You can give some kind of spark of life to a comic that a photograph doesn't really have. A photograph, even if it's connecting with you, it seems very dead on the page sometimes.
Many of the artists who have represented Negro life have seen only the comic, ludicrous side of it, and have lacked sympathy with and appreciation for the warm big heart that dwells within such a rough exterior.
Cartoonists create so many cartoons on any given topic that we can follow the life cycle of a comic idea and how it evolves over time more quickly than we can with a form like the novel.
It is the custom on the stage in all good, murderous melodramas, to present the tragic and the comic scenes in as regular alternation as the layers of red and white in a side of streaky, well-cured bacon.
Comic-Con is interesting because there's so much going on at once, it's literally impossible to do everything. You need clones and some sort of hoverboard so you can surf over the crowd of packed-in nerds.
Even in the depths of dreadful situations, there's usually something rather comic, or something you can laugh about afterwards, at least. So, I do look for the comedy in those things.
You see a comic, and you're like, 'Oh wow: the Riddler has been drawn this way, and he's been drawn that way.' There are tons of looks, and his personality changes based on who's writing them.
After 'Blankets,' I was sick of drawing myself and doing this autobiographical, mundane, Midwestern sort of comics. I wanted to create something bigger than myself and outside myself.
I decided I was going to tell these stories. I went around and met Crumb. He was the cartoonist. I started realizing comics weren't just kid stuff.
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.
When you read comic material and people aren't laughing how do you know they're listening.
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.
As a comic, I've heard gunshots while I'm trying to get to sleep. I've performed where people wanted to do you harm after the show because of something you said.
I'm an actor, and I don't look at myself as providing comic relief. I have done diverse and dark roles such as a psycho, murderer, and others in films such as 'Don', 'Eklavya' and '3 Idiots.'
I guess my journey with comics began with stuff like Spider-Man and Batman. I started off with mainstream superhero stuff, which I've never abandoned.
I never liked working on editorial-driven comics. I just didn't see what was the point. They don't pay well enough for me to write other people's ideas.
Some comics don't like it when people talk during the set, and it does get a little bit annoying after awhile, but I basically let people dictate what jokes I'm going to do.
I'm not a mean comic, I don't want to turn anybody off - I just want to give a point of view or my take on things that everyone can laugh at.
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.
A situation is always comic if it participates simultaneously in two series of events which are absolutely independent of each other, and if it can be interpreted in two quite different meanings.
Creating my own world in a comic or selling my first penny newspaper aged nine was a way of gaining recognition and acceptance by my peers.
