I tried to get into comics initially after I graduated Clemson in 1994. I spent a year trying to get in, and I quit reading books because not getting in made me sad.
I grew up with six brothers, and I'm from Chicago, so princesses and Barbie dolls were not around the house. It was more like sports and comic books, so getting to work for Marvel is like my version of being able to be a princess.
Kids don't even read comic books anymore. They've got more important things to do - like video games.
I had to find my way of translating the excitement you get when you're reading comic books to the big screen.
One similarity I see between peers and some of the people who read my books is that comics were definitely an outlet for us.
I hate when people ask what a book is about. People who read for plot, people who suck out the story like the cream filling in an Oreo, should stick to comic strips and soap operas. . . . Every book worth a damn is about emotions and love and death a...
Show me one guy or woman as funny as Rodney Dangerfield or as good as George Carlin, Richard Pryor, Bill Cosby, or Joan Rivers. There are a lot of good comics out there, no doubt, but as far as the quality of the comics goes, I think what you have is...
Comics don't like to see other comics do well.
I don't need to write comics for a living. I have movies and TV for that. I write comics for one reason and one reason only: I love comics. I love the form, the structure, the storytelling process, I love everything about it.
Good Samaritans: Truth, justice and the American way–for them it wasn't only a comic book code; it was a way of life. it was admirable, courageous, and inconvenient as shit. -Stefan, CHIMERA
And I had worked at the comic-book store almost by accident, because I was deciding to make a living as an artist, be it as an art tutor or illustrator, and that's how I wanted to make my living.
Anybody who knows me knows I would never read a comic book. And I certainly would never read anything written by Kevin Smith.
I'm very much influenced by your traditional comic book artists like Jack Kirby, Alex Toth and Walter Simonson. Their styles were sort of what I was gravitating towards.
It's no secret that in my books I'm trying to make the comic and the serious rub up against each other just as closely and uncomfortably as I can.
I used to get a haircut every Saturday so I would never miss any of the comic books. I had practically no hair when I was a kid!
Comic-book pages are vertical, and movie screens are relentlessly horizontal. But it's all the same form. We use different tools, but we get the job done. I'm completely in love with CGI. It's great for conveying a cartoonist's sense of reality.
Personally, I really enjoy sci-fi. I watch it, I read comic books, and I play video games. I love this kind of world, so to be able to work in it is a dream. I enjoy it. It's all good.
All comic books take place in built environments, and I was very good at drawing people and animals, and stuff like that, but I hadn't spent much energy drawing buildings. So I thought, maybe I could, and then I became an architect.
Hollywood loves pre-validation. Even if someone has a property that was first published as a comic book that sold only 5,000 copies, for Hollywood, that is a stamp of approval. 'Oh, it was already published in another medium? Must be good!' They get ...
I think it's good that we're not embarrassed that we're comic book creators anymore. It's good that people are able to make a good living at doing it, and not doing the traditional sort of mainstream fare.
Writing this book feels like a completely different activity from writing my comic strip because it's about real life. I feel like I'm using a part of my brain that's been dormant until now.
