I think cartooning has a certain quality and a certain charm unlike any other medium, a bringing of joy, a bringing of happiness without being too pompous about it.
For my money, nothing beats printed comics and graphic novels, but the new technology offers one big advantage that makes it very appealing… the direct distribution of content to the reader/viewer.
Films do share some comic book characteristics, but it’s still a different medium. Comics are a combination of pictures and words. With film you also add motion and audio.
Characters in comics are like children. You have to let them go where they need to be or you’ll hurt them and, worse yet, the story.
They [DC] have Batman and Superman, and they don’t know what to do with them. That’s like being a porn star with the biggest dick and you can’t get it up.
When you create a comic book, you don’t have to think about production costs, shooting locations, equipment and actors. Everything depends on the author, who is extraordinarily free. But inherent in that freedom is the danger of going off the rails.
I’m quite confident that they [newspaper comics] will last a lifetime – as long as your life is scheduled to go subterranean by 2012. Beyond that, you might be betting against the house.
Comic Sans is nothing more than a way to label yourself clueless about comics, fonts, and good design.
By virtue of their unrestricted nature, pirated comics are a shared experience as well, as is much of the modern World Wide Web, from social networking sites like MySpace to music sites like Last.fm.
People who don’t read comics are in the same class as people who don’t watch TV or listen to the radio. To be brutally frank, that’s a form of ignorance or intellectual snobbishness. All comic strips and all TV and all radio aren’t bad.
I’m a big fan of losing the “comics” from “webcomics” insofar as that the comic format doesn’t have to be the beginning and end of a creator’s expression of creativity.
The only important thing is that you be funny each day, because your client is the newspaper editor, and he’s paying out good money in his comics’ budget to buy a strip that will help sell his newspaper.
In the spirit of post-World War II existentialism, Marvel’s heroes conduct their lives in extreme situations that require hard choices.
I extremely doubt “official” value databases and price guides on comic books. The only value a comic book has is the one the collector is willing to pay to obtain a specific comic book.
You’re now in, essentially, a Golden Age of Comics. And you’re in a Golden Age of Comics not just because there’s some good stuff being produced, but [also because] for the first time ever, there is this astounding multiplicity of everything good that’s ever been produced. It’s out there.
Things that we did in Watchmen on paper could be frankly horrible or sensationalist or unpleasant if you were to interpret them literally through the medium of cinema. When it’s just lines on paper, the reader is in control of the experience – it’s a tableau vivant.
Motion Comics are not intended to be hybrid films or TV experiences; they are enhanced experiences of the original comics, designed to maximize this particular medium and consumer expectations within the medium.
European comics are principally and fundamentally conceived as works by the author (albeit as works directed to the general public, like Tintin or Astérix), and in the United States you have a lot more importance placed on the character and its continuing production.
Comic stores are the lifeblood of the industry as a destination retail experience, as a one-of-a-kind environment in which the art form can thrive and as a nexus for our culture.
Put out a story that you think is good, that’s your job. If you’re making it controversial just to sell you’re going the wrong way. My comics are controversial because that’s what I think is funny.
There’s something very warm and soothing about looking at an old Batman comic you haven’t looked at since you were eight years old. But whether it’s very useful as a symbol in the current day and age is another thing.
Comic books like most popular culture are looked down upon by educators and intellectuals. Deemed too violent and without substance, comic books have been virtual symbols of lowbrow reading almost since their creation in the late 1890s.
There have been consistently terrific portrayals of homosexual and bisexual relationships in independent comics for decades, but in mainstream super heroics, it’s still pretty rare.
Our readers get enough preaching from their parents, from teachers, from the clergy. Everyone’s preaching to them, telling them to do this and don’t do that. When they read a comic book, there should be escapism, entertainment — nothing more than that.
Nothing I’ve done has ever been popular. Snoopy is popular. Calvin and Hobbes are popular. I love those characters, but everything in Smell of Steve is just conceptual art gone wrong.
