A Quote by Brian Azzarello

I know '100 Bullets' is not what traditionally people think of as comics. — © Brian Azzarello
I know '100 Bullets' is not what traditionally people think of as comics.
'100 Bullets' is a novel on its own. 'Brother Lono,' other than the main character, has nothing to do with '100 Bullets.'
I know there are a lot of comics that put their kids all over social media, but I think it's weird. There are over 100,000 people following you. To me, it feels like you should probably tone that down.
People think I have an interest in comics, but I'm only interested in comics from the '40s, like 'Donald Duck' comics.
If you're really thinking prayer can stop rockets or bullets, you have to ask why some people do get hit by rockets or bullets. Are they people who no one prayed for? Are they people who God just didn't like? I don't think so.
There are a lot of people in the medium who came and got into the industry and work in the industry, and these are people who were raised on comics and loved comics. Comics are their religion. To such an extent, that they don't know anything else.
People have told me that the dialogue in '100 Bullets' is very realistic. I don't agree.
We've traditionally thought of media on this traditional left/right spectrum and most media's kind of clustered in the center and I think people have traditionally thought of HuffPost as being this kind of liberal, progressive voice and that's, you know I think they're are good reasons for thinking that. I mean it started after George W. Bush was reelected and was an answer to the Drudge Report.
I like collecting comics, I like buying comics, I like looking at comics, but I also read comics on digital readers, so any way people read comics is fine with me. Digital is just helping people who might not necessarily have access to comics help them; that's great.
There are really funny alternative comics and really funny straight comics who write and perform traditionally.
There are a lot of good comics, no doubt, but as far as the quality of the comics goes, I think what you have is a bunch of situational comics - there are black comics that work only black crowds, gay comics that do only gay crowds, and southern comics that only work down South, and so on with Asian, Latino, Indian, midgets, etc. The previous generation's comics were better because they had to make everybody laugh.
I don't think schooling of any sort really prepares you for real life. I don't know if art school would have prepared me to draw comics. Half of the people I know in comics went to art school, half of them didn't. Some of them went and dropped out.
Comics have always helped people to read. A lot of people learned to read by reading the comics. And it's our livelihood, after all. If people don't know how to read, they're not reading our comics.
We thought everybody read comics. We didn't know we were weird. We didn't know people that collected comics were strange. It was as normal as listening to rock music on the radio.
I think when you look at the diversity of the readership, all the different people who love comics, I want comics to reflect the real world, and I think Marvel does a good job of trying to do that, but I don't think there's ever an end point when it comes to creating diversity and creating stories that people can relate to.
Why does the need to explain comics still exist? Because that prejudice still exists. It's fading, but it's still very strong. It's important to keep pushing the boundaries of what people know comics to be so that they are receptive to the whole world of comics, not just one or two genres of work.
I think comics in New York are interested in being comics. And there're comics in L.A. who are touring comics, who are certainly more interested in stand-up, but a lot of L.A. stand-ups are really looking to do something else.
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