I did with my wife a comic book for the Raynham Hall Museum in Long Island. They sell the book every single time a busload of kids comes in.
I looked at Tank Girl, which is the coolest comic, ever. The movie didn't make the comic book any less cool. The comic is still the comic.
Pandering to the people who have supported this industry for years is a sure way for this industry to be dead in a few years.
Man Of Steel looks great, is well cast, and is, moralistically, completely rotten to the core.
Self-publishing is still my basic recommendation to anyone wanting to do comics. Do it. Do it until you get good. Do it after you get good. It's good for your spirit as a creator.
I'm a fan of comic books. I'm a nerd. I'm a geek. I'm all that stuff.
If you're 25 years old dressed up like Superman at a comic book convention, that's great. If you're 78 and you're doing it, something's wrong.
Kid ... Comics will break your heart.
As a comic book artist, once you become a master, you end up a slave. In fine art you're always free... since I couldn't make it at Marvel, I made my life a carnival.
I'm a big illustration and comic book fan. In my eyes, comic books and illustration are the same kind of art forms.
Personally I don't think there's any real intrinsic difference between comic books, movies, theatre, novels. I know there's sure to be some differences of some sorts. I've worked on novels, films, and video games, and in an adaptation, I guess one of the issues is that I have to be in love with the thing I'm adapting before I do it. So that can cause a problem. You can be too scared of it. You could be too reverential. But at the same time you want to try to capture this thing that you're obsessed by. You're fixated for a reason. What's the reason? You try to get ahold of it.
I'm not a comic book guy. I've never been to Comic-Con. I don't know anything about that. It's a whole different world.
I'm really interested with the way light plays on images and one of the artists that really reawakened my interest in comic books was Frank Miller and his treatment of Daredevil, and then Wolverine and, of course, Batman.
I used to be embarrassed because I was just a comic-book writer while other people were building bridges or going on to medical careers. And then I began to realize: entertainment is one of the most important things in people's lives. Without it they might go off the deep end. I feel that if you're able to entertain people, you're doing a good thing.
[A comic book writers' union] will never happen. Someone will always be willing to write Batman for free. ... You sit at a bar with an editor at a show and you see 19 people come up and pitch ideas at them. If everybody writing the top 20 books all quit and demanded, 'Union now, union forever,' those 19 guys would be getting phone calls. There will never be a union. I think things are getting better - I bet things have never been so good - but there will never be a union.
There was a sort of irony in the fact that these [superhero] characters - many of whom in that period, the Golden Age, had been evolved to fight the Nazis - were themselves very much in the Nazi ideal. The idea that you can solve problems through physical strength, by being stronger and more dominant and more powerful - that is fascism. I mean, that's it, that's the essence of fascism. I don't think the creators of the superheroes or the kids who were reading them at the time were the slightest bit aware of it.
The anomaly is that, as a publishing venture, comics are not doing very well. As a venture that supplies other media, they're incredible.
I was asked in an interview once: You're writing another book with a female lead? Aren't you afraid you're going to be pigeonholed? And I thought, I write a team superhero book, an uplifting solo hero book, I write a horror-western, and I write a ghost story. What am I gonna be pigeonholed as? Has a man in the history of men ever been asked if he was going to be pigeonholed because he wrote two consecutive books with male leads?
Artists are not your art monkeys. They are your collaborators. They should be given all due consideration to follow their journey.
It's 2014, and adults are still writing articles about whether other adults should read comic books or not.
Robin is a handsome ephebic boy, usually shown in his uniform with bare legs. He is buoyant with energy and devoted to nothing on earth or in interplanetary space as much as to Bruce Wayne. He often stands with his legs spread, the genital region discreetly evident.
For boys, Wonder Woman is a frightening image. For girls she is a morbid ideal. Where Batman is anti-feminine, the attractive Wonder Woman and her counterparts are definitely anti-masculine.
You can't write something actively trying to please everyone - you're going to end up with watery soup that way. You just have to write stories you would want to read and hope that people like them.
If you just write the kinds of stories you think others will want to read, you'll be competing with cartoonists who are far more enthusiastic for that kind of comic than you are, and they'll kick your ass every time.
Nobody knows what will work until they try it. Some of comics' biggest success stories in recent years have explored subjects that no one was writing about at the time - stories no one had any reason to think would succeed. My advice? Write what you want to read. You'll have more fun doing it - and if all else fails, you'll always have at least one loyal reader.
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