Comics Quotes

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

So the Comic Book Legal Defense Fund is out there preserving and fighting for, and sometimes winning and sometimes losing, the fight for First Amendment rights in comics and, more generally, for freedom of speech.

I started off at the high level, in the slick magazines, but they didn't use my name, they used house names. Anyway, then I went downhill to the pulps, then downhill further to the comics.

I think comics in New York are interested in being comics. And there're comics in L.A. who are touring comics, who are certainly more interested in stand-up, but a lot of L.A. stand-ups are really looking to do something else.

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

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.

But with comics you're reading and assimilating an image simultaneously, instead of just reading or watching the tube.

I love meeting fans. The people who are fans of my books are really smart and dedicated, because some independent comics are hard to get. I will drive all the way to Pittsburgh or Detroit to put it in their hands.

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.

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

I love comics. I like to do everything I used to do when I was 14-years-old.

I don't laugh out loud at comics a lot.

In the sixties and seventies you could probably name all the great comics. It was still special.

I continue to be disappointed that people don't try and diversify the kind of work they are doing in comics.

I've seen too many comics who got their own shows and were undone because they worked for an executive producer who didn't understand their comedy or their sensibility.

Then I abandoned comics for fine art because I had some romantic vision of being like Vincent Van Gogh Jr.

And what better way to reinvent the form than to toss virtually 99% of everything that's been done with it and start with a brand-new canvas, reinvent it from the ground up? Digital comics gave me the opportunity to do that, and producing things digitally gave me the opportunity to do that.

I'm only 24 so I like to think I'm still close enough to 17 to still remember what it was like. Besides, I could just fake it and get away with it... it's not like there are any teenagers that still read comics.

Comics is a language. It's a language most people understand intuitively.

I was into comics because these were my real male role models, even though at the time, I didn't know it.

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.

A nice, easy place for freedom of speech to be eroded is comics, because comics are a natural target whenever an election comes up.

If you spend any time in Washington you'll find nerds. What happens is most of them sublimate their fixations with comics, or baseball cards, or 1960s British comedies to policy minutiae and political arcana. But, like Christians in ancient Rome, you can still spot them if you know the signals.

Of course, I started really being a comics fan with the underground stuff in the '70s.

I quit comics because I got completely sick of it. I was drawing comics all the time and didn't have the time or energy to do anything else. That got to me in the end.

That's the biggest part of doing comics: You have to create stuff that makes you want to get out of bed every morning and get to work.

At the end of the '60s, I was trying to enter the world of comics.

Comics? Honestly, that's more a matter of nostalgia for me. I think most of that energy has gone to my love of literature and my love of film.

It seemed to me you could do anything in comics. So I started doing my thing, which is mainly influenced by novelists, stand-up comedians, that sort of thing.

But I couldn't draw as fast as she requested. Thus, I tried to create the worst abomination of a comic that I could, so as to make her not want comics anymore. That abomination, my friends, was Happy Noodle Boy.