Top 1200 Dc Comics Quotes & Sayings - Page 3

I had a lot of ideas on how comics worked and pretty early on I had this idea that it would be fun to explain them in comics form.

Good comics stick around. There are people who have TV shows that might be successful, but comics can't really fake it. If you say, 'Hey, I love what you guys are doing - you're funny,' then you're in. It's legit.

I collected X-Men, Spider-Man, and Daredevil comics. I definitely had a few Captain America comics lying around in those protective plastic baggies.

I have worked with a great many comedians as opposed to comics, although I have worked with comics as well, I make the distinction.

When I was a school kid I used to read lots of comics. This started me on drawing, I would make my own comics about my teddy bear whose name happened to be Ted.

My father brought me my first stack of comics, when I was seven years old and in the hospital. I was not a well child. And that's where my love for comics began.

They are not testing comics for drugs. If our job is dependent on that, there would be three working comics in the country, and two of them would have puppets.

You have to show up at 7 in the morning and be on like it's 9 at night. It's a skill. Some comics run from it, and they hate doing it, but the comics that are pros understand how important it is, and they get good at it.

I do know that people enjoy reading a comic book and saving it and collecting the comics. And sharing them and trading them with friends. That may be something you can't do as easily with digital comics.

I don't like 'graphic novel.' It's a word that publishers created for the bourgeois to read comics without feeling bad. Comics is just a way of narrating - it's just a media type.

I have this certain vision of the way I want my comics to look; this sort of photographic realism, but with a certain abstraction that comics can give. It's kind of a fine line.

In broadcasting, there's a lot of longevity offered to people like Griff Rhys Jones and Stephen Fry, who are polymaths more than comics. We're comics first and foremost.

It dawned on me that comics were not an intrinsically limited medium. There was a tremendous amount of things you could do in comics that you couldn't do in other art forms - but no one was doing it. I figured if I'd make a try at it, I'd at least be a footnote in history.

Comics were going down for the second time and here, all of a sudden, came this thing and for the next fifteen years, romance comics were about the top sellers in the field; they outsold everything.

I'm very distanced from the comics industry. I love the comics medium, but I have no time for the industry.

The whole thing about comics is the reason I think you shoot to be a comics author is because it's a very solitary activity and that you sit down and you're arguing with yourself that's kinda the plan.

I do not read newspaper comics unless they happen to be out when I visit my parents, but I follow several online comics, which I check every morning while I drink my coffee and wake up for the day.

Right from the outset, the prevailing mindset in British comics fandom was a radical and progressive one. We were all proto-hippies, and we all thought that comics would be greatly improved if everything was a bit psychedelic like Jim Steranko.

Oh yeah, I grew up with comics. You know, I always like to describe myself as a 'narrative junkie.' I love novels, I love comics, movies, TV. If it's a good story, I'm hooked.

I don't really read any comics, but when I got casted on the show, I starting reading 'The Walking Dead' comics. I felt like I needed a better idea of the character.

In comics, we're all weird together. I can go to a comics convention and not stand out, even though I'm the only woman in a headscarf there, because the guy next to me has a beard and a Sailor Moon costume.

ComicsAlliance asked if I wanted to do some holiday comics using a new layout and I said ‘HELLO, NEVER IN MY NEAR-DECADE OF MAKING COMICS HAVE I EVER DONE THIS, so actually I’m really glad you asked!’

I'd still stand in line all day to get into an AC/DC show, because that was the one show when I was younger that kind of changed my life. Because it was a little wrong. I think I was 14 or 15, first concert without the parents, you know, and they were all worried because we were going to an AC/DC show, and it was an amphitheater.

I was going to be a storybook illustrator or an editorial illustrator. I ended up in a comics class by mistake because all the others were full, so I was like 'I'll stay for one class, and then I'll go take something else, because I don't care about comics.' I got pulled in really fast; I discovered I had a voice in comics that I didn't know I had.

When I started writing comics, 'comics writer' was the most obscure job in the world! If I wanted to be a celebrity, I would have become a moody English screen actor.

I've always preferred comics that really rely on visual storytelling. It's what makes comics special. Otherwise, you're better off reading a novel.

There are certain comics that just seem like they have this perfect balance between dialogue and image that I can't not read. I'll want to save it for later, and the next thing I know, I'm reading it. That's what I'm kind of trying to do with my comics.

The reason I love comics and have collected them for 37 years is because I always wanted to be an illustrator and a writer - and comics are really the perfect blend of those two mediums.

I still love Marvel to death and I had a great experience, and it was a really tough decision to leave Marvel. It was a very easy decision to come to DC; it was very difficult to leave Marvel. And I really wanted to draw Batman, and really, that was entirely the discussion when it came to coming to DC.

