adults; or horribly socially inept older adults. I defy you to name an exception!
Part of me wants comics to be respected as a legitimate art form, the other part of me wants to be left alone so I can have fun drawing comics for my fans.
The average monthly comic is quite an expensive commodity now, and it can be unsatisfying if you haven’t read the issue before or are unable to get hold of the issue afterward
The history of cartooning is mostly the history of famous cartoon “characters” — not powerful or meaningful stories.
Comics today are full of crybaby prima donnas who do three issues in a row and want a parade. They should all be tossed off high buildings.
Comic books are what novels used to be — an accessible, vernacular form with mass appeal — and if the highbrows are right, they’re a form perfectly suited to our dumbed-down culture and collective attention deficit.
I think cartooning, for the most part, is a young man’s game, or a young person’s game, because there are a lot of women doing it now.
And Roy Rogers is riding tonight
Returning to our silver screens
Comic book characters never grow old
My drawing, like that of most cartoonists, is intended first of all to be functional: to create believable space, and communicate information.
Comic books are a cross between a fiction series and a limited-run magazine, so they cannot be treated exactly like a book or a magazine. They are definitely high appeal, and should be featured when they are new, but unlike magazines they have a story line that makes them useful even after the next edition arrives.
The comic strip is the definition of quotidian. It comes out everyday, you read it on the toilet or having breakfast. It just weaves itself into your everyday life. It’s about little details, it’s not about grand sweeping dramas.
Sadly, most comics writers, even the highly regarded ones, are comics fans first and writers second. That strikes me as a handicap: I believe that the only way you can get into new, deeper character-territory is to challenge genre conventions rather than celebrate or serve them.
I like the books very much, and admire Hergé’s work, but having never seen a Tintin volume until I was a teenager, I have no visceral pop culture nostalgia inflecting my appreciation.
Images have more immediate impact than words, and it is not every reader who can be convinced to relax into experiencing the work for what it is — not words and pictures, but a different form, where the narrative is propelled by the blending of image, word and sequence, and where no element can be extricated and have the same meaning by itself
A successful comic strip must engage the fantasy life of many different people, which is why interpreting that work tell us a great deal about ourselves.
We are definitely living in a visual culture and comics offer a key to becoming literate in a mode of communication that combines the verbal and the visual into a (more or less) seamless whole.
There must be 3000 cartoonists in North America. I included 85 in this book [An Anthology of Graphic Fiction, Cartoons, & True Stories – Vol. II], and if I count the first volume, there are probably a total of 125 artists represented. That leaves 2875 artists who are probably mad at me.
Kids don’t even read comic books anymore, they’ve got more important things to do — like video games.
Sea monkeys, do monkey’s
Story of my life
Send three bucks to a comic book
Get a house, car and wife
Send three bucks to a comic book
Get a house, car and wife
I think comics is an extension of culture and has the breadth and width to handle any and all subjects.
Comic books helped me to define myself and my world in a way that made both far less frightening. I honestly cannot imagine how I would have navigated my way through childhood without them.
I think a comic strip, like jazz, is pretty American. The variations of how much stuff you can cram into a comic strip or how far you can stretch the envelope in a form of music or a comic strip is pretty endless, you’re limited only by your imagination.