We live in an increasingly literal world, where people don’t like movies because they think the actress is too ugly, rather than being able to see her as attractive because you’re being asked to see her in the story that way. Comics is like the advanced class of the opposite of that.
Comics are a decidedly inelastic good, as evidenced by the fact that demand has remained steady in the face of sharp increases in price.
People who treat the DC/Marvel rivalry like a titanic clash of good vs. evil, webcomics triumphalism, manga triumphalism, superheroes as modern myths, and “the New Mainstream” can all go jump in a lake.
I didn’t know anything about Iron Man. I mean, when I first saw Iron Man, I thought it was a robot. I didn’t know that there was a person in there.
The only pop culture artist who could give Frank Frazetta a run for his money was Jack Kirby. These two poets of force and motion so intuitively understood the fantasies they were drawing that each established the style that would forever define their respective genres: the superhero in action for Kirby, the barbarian in action for Frazetta.
I feel the same way about gay characters as I do about brunettes in the Marvel Universe. It’s a part of who the character is, not the whole sum of any character.
Comics seem to be getting more and more complicated these days, and even the best of them can be a chore to plow through.
Comics are unlike any other medium in that they use both visual and written storytelling to convey their meaning which gives them an awe-inspiring level of power and a unique manner in which to use that power.
If a child is spending too much time with comic books, this is a not his basic problem, but rather is an indication, a clue, of an emotional problem within the child.
Comics, unlike most other media, doesn’t yet (and may never) have a broad-based cultural acceptance in this country.
Comparing it to other mediums, comics combine my favorite aspect of film – visual storytelling – with the intimacy and personal vision of a novel. And you get to create a whole world!
If you’re going to create a theory about comics, base it on the properties found by analyzing actual comics instead of pure theorizing.
I made the choice at some point to not fall into the trapping of calling them comics “graphic novels”. Comics are comics. So I call them just that… comics.
It’s not much of a secret that basically all new comics are out there in the ether in digital form within a day or two of hitting the stands, and it’s not terribly hard to dig up a lot of older comics, too […]
Perhaps the disconnect between the categories of “comics” and “graphic novels” arises from our unwillingness, as readers, to assign a book we love deeply to a category we may find shallow.
Like Moses, Superman was discovered as an apparently abandoned baby and raised by the people who found him […]
Comics are the key artifacts for the modern historian attempting to understand our age, and will ultimately be considered historic art.
I don’t think criticism from comics creators has any special quality that makes it any better or worse than criticism generally. One thing that might get underestimated is that the average cartoonist spends way more time than the average writer-about-comics thinking about comics
Comics are a fascinating art form. In this age of media propaganda and corporate information control, like the 24 hour news and so-called reality shows…they are essentially one of the last pirate mediums.
The new comics have to develop for the expanded medium of the web. They are read differently then books and are not bound by the same format or economic restraints.
I think it’s easier to say that all comics are shit and deal with the exceptions when they come up, rather than say that 99 percent of them are shit. It’s easier to say they’re all shit and then argue the one or two exceptions.
Even if the rules and regulations in mainstream comics are a little wonky, they still exist to tell clear stories. In alternative comics, everyone is so “free to be me” that there’s a lot of structure that they balk at absorbing.
Be ready for the long haul. Make sure you’re doing it for fun, because only a few people get to do this successfully for money. It’s just the nature of it.
I have such trouble explaining my career to people who are just sort of aware of Ghost World or David Boring and Ice Haven. You say, “Well, it was originally in Eightball,” and they don’t know what that is and they just don’t get any of that stuff. That whole world we were in, it seems so, so lost. The whole world of zine culture and doing your own little comic pamphlets and that stuff. It’s very hard to explain to someone who was born in 1990 what that’s all about.
Comics, one could fairly argue, are a primarily spatial medium that has been, as a historical accident, serialized, leading to certain temporal effects.
The most intriguing thing about Tony Stark is that he’s more ‘flesh and blood’ than most superheroes.
Authenticity, for me, was important, because it made the reader feel ‘This is real This is not just a comic book’ […]
Comics and music have many things in common. The use of rhythm and synchopation to drive the root of the piece. The use of texture and “color” to set mood. The use of lyricism in dialogue and song writing. Pacing, dynamics, positive and negative space. Subject matter. Crippling dependence on genre convention. Scapegoating for juvenile delinquency.
There were many factors that drew me to comic books, but first and foremost were the outfits the superheroes wore. Like thousands of youngsters before me, I ran around with an old towel for a cape and wore snowshoes, gloves and anything else that might suggest superpowers.
Being around kids, I have to constantly justify my beliefs in what makes comics good. It’s a good way to measure myself and keep an outside perspective on my own work.
Jack Kirby was fabulous, even though he wasn’t a great draftsman. He didn’t paint or anything. And certainly wasn’t versatile. But boy, get that “Slam, Bang, Pow” stuff and he was great.
Comics mostly don’t pay much, so don’t do it thinking you’re going to sell your idea to Hollywood and strike it rich. Do it because you love it.