When I was a small child, I partially learned to read with comics, in particular with 'Scamp,' about the Lady and the Tramp's male child. That was the prime comic that made me fall in love with comics as a kid.

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.

Though to the average person that you'll meet on an airplane, if you tell them you draw comics, they'll still have sort of the same response - not like that's seeped into the culture at large, that comics are not just for kids.

My grandfather was a newspaper publisher and his paper had all the comics in NYC, so some of my earliest memories are of reading the family paper and heading straight for the comics insert.

The first work I ever did in comics was for Archie Comics, and I didn't do that very long because I did other stuff.

I was very aware of the fact that there are a lot of comics out there that I love, because I've grown up my whole life reading comics and I know every little nuance of the language and all the implications.

I think comics are really - superhero comics are at their best and most primal when they're about joy and flying, and about escaping the gravity of the world. But, at the same time, that's not to say all stories should be happy.

Writing comics and drawing comics is a really very specific art form. It's a lot easier to get it wrong than it is to get it right.

My hero in comic books is Jack Kirby: 'Spider-Man,' 'Fantastic Four,' 'Captain America,' Marvel Comics. He was really the basis for Marvel Comics.

I read comics and stuff. I buy a lot of comics, a lot of films and boxsets.

I can earn more in a single weekend of convetioneering than I would in an entire month drawing comics. And I get a pretty high rate drawing comics.

We were always drawing comics as kids. My brother Charles made me draw comics. I was very much under his domination. He was actually a much stronger artistic visionary than I was.

Storytelling is one of comics' esthetic hurdles at the moment, which was the novelist's problem 150 years ago: namely, to take comics from storytelling into that of "writing," the major distinction between the two to me being that the former gives one the facts, but the latter tries to recreate the sensation and complexities of life within the fluidity of consciousness and experience. As far as I'm concerned, that's really all I've been trying to do formally for the past decade or more with comics, and it's certainly time-consuming, since it has to be done with drawings, not words.

There seems to be a peculiar kind of clamor for comics. And I'm not sure how much a part of reality that is. I think partly it's based on some idea that comics are what everybody wants to read - and I don't think that's the case.

Some of my earliest work was in comics. I tend to think in pictures and always like to write scenes possessing the dynamic you find in comics.

People at Marvel and DC, we're rooting for each other. And when we're friends, like me and Jeff Lemire, or Charles Soule, or even Dan Slott - it doesn't matter if you're Marvel or DC. You'll talk story with each other, and there's like an agreement that you're just helping each other out.

Tintin comics evoke Bermuda, where my parents doled out comics for good behavior and my grandmother taught me how to shuffle cards.

The misconception is that standup comics are always on. I don't know any really funny comics that are annoying and constantly trying to be funny all the time.

The comics I made from 1990 to 1997 were largely based in vaguely urban, vaguely dystopic settings because that was my reference point for comics storytelling in general.

More and more, I tried to make comics in the way I like to read comics, and I found that when I read comics that are really densely packed with text, it may be rewarding when I finally do sit down and read it, but it never is going to be the first I'm going to read, and I never am fully excited to just sit down and read that comic.

If you think how many female comics there are compared to how many male comics there are, I think there are quite a few female comics on the TV.

I wanted to reinvent horror comics. I felt like it was my mission to open people's eyes to the fact that horror comics could be so much more than the popular perception of them.

I have a suspicion - I have to be careful what I say - that you might actually find the best comics actually written by people who are comics writers and who aren't setting out to do graphic novels.

When I was a kid, I could draw, and my ambition was to be a cartoonist. I wanted to draw comics. But I also liked newspaper comics.

Almost everyone working in mainstream comics started off as a starry-eyed kid reading and loving comics. We're all fans, and that's great. But when we start working on company-owned comics professionally, we have to think like storytellers instead of fans. Editors aren't looking to hire the biggest fans of the characters. They're looking to hire the best creators with the best ideas.

Any medium can only live up to the strengths of the people working in it. If it's been used to tell bad or boring stories, it's not a problem with comics; it's a problem with the writers of those comics.

I started drawing comics, and at first I was very influenced by the whole pop art movement, you know, Batman was on TV and all that pop art stuff? But then my next influence was in 1966, or maybe it was '65, I don't know. Somebody showed me a copy of the "East Village Other", which was an underground newspaper. And... it had comics in it! And they weren't superhero comics.

As lifelong fans of comic books, Dan Didio and myself, we definitely have our own takes on what make for successful comics and the kind of comics that we want to publish.

All the new media will inevitably change the look, function, and maybe even the purpose of comics, but comics are vibrant and versatile, so I think they'll continue to find relevance one way or another. But they definitely won't be the same as what I grew up with.

When I was a school kid, I used to read lots of comics. This started me on drawing. I would make my own comics about my teddy bear, whose name happened to be Ted.

I love comics, and I can't imagine life without them. I love newspaper comics.