Top 606 Comics Quotes

My wife and I take what we call our Friday comedy day off. We watch standup comics on TV. The raunchier the better. We love Eddie Izzard.

I think it’s our job as writers for Marvel Comics to continue to create those type of stories that can be mined instead of just trying to give readers exactly what they see on film.

Al Plastino helped redefine Superman in the 1950s. His work on ‘Superman’s Girlfriend,’ ‘Lois Lane,’ ‘Adventure Comics’ and pretty much any title in the Superman family will be fondly remembered for years to come. He will be missed.

I never really feel like just standing there and telling jokes. I want to move around. In fact, it’s hard for me to write a joke where I don’t end up on the ground for some reason. Hey, at least that way, I know no comics will steal my jokes. Too many bruises.

I grew up when comics were only sold in food markets and news stands, so the direct market is vital to me. The best way to make it stronger is if everybody buys my comics in multiple copies before they buy any others.

My father worked in Chrysler’s drafting department and used to bring home tracing paper, No. 2 pencils, and masking tape from the office. With these, I used to trace off drawings from the ‘Superman’ and ‘Batman’ comics and put them up on my bedroom walls.

The method of producing comics in Japan is very hectic, but it’s also rewarding because it’s possible to do both the story and art all by yourself.

I have to say, self-servingly, I downloaded my own comics. I downloaded ‘Batman: Hush.’

I grew up reading comics – mostly Marvel – Doctor Strange was my favourite comic book and has remained my favourite as an adult. It’s the only comic book movie property I’ve ever gone after. I felt uniquely suited to it.

Jazz, rock and roll, movies and comics are the culture of America.

I have this certain vision of the way I want my comics to look; this sort of photographic realism, but with a certain abstraction that comics can give. It’s kind of a fine line.

I’m always interested in using comics in different ways.

I used to write bits and pieces of comedy material for various comics that were at the Windmill… as well as my film job, I was under contract, I was allowed to do that and everything.

Publishing the lyric books, poetry or comics of other musicians I know. That’s the thing I really want to break into!

I’ve done illustration on the side. But other than that, comics have been my main things.

What eventually you find in comics is the only thing unique you can bring to a character who’s been around for 80 years is yourself.

Just make the comics you want to see, and people will notice.

My father spent his entire early career as an illustrator for comic books: EC Comics like ‘Tales from the Crypt’ and ‘Creepshow,’ then moving on to such magazines as ‘Mad’ and ‘Weird Science.’

Because making movies is such an expensive endeavor, other media such as books and comics have long been a more feasible way to experiment with truly new ideas.

Compared to what comics say today, I’m a monk, but in those days, it was unheard of to make fun of people like I did. Of course, they exaggerated how outrageous I really was.

When I was a kid, I could draw, and my ambition was to be a cartoonist. I wanted to draw comics. But I also liked newspaper comics.

We’re never going to please everyone, but all the great Jewish comics have succeeded through irreverence and self deprecation.

Now when I’m not working, I don’t really hang out with the young comics.

For a lot of arcane shipping reasons, new comics, even digital ones, have a long history of only being released on Wednesdays.

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.

The biggest problem almost all comics face is not piracy or demographics or any of that nonsense: it’s obscurity.

And I’ve always loved commercials. I like working out how to organically weave a brand’s message into the writing process. It’s like an improv show, where comics ask the audience to throw out a word and a skit is built around it.

I dug up some old John Buscema ‘Conan’ comics. Man, when Alfredo Alcala was inking, that was some of the most beautiful black and white comic art ever published. The stories are good, too, though early ’70s comics based on Conan is a festival of sexist, racist stereotypes.

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.

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 comics I made from 1990 to 1997 were largely based in vaguely urban, vaguely dystopic settings because that was my reference point for comics storytelling in general.

Those early Cyborg comics were very politically charged, and he was very aware of being a black superhero.

There hasn’t been enough change in comics to suit me. I don’t know why exactly.

With superheroes and comics and fantasy and sci-fi being absolutely the popular currency in cinema, it’s like people have said in endless magazines, it’s the revenge of the geeks and all that. There’s some truth in that.

Someone told me that there’s a connection to Superman, that in an early edition of the Green Lantern comics, Tomar Re was the envoy to Krypton. That was fascinating to me.

I was a junior at school, and I had just taken my first comics class, and we were doing an exercise for this other class where we had to create our own characters,and ‘Nimona’ just kind of came out of that. I decided that I liked her so much that I wanted to do a comic with her.

When I grew up reading comics, the part in the Marvel universe that was so exciting was that you could have a battle going on in ‘Iron Man’ and then, suddenly, Thor would fly overhead, and you realized, ‘Oh, it’s all one place.’

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.

Certainly, my many years working in the comics industry, creating products that I do not own, has made me rather fierce on the subject of giving up rights.

I don’t think it’s a coincidence that comic books appeal so strongly to children. Not that it negates any of their power for adults, but there is something about comics that makes them a perfect storytelling system for children.

I love hearing people who are smarter than me talk about my comics. It makes me feel smarter.

‘The Green Turtle’ wasn’t all that popular. He lasted only five issues of Blazing Comics before disappearing into obscurity.

The comics I read as a kid were much more influenced by TV and movies. Encountering superheroes as an adult without that kind of childhood sentimentality, it just doesn’t allow you, or in my case at least, it wouldn’t let me take the characters seriously.

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.

I wasn’t ever a huge fan of comics. Just not one of those kids, you know?

When I came up in L.A., a lot of comics produced their own shows, and so if you wanted to have a show in the city, you produced it yourself.

My character is Toni Topaz, and she’s from the new-generation Archie Comics. I will be rocking the signature pink hair.

I miss seeing real comics, Shecky Greene and Buddy Hackett, those types. I like straight stand-up, talking about the Olympics and why I feel obligated to watch them. ‘Why am I watching archery at 4 in the afternoon?’

It dawned on me that comics were not an intrinsically limited medium. There was a tremendous amount of things you could do in comics that you couldn’t do in other art forms – but no one was doing it. I figured if I’d make a try at it, I’d at least be a footnote in history.

I can earn more in a single weekend of convetioneering than I would in an entire month drawing comics. And I get a pretty high rate drawing comics.

Millennials give comics the kind of adulation past generations reserved for musicians. We respect Lady Gaga. But we’ll travel hundreds of miles to touch the hem of Jon Stewart’s robe.

I’ve wanted to write ever since I’ve gotten into comics. I wrote little things for myself when I was doing mini-comics and things, before becoming a professional. But I just figure at some point or another, I’ve got to make the leap. I just have to do it.

All through my comics career, I was always trying to reinvent the form.

Because of the audience I get and the fact that these people aren’t traditional comics buyers I don’t think the comic industry looks at that and thinks that is a very respectable thing. I’m very used to it. I’m not the guy who wins awards and gets mentioned in magazines.

We are, in the comics, the last frontier of good, wholesome family humor and entertainment.