The term “graphic novel” may have been a useful euphemism 30 years ago (it didn’t hurt when if was applied to MAUS, first published in book form in 1986), but we may have reached a point where it confuses rather than clarifies.
Although comics have a clear spatial dimension, they have always been a temporal form, to the point where the page, so often read as a spatial representation of time, can in fact subjugate the spatial constraints to the temporal.
Comics drawn in slavish imitation of photography are almost as bad as those awful fumettis occasionally produced, despite all good sense, in Europe, those pasted-up things that are the worst and dumbest and most joyless corruption of the artform imaginable. They’ve got all the charm of a low-budget porn movie, and all of the verve of a high school yearbook.
Orthodox Christians have brought the art and spirituality of icons. Some have called these “windows to the sacred or holy.” For me, comics are icons. They open my eyes to seeing a different world–a world of amazing possibilities, powerful stories, and holy people–and I hope they’ll do the same for you.
I love comics. I love their strange and wonderful manifestations, and the tricks and techniques that are impossible in any other media.
Comics are supposed to be an immediate art form. Developing them by committee for years and years is just goddamn ridiculous. For Christ’s sake, the entire Marvel Universe was thought up on the fly by three or four guys in about two years, total!
I seem to make old guy comics now. I remember working for this animator back in the ’70s: Tex Henson, who had been at Disney in the ’30s. He was drawing these stupid comics that looked kind of like Spike and Tyke. Bulldogs and cats and stuff. And I thought, “Gee, what an idiot. I’m doing this advanced, Clockwork Orange-y stuff. I’m in the future, and he’s back there with his stupid bulldogs.” Now I’m drawing bulldogs and cats and squirrels. What is that? I can’t be hip and fresh and young. I’m not that anymore. I try to be, so that’s sort of what I can do.
For a long time, some jaded folks declared, “comics are just for kids.” Maybe so. But, comics keep us young. And, if Jack Kirby makes me stupid, I don’t want to be smart.
Tintin certainly has evolved since the days of his politically incorrect misadventures, and so too has America. Perhaps in the brave new world of Barack Obama there will be more room for this white European octogenarian.
I am convinced that in some way or other the democratic process will assert itself and crime comic books will go, and with them all they stand for and all that sustains them.
Someone came up to me yesterday and said, ‘you know, there are live cartoonists doing work now.’ And I said, ‘well, call me when you’re sick or on your deathbed, because I’m all about publishing dead cartoonists on dead trees […]
DC is trying to be the comic arm of the Tea Party and those who want to keep this country divided along racial lines. With the stories of the past few years, DC has not been a good place to be if you aren’t a white male character steeped in years of history. It seems like they have no desire to even try to write a comic written for women or minorities, or at least one that doesn’t show them as being second class.
Comics are both a literary and a visual experience; you don’t only read a comic just as you don’t only listen to a TV programme.
Drawing a comic book is a peculiar craft. Doing a good job at it means tackling a number of problems that you might not find in other media.
Obviously digital content is here to stay. Probably printed books will be a niche market, but for small [comic book] publishers like ourselves, that’s the way it’s always been.
A Parisian friend showed me some graphic novels from his shelf. Here were some very sophisticated themes being dealt with and the art was terrific, much less raw than a lot of the stuff being done in America. That’s one of the problems with graphic novels. Who wants to spend 400 pages looking at what each picture means? You don’t often see good art and good story combined, and that’s what I saw happening in those French books.
I think I’ll go down with the sinking ship that is the publishing business before I re-emerge as a desperate and apologetic Web cartoonist (”C’mon guys—buy some mugs and t-shirts!”).
If newspapers comics aren’t around anymore, because newspapers are dying out, who is going to train these kids to love comics like our generation is loving them now? If nobody pays attention to that, this glut of talent that we see right now could just be the height of comics.
Cartoonist Charles Schulz made us all feel less lonely, because he understood that the world was full of Charlie Browns.
It’s interesting how people have gravitated toward this awful grind of doing a daily strip. I can’t think of anything worse.
An unnerving number of North America’s political cartoonists are bizarrely obsessed with President Obama’s lips.
The goal of digital should be to increase the number of eyes on comics, and everything possible should be done to protect against cross-channel migration until the audience has grown sufficiently. Digital is the new newsstand!
Comics are extremely cool things to read, touch, hold, and own. Digital [marketing] is an expansion of the industry, and will bring growth for everyone by getting new people into comics. Nothing will replace the demand for holding a real comic book in your hand – all else is simulation.
The debate about the origins of superhero story lines would as likely lead us to 1920s-30s pulp magazines with crude Nietzchean undertones as to any internalized saga of Jewish powerlessness.
The Clark Kentish Jewish male can be seen in many spots of Yiddish literature from the late 19th century onward, in Vaudeville, silent films and so on. It is a Jewish “shtick” along with less pleasant ones long popular in entertainment […] known to bring laughs from the mostly Gentile stage audience.