I never worry about people not taking my work seriously as a result of the humor. In the end, the comic's best trick is the illusion that comedy is effortless. That people imagine what he's doing is easy is an occupational hazard.
That's the best thing about being an actor. If you're in a baseball movie, you walk away knowing way more about baseball, or if you're in a sci-fi film, you learn way more about Comic-Con, and so I loved all that.
I didn't set out to do a gay comic, but given the current political and religious climate in this country, I feel it is important as a gay person, and a Christian, to create stories with humor and honesty.
I'm a comic, and I'm supposed to outrage and make people laugh, Part of makin' people laugh is to shake up their thinkin'. That's what I came here to do.
A stand-up comedian faces the audiences and gets their immediate feedback. I hide behind the comic strip, and unless people write to me, I don't know what they think.
It seems so absurd to get really mad with a cartoonist over a comic strip. It's sort of like getting in a fight with a circus clown outside your house. It's not going to end well.
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.
In Chekhov, everything blends into its opposite, just fractionally, and this is sort of unsettling. And that's why you end up 100 years later asking, 'Is that moment tragic or comic?'
The jokes I used to do on 'Sex and the City' were always comic character things, and they were rarely hard jokes. As soon as you go up in front of people, it demands laughter.
I remember the first job I ever had was working on 'Firefly,' and I was talking to Joss Whedon, and he was asking if I was going to Comic-Con. He called me a loser for not going that first year.
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.
When I meet thousands of fans of the comic - when I realize every one of them can recite the Lantern Corps oath ('In Brightest Day, in blackest night...') - I know how important this is to people.
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!
I have always loved horror very much. I used to write stories for DC's House of Mystery. It was one of my first jobs writing for comics, and I loved it.
I think all comics borrow from each other. Only a few have an original voice, and I wasn't one of them. In the end, I couldn't figure out who to steal from, so I stopped doing it.
In the midst of the vagaries of life, they provide us a trip to the land of goodness and fairies, of imaginations and possibilities. A childhood that wasn't spent watching cartoons or reading comic strips, no wonder, seems too dull to imagine.
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 am a fan of the vampire shows, especially 'True Blood.' I'm obsessed with it. I got to meet the entire cast at Comic-Con and hang out with them. And that was awesome. I basically died and went to heaven.
Certainly, my many years working in the comics industry, creating products that I do not own, has made me rather fierce on the subject of giving up rights.
You go, well you can't joke about race. Well if you're from a different race and that's your experience of the world and you want to talk about that, then fine. Or you can't talk about disability, but disabled comics can talk about that.