Comics, with their minimal budgets, can afford to take risks and break rules in this area that Hollywood and TV producers are generally afraid to do. We’re at the front line of the world’s collective imagination, so there’s no need to be so timid.
It’s no coincidence that the commercial comic in America started out in the then-highly-competitive world of the late nineteenth century newspaper, where any content item needed to have maximum impact at maximum speed for a minimum cost-of-development.
I’ve been a fan of superheroes since I was a kid. I believe superheroes belong in their own silly world, and I’m saying that as a compliment.
We [cartoonists] live and die by our newspapers… We’ve all built our careers on trying to be content for newspapers. If newspapers are struggling, then we’re struggling as well.
I find it incredible that drawings on paper can make people laugh or cry or get angry. You know these primitive, occult marks that really quite magically come alive in our heads.
The basis of the comics medium is its combination of words and pictures in sequence, and any new term must avoid giving undue emphasis to either element of the equation.
Comic books are, hands down, my favorite story telling medium. I’ve always wanted to write for comics, more than theatre, more than TV and more than film.
Every time I read a news item on a new, upcoming development and then hear that he or she is gay or lesbian I just groan. Just like comics being for adults as well as kids, I feel this is ancient history now. It’s like a press release saying the new Green Lantern will have red hair or an Asian dad. It’s essentially meaningless.
For a long time, there was an impenetrable mindset in North America that comics were genre-based junk for children, Drawn and Quarterly did a lot to change that.
There’s something joyous about writing a comic for an eight-to-twelve year old — it just feels free. Liberating. It’s nice to have something that’s just straight fun, without necessarily tying into anything or leading on to or from anything — something that anyone of any age can pick up and enjoy.
Smart and interesting comics stay in the shadows there [US]. The main problem with America is they fit everything into confined frameworks and I am against that.
If comics are simply going to be a cheap way of producing storyboards for major Hollywood productions, then you might as well start chipping out the tombstone now.
Comics history is too often seen as “American comics history” — a distortion reinforced by the fact that almost all the secondary sources on the market are themselves American and largely ignore comics originating in other parts of the world.
Webcomics have emerged as an important new medium and an inexpensive way to expand your library’s collection far beyond its physical boundaries.
Comics are stronger, smarter, and better than any watered-down mass-market recreations could ever be.
In examining some of the many citations of Shakespeare’s comic books, it is not our intention appreciate their artistic value or condemn them for their lack thereof, but to interrogate how the medium of comic books in general comes to have cultural value by invoking (for may different effects) Shakespeare’s cultural authority.
DC was part of the establishment. Marvel was different. When I was younger, I liked the heroes of DC because they seemed like parental figures. When I was older, I liked Marvel, because they seemed like they were my contemporaries.
Thinking of comicbooks in terms of the “popular” indicates a refusal or an inability to engage with many of the medium’s varied forms of representations, since it undermines the complexity of the ways in which comics may be understood and the range of meanings it can produce.
Webcomics have proven they can be successful and profitable for single cartoonists, but I’ve yet to see a company utilize them as anything other than a promotional tool.
Cheap to produce, easy to distribute, and packed with drama (high or low), they [comics] are about the only serious antagonists of the cerebral abstraction that fills the art academies at the moment.
I’m completely happy and confident about the comics medium because even if, as I hope, the comics industry collapses tomorrow, then there’ll still be people who have access to a Woolworth’s jotter and a cheap Biro – that was all I used when I was doing my first groundbreaking series of comics when I was eleven.
Comics may not have its Beethoven yet, but he/she might just be reading this stuff in a year or two, between Math and Social Studies, and realizing for the first time just what they want to do when they grow up.
Looking at comics has always felt like Christmas morning. They’re just exciting. Probably I should see a therapist about this.
Comics. Comic Books. Graphic Novels. Funny Books. Comic Magazines. Whatever you call them, one thing is for sure; they are a part of our culture.