I'm not good at narrative; I'm really a gag writer, and that comes from being in the newspaper comic strip world for a while in college. What I do is I just write tons of jokes, then I sort them out in terms of quality and then pick the best of the jokes and then try to form them into a plot. If I get a good theme going, I feel lucky.
I understand the visual media very well, as I used to write comic books for Walt Disney, and I've written a graphic novel. How you carry a story in pictures is different than how you do it in text.
When I met my wife, I was a working comic, so the first week we went out, she saw me perform, and it was very clear what I do.
I like writing comic pages, discovering the rhythm of the panels, learning how much you can and can't express. It's good to stretch myself as a writer instead of always doing prose work; I write screenplays for the same reason.
I love that he's both comic and tragic, and highly poetic but also just dirty at times. ... I love that within the world of Shakespeare's plays, the whole world is sort of encompassed in a certain way.
I didn't want to be known as a gay comic, but as a comic who happens to be gay.
Spider-Man initially made me want to come to New York and work for Marvel; I wanted to be a comic book artist.
I have a comic character - my sister said that I'm the victim of every joke I tell.
Obviously, I love superheroes; I love comic book characters, but I... I guess I've had a lifelong affection for comics, and while I love the characters so much, I also love the medium.
I was kind of a Rickles comic to begin with. I was caustic, and I was abusive and mean to the audience.
Tick is a cartoon character, I don't know if you're familiar with him. This is the third step in his evolution. Comic book to cartoon to, now, live-action.
When I was a kid, back in the '40s, I was a voracious comic book reader. And at that time, there was a lot of patriotism in the comics. They were called things like 'All-American Comics' or 'Star-Spangled Comics' or things like that. I decided to do a logo that was a parody of those comics, with 'American' as the first word.
One of the dominant styles of the decade following the Second World War was that of Dan Barry. He flourished in the years during which comic books were expanding into new categories - realistic adventure, true crime, romance, Western, sophisticated fantasy.
Changes can be made. New decisions can be made. If people say, 'It's not like that in the comics!' Well, comic books reinvent their characters a lot. They do different things with them all the time. They're always changing, always keeping things fresh. So that shouldn't be an issue if the race changes for a character.
I had seen other comic friends of mine go to indie labels. Like David Cross and Pat Oswald went to Subpop, and Subpop didn't make total sense for me, but the metal version of that did. So I made a small list with Metal Blade, Prosthetic and couple of other labels, and Relapse was one of them.
There aren't any concrete steps to becoming a comic.
I think the films we see, the Hollywood films, which are basically entertainment, will still be there, but they'll be in a totally different category. People won't take them seriously. They'll kind of end up the way comic books have. A side view of things.
I'm not a great joke writer, which is odd for a comic to say, but I'm not.
'Watchmen' is not only the greatest comic ever written, it's a really important work of fiction.
The people that are running the bulk of the comic shops in North America aren't business people and they don't understand sales. They don't understand good product.
I came to think that nobody from England could draw American comic books, because they were clearly all done by this sort of Mafia, all these guys with Italian and Irish names who had the whole thing sewn up. It was actually seeing a comic book drawn by Barry Smith, who was about my age, and English.
Sometimes, I read that I'm this leftwing comic who just goes on about politics the whole time. Other times, I read that it's just surreal nonsense about crisps. It's both of those.
When you read comic material and people aren't laughing how do you know they're listening.
A young comic, if he's any good, can easily get on 'Carson' or 'Griffin' or 'Dinah Shore,' because they want to say the same thing, that they discovered the new talent.
Armando Iannucci is one of my heroes. As I was growing up, he was probably the most influential comic voice that I had.
The key to any good comic strip or television sitcom is to reset the board at the end of the episode because people like familiarity.
You know, I've never been a comic book person, just because that's not my gig and I don't have a television.
The difference between 'Watchmen' and a normal comic book is this: With 'Batman's Gotham City,' you are transported to another world where that superhero makes sense; 'Watchmen' comes at it in a different way, it almost superimposes its heroes on your world, which then changes how you view your world through its prism.
I definitely was a big comic collector as a kid.
Anybody who knows me knows I would never read a comic book.
I've always had a soft spot for comic books. I learned to read from them. The words in them were so interesting.
Even though I was trained in play writing and screenwriting, when I sat down to write a comic book for the first time, Alan Moore was first and foremost in my mind.
When you say 'comic book' in America, people think of Mickey Mouse, and Archie. It has a connotation of juvenile.
When I was 11 years old, I thought, 'All I really wanna be able to do is my own comic book,' and I'm doing it. I don't have any other real ambitions. I have nothing to conquer at all.
I don't enjoy writing newspaper articles any more than people like reading them. I'm a standup comic, not a journalist, although sometimes onstage I will say: 'What else is in the news?' Writing is work, which I'm not comfortable with.
Comic books have gone mainstream. The audience is there.
