I’d had the name Lloyd Llewellyn ever since I was a little kid, because in the old Superman comics, as you’ll recall, they had this weird obsession with the double L’s.
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.
The thing that I really liked about Batman as a comic book property was that they’re all fucked-up characters — that’s what’s so beautiful about them.
Doing comics for fun is all right, but even then, you are creating these things because you want people to read them, and no matter what your intentions, people are going to react.
The status of comic books in the world of artists’ books is awkward, because comic books are arguably the most successful verbi-visual book form with which artists of one sort or another are associated, and yet they have a quite separate existence.