That's the difference between me and the rest of the world. Happiness isn't good enough for me! I demand euphoria!
Well, I'm always working on my comic strip and trying to, you know, keep cranking that out.
Looking back Little Lulu was an early feminist, but at the time I just thought she was a really feisty developed comic strip character.
Amazingly, much of the best cartoon work was done early on in the medium's history. The early cartoonists, with no path before them, produced work of such sophistication, wit, and beauty that it increasingly seems to me that cartoon evolution is working backward. Comic strips are moving toward a primordial goo rather than away from it . . . Not only can comics be more than we're getting today. but the comics already have been more than we're getting today.
I say, if you believe what you read in the comic strips, then you believe that mice run around with little gold buttons on their red pants and drive cars.
While editors and newspaper owners currently fret over shrinking readership and lost profits, they do the one thing that insures cutting their own throats; they keep reducing space for the one feature that attracts new young readers in the first place; the comic strips.
In America, there's a very long tradition of a comic strip that comes in newspapers, which is not true all over the world. To sell papers, they put color comics in. It's worked, up until now. Now these papers can't afford it. They always had minuscule ad budgets, and now the things which people probably read these papers for are gone.
I'm extremely surprised to learn that a story, which has become familiar to children through the medium of comic strips and many succeeding novels and adventure stories, should have had such an immediate and profound effect upon radio listeners.
I wanted to do the comic strip. I tried to get it syndicated, and I sent some examples to a syndication company, and they sent me a rejection letter! I wasn't smart enough at the time to realize you shouldn't let rejection letters stop you. I thought that rejection letter meant I was not allowed to be a cartoonist in this world, so I put the rejection letter down and said, well, I'll be a stand-up comedian.
Peellaert's comic strips were the literature of intelligence, imagination and romanticism.
Walt Disney’s Mickey Mouse... by Floyd Gottfredson will be warmly received by comics aficionados but should also intrigue Disney animation buffs who aren’t necessarily plugged into comic strip history... I have a feeling that this book, crafted with such obvious care, will earn Gottfredson a new legion of admirers.
We like to think of industrialization as being despicable. I don't really know what to make of it. There’s something terribly brittle about it. I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter. There are certain things that are usable, forceful, and vital about commercial art. We're using those things – but we're not really advocating stupidity, international teenagerism, and terrorism.
There's a rhythm to the words combined with the pictures [in a comic]. Whenever I'm working on a comic strip I re-read it, probably hundreds of times through to pay attention to how all of those things work. Sometimes even changing the angle of a character's eyebrow can really, seriously alter the effect and overall interpretation of a scene. And the insertion of a pause or a cough or a sniff, and all these things that we do in conversation, can bring it to life in a strange way.
It seems beyond the comprehension of people that someone can be born to draw comic strips, but I think I was. My ambition from earliest memory was to produce a daily comic strip.
What is a body that casts no shadow? Nothing, a formlessness, two-dimensional, a comic-strip character. If I deny my own profound relationship with evil I deny my own reality. I cannot do, or make; I can only undo, unmake.
We've seen the uproars around the world concerning cartoons depicting the prophet Mohammad. Anyone who does not think comic strips are relevant never had a fatwa put on him/her for drawing a picture.
Sometimes people try to read into my strip and find out what my state of mind is. And I can say if I'm in a good mood, generally the comic strip starts out in a good mood, but the punchline is very negative and sour.
I had been drawing my weekly comic strip, 'Life in Hell,' for about five years when I got a call from Jim Brooks, who was developing 'The Tracey Ullman Show' for the brand-new Fox network. He wanted me to come in and pitch an idea for doing little cartoons on that show.
When I was very little, four or five, I did comic strip drawings, so my first novel had no words. I couldn't write and thought adult handwriting was a mysterious scribble. When I was 14, my grandmother gave me a typewriter and I started writing in a different way.
Comic-strip stuff isn't really my cup of tea, really.
Comic strips are like a public utility. They're supposed to be there 365 days a year, and you're supposed to be able to hit the mark day after day.
I hope some historian will confirm that I was the first cartoonist to use the word 'booger' in a newspaper comic strip.
Fortunately, I'm able to make a living from comics, so I'm privileged enough to be quite choosy, though most cartoonists can't afford to be. It's really an uncomfortable situation, since I'm not an illustrator, though I do get calls from morally indefensible businesses offering me money to decorate their ambitions. It's extremely rare, almost unheard of, in fact, that I am asked to do a comic strip. Do writers get calls to pen Toyota advertisements? Do composers get asked to write chamber pieces about exercise machines?
I think in daily newspapers, the way comic strips are treated, it's as if newspaper publishers are going out of their way to kill the medium.
"Real" drawing is about specifics. It's about describing an object as accurately as possible. In a comic strip you have to draw a picture of the idea of the object. You have to draw the word that you are picturing, then you have to mix in specifics with it for it to work as a story. But you are still working with drawn words.
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