Plays have been made of my comics.
It always amazes me that Japanese comics have, like, 200 pages. How do they do that? They’re fat books; it’s a whole different kind of comic that’s very close to their films. So I’m drawing from that history and bringing it here – bringing it to Katana.
In film, you have the luxury of accomplishing what you need in 24 frames every second. Comics, you only have five or six panels a page to do that.
I love the comics so much, and I grew up reading Marvel Comics. And Doctor Strange is my favorite comic book character – probably, I think honestly, the only comic book I would feel personally suited to work on.
Comics, in a sense, the style, the images – it’s almost like music. They say music is a universal language, but when the eyes behold something, a figure, somebody moving; it’s real, and it cannot be denied.
You know, duality has always been a strong theme throughout ‘Venom’-focused stories, whether it’s in the comics or in movies, and that’s something I think that Tom Hardy’s played with in a lot of his work.
My favorite comics show the real-life struggles of heroes as well as the fantastical.
As comics if you aren’t rubbing people the wrong way, to me, you suck.
Comics have years to explain this stuff, and in a movie, you have to focus on one thing. So it’s about kind of streamlining, I think. Some of the most successful origin films actually have a narrower focus.
Women have been writing strong women characters for a long time – hello, Maxine Hong Kingston! – it’s just taken mainstream comics a really long while to catch up.
No offense to real jobs, but comics seemed a lot more fun.
Comics seldom move me the way I would be moved by a novel or movie.
In DC Comics, Blue Devil is a superhero who came out of a movie.
Comics are a dying art. If you ask a little kid to choose between a video game with insane graphics or comic books… you have to compete with cable, satellite TV with its thousands of channels, and with video games that are like movies, with CGI explosions where you can blow up worlds.
My interests were in fantasy more than comics growing up.
I met my first boyfriend when we were 13, playing ‘Dungeons and Dragons’ in the basement of my local comics shop. We were from the same small town in Maine but went to different schools.
Fundamentalists are crazy. They’re the real world equivalent to the evil geniuses of our spy fiction and our superhero comics. They want to mold the world into a specific shape that they really believe in, and if you don’t believe in that, if you can’t relate to that, it just seems crazy.
I know ‘100 Bullets’ is not what traditionally people think of as comics.
My one criticism of Vertigo Crime to date is that it’s been a boys’ club, reveling in violence that, while entertainingly lurid, lacks depth. Of course, the comics world is deliberately double-dimensional – and shouldn’t apologize for being so.
I’ve loved comics since I was very young, and I’ve always liked telling stories.
I do not read newspaper comics unless they happen to be out when I visit my parents, but I follow several online comics, which I check every morning while I drink my coffee and wake up for the day.
We don’t apologize for a joke. We are comics. We are here to make you laugh. If you don’t get it, then don’t watch us.
Once I found out that I was playing ‘Deathlok,’ I unearthed my old comic book collection. I was going home for Christmas, and I have a collection of thousands of comics. I was surprised to see that 90% of them were Marvel. So, I wanted to go through my collection and start there.
It’s very hard for a woman in comedy. It’s hard for women to be bold and not care what anyone, particularly men, think. Maybe that is why so many women comics are lesbians.
I’m a wall to wall geek. I love sci fi; I’ve had a crush on Spider-Man since I was five years old, and there’s an uncomfortably large shelf in my living room just for my comics.
I minored in creative writing in college, and I’ve played with the idea of doing something more hybrid, but comics are my first love.
People still go to Comic-Con because they love comics.
I think the best science fiction, especially literature, is political in nature and is often an allegory about something problematic in our world, and it’s something that makes the ‘X-Men’ comics so relevant – they’re about xenophobia and prejudice.
I never go perform somewhere alone. I’ve done that since day one. I’ve always taken other comics with me.
In earlier comics, my only priority was telling a joke in the last panel, but now I try to make every panel as interesting as possible, and that normally means at least a li’l joke there.
I was 25 myself once. I also thought I knew everything. I also thought that I could give singers singing advice and comics comedy advice. When you’re that age, you know it all, so I understand it. But when you’re tired and you don’t have patience for it, you definitely snap.
It’s only recently women got to be action heroes on TV. Progress is slow, and often non-existent. There’s plenty of cool comics with female characters… But all it takes is one Catwoman to set the cause back a decade.
When I started writing comics, ‘comics writer’ was the most obscure job in the world! If I wanted to be a celebrity, I would have become a moody English screen actor.
I used to read comics when I was a kid.
We didn’t have television until I was about eight years old, so it was either the movies or radio. A lot of radio drama. That was our television, you know. We had to use our imagination. So it was really those two things, and the comics, that I immersed myself in as a child.
The mass of Venom. I mean, he’s like a big, foreboding, physical presence. Actually, let me correct myself – the eyes, the tongue, the mouth, those are his most distinguishing traits, and so making those look as photoreal and true to the comics as we possibly could was super important to me.
I think that all comics or humorists, or whatever we are, ask questions. That’s what we’re supposed to do. But I not only ask the questions, I offer solutions.
Find me anybody in comics who has a longer history of yanking defeat from the jaws of victory than Bruce Banner.
There are two kinds of comics; there are the ones who build bridges, and then there are the people who walk across the bridges as though they built them. The bridge builders are few and far between.
I’ve written, like, 450 comics, and ‘Secret Six’ was the first one I’ve had ship late, ever. So it took a lot to make that happen. So we had a little bit of a stop-and-start, and then we had Convergence, and then Issue No. 2 of ‘Secret Six’.
Every city you go to has television and radio talk shows that are dying to give young comics a showcase. They all want to be able to say that so-and-so started here, got his first break on this show.
I’ve never tweeted. ‘Funny or Die’ started my Twitter account for me, and so I don’t even have the password or anything like that. They started it, then they handed it off to other comics.
I didn’t really like superheroes. I liked monsters and war comics.
I’d like to be involved in ‘SNL’ somehow. I mean, being a permanent cast member is a stretch! That’s pretty damned hard, but to host it one day would be a dream come true. And I would like to play the DC Comics villain Harley Quinn.
I’m sure that no matter what I’m involved in, I’ll always be doing comics, at least in some minor capacity.
Comics as art. I do comics as comics, and my opportunity to tell stories. Simple. Basic. Let the characters have the excitement, not the package. That’s where I come from.
There’s this idea that it has to be made in London. But we’ve got everything up here, and if you’ve got comics who are gifted because of where they’re from, you shouldn’t drag them away from that natural resource.
I’ve found nothing but support and generosity from older comics. I think comedians are a lot nicer than the stigma is, at least from my experience.
When I get into collecting things, I get a little obsessive. Which is why when I start buying comics, I buy way too many, and I have to stop myself.
As lifelong fans of comic books, Dan Didio and myself, we definitely have our own takes on what make for successful comics and the kind of comics that we want to publish.
What’s really great about the Archie Comics as a whole is that everybody is relatable.
Regular panelists on shows can be terrifying. They own that space, and many guest comics suspect they are favoured in the edit, while their own hilarious jokes end up being ejected into the ether.
I love comic book movies, and Marvel Comics obviously are the best.
I’m doing a lot of stand-up, but not like when you’re living in New York and you can do three sets a night and it’s your life, and you sleep all day and you wake up and you eat with a bunch of other comics and then get ready for the night.
It got to the point in the late 70s and early 80s that I was spending so much money buying golden age comics that I could only justify it if I got work in the media.
Art should walk a tightrope. That’s what art should be. Art should be dangerous. You can’t be scared to say something with it. People love to talk about how comics are real art and real literature, so why not use these characters to talk about real things, even if it is dangerous?
