And I've never viewed comics as assignments for the client.
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.
It's an incredibly supportive and friendly field. Older people want to foster and help younger people. Which is not true of all creative fields, but it is true of comics, and it is true of radio.
The reason I love comics more than anything else is that the longest story will be just a few pages. With a novel, it takes so many pages to get to one thing happening.
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've always hated superheroes. I cannot stand them. I love Norse mythology, but I hate superheroes. They ruined movies, then comics, and now games.
Stand-up comics reflect less of a visual humor and more of a commentary.
I like all of the early relationship strips that were collected in 'Love Is Hell,' where I pretended to be an expert in relationships and did comics like 'The Nine Types of Boyfriends,' 'Sixteen Ways to End a Relationship,' 'Twenty-Four Things Not to Say in Bed,' and other arbitrarily numbered lists.
I get frustrated by the fact that comics go on stage with some kind of agenda beyond comedy - I'm not sure it should be about that.
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.
There's tons of dudes - like David O'Doherty, Tim Key, and Alex Horne - I made a lot of friends with people who are really incredible comics.
When you're drawing comics, you get very involved in how the story is going to develop and you spend more time daydreaming on that particular subject.
A lot of times when I sit down with the other comics and try to talk theory, they say I'm being too serious.
There are comics in L.A. doing impressions, and the first thing they do is hunch over and then start to do this bad Rick Moranis voice I do as well when I really get going. It's pretty horrible.
I think if you want to do a thing properly you have to take a lot of care. I've always found it's easier to draw comics if you know clearly in your head what you're drawing, rather than if you try and make it up as you go along.
Plays have been made of my comics.
Things improved a little bit in the '80s; there was kind of a revival of alternative comics, but then they went downhill in the '90s.
I think it's the fact that I do something different and that I actually have some success with it. That bothers a lot of people... especially comics.
I've been a comics fan since my first hit of those gateway drawings: Judy, Asterix, and the TV cartoon 'Spider-Man and his Amazing Friend' - which naturally led me to Spider-Man comics.
I've met loads of black and brown and various people who are well into comics.
I got cast on 'MADtv' as one of eight permanent cast members chosen from 8,000 comics who'd been screened. For any comic trying to make something of themselves, that was like hitting triple 7s-jackpot.
I'm still awaiting the idea of drawing comics for a living being a reality. I feel like I've been dodging work for 20 years, and at some point, I'll have to get a real job.
What I love about WonderCon is that, while the focus is on the comics, it's also a celebration of games and movies and all the ancillary media.
There's Dick Van Dyke and John Ritter, the two greatest physical comics of our generation.
We're comic. We're all comics. We live in a comic time. And the worse it gets the more comic we are.
Comics are such a powerful educational tool. Simply put, there are certain kinds of information that are best communicated through sequential visuals.
I love comics. I like to do everything I used to do when I was 14-years-old.
There were very few women comics when I started out doing stand-up. But I always saw that as a great advantage.
I hate when I get asked, 'What's it like to be a woman in comics?'
Comics have a problem, and that is continuity - the obsession with placing the characters in an existing world, where every event is marked in canon. You're supposed to believe that these weepy star boys of now are the same gung-ho super teens fighting space monsters in the '60s, and they've only aged perhaps five years.
The misconception is that standup comics are always on. I don't know any really funny comics that are annoying and constantly trying to be funny all the time.
Well, don't tell Steve Niles but I just don't think horror works in comics.
I'm really interested in independent publishers and memes and mini comics. But even before that, I was interested in Japanese manga and anime.
My mother taught me to read in part by reading me Walt Disney comics, and I never stopped.
'Drawn & Quarterly' has always given me complete editorial control over my books and comics, so any decision about what to include or exclude from the book was my own.
If there are two kinds of people in the world - DC Comics people and Marvel Comics people - what kind am I? Well, to be honest... I'm a Wildstorm kinda guy. In the interest of full and fair disclosure, I write for Wildstorm. But even if I didn't, I'd love what they do. No, seriously, I'd love their stuff.
