Top 1200 Comic Strips Quotes & Sayings

Why does one never hear of government funding for the preservation and encouragement of comic strips, girlie magazines and TV soap operas? Because these genres still hold the audience they were created to amuse and instruct.

'The Blue Dragon' uses very filmic language and involves a lot of technology. It is more cinematic than theatrical and was inspired by comic strips and graphic novels.

You can go through comic strips alone and study the common man. You can trace our history.

Even when I do really big pieces, I do them strips by strips - so you have to paste, you have to involve people. It's a whole process. And I like that. For me, that's where the artwork is.

Such is the nature of comic strips. Once established, their half-life is usually more than nuclear waste. Typically, the end result is lazy, rich cartoonists.

It used to be that comic strips were the big thing, and comic books were toilet paper.

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.

I remember my comic strips being called "new wave." It bugged me.

We're comic. We're all comics. We live in a comic time. And the worse it gets the more comic we are.

Comic strips introduced me to metaphors. They are pure metaphor, so you learn how to tell a story with symbols, which is a very valuable thing to learn. And I learned that from motion pictures, too, and from poetry. Poetry is mainly metaphor. If it doesn't have a metaphor, it doesn't work.

I like Xtreme Sour Strips. These really colorful little strips that are so good. I like snacking on them. They're not healthy for you, though!

I was an avid radio fan when I was a boy, as well as a great lover of comic strips.

While editors and newspaper owners currently fret over shrinking readership and lost profits, they do the one thing that insures cutting their own throats; they keep reducing space for the one feature that attracts new young readers in the first place; the comic strips.

Mothers send strips to daughters to make a point. Daughters smack strips down on the breakfast table to make a point. My own mom sometimes cuts a strip out and sends it to me to make sure I understand her.

Humor strips dominated what were called the funny papers early in the century, but by the 1920s and '30s, adventure strips had taken over. With 'Beetle Bailey,' I revived the funny part of the funny papers, and I'd be proud to be remembered for that.

I guess that compared to other comic strips, I'm edgy. But put me along something like 'South Park,' and I'm 'Captain Kangaroo.'

I could draw Bloom County with my nose and pay my cleaning lady to write it, and I'd bet I wouldn't lose 10% of my papers over the next twenty years. Such is the nature of comic-strips. Once established, their half-life is usually more than nuclear waste.

My dream was to draw for 'The Beano.' When I was 10 years old, I started drawing cartoon strips with 'The Beano' in mind. I lived in that world. You own a comic, it's yours and adults don't understand it. You could pile them up under the bed, and if you were off school ill, you'd go through them all.

The comic element is the incorrigible element in every human being; the capacity to learn, from experience or instruction, is what is forbidden to all comic creations and to what is comic in you and me.

I never storyboard. I hate it. I don't understand why so many directors want to make comic strips of their films.

I looked at Tank Girl, which is the coolest comic, ever. The movie didn't make the comic book any less cool. The comic is still the comic.

the true art of the gods is the comic. The comic is a condescension of the divine to the world of man; it is the sublime vision, which cannot be studied, but must ever be celestially granted. In the comic the gods see their own being reflected as in a mirror, and while the tragic poet is bound by strict laws, they will allow the comic artist a freedom as unlimited as their own.

I was an avid radio fan when I was a boy, as well as a great lover of comic strips

My parents read the comics to me, and I fell in love with comic strips. I've collected them all of my life. I have a complete collection of all the "Buck Rogers" Sunday funnies and daily paper strips, I have all of "Prince Valiant" put away, all of "Tarzan," which appeared in the Sunday funnies in 1932 right on up through high school. So I've learned a lot from reading comics as a child.

I remember my comic strips being called 'new wave.' It bugged me.

It seems beyond the comprehension of people that someone can be born to draw comic strips, but I think I was. My ambition from earliest memory was to produce a daily comic strip.

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.

There are a lot of comic strips in Brazilian newspapers that have been around for 30, almost 40 years. They are very famous in Brazil.

I always think of "Popeye" and "Barney Google" as quintessential comic strips in that old rollicky, slapstick way we've sort of lost.

I feel when a writer treats a character as 'precious,' the writer runs the risk of turning them into a comic book character. There's nothing wrong with comic book characters in comic books, but I don't write comic books.

There were influences in my life that were more important than journalism, such as comic strips and radio.

I started writing when I was 9 years old. I was like this weird kid who would just stay in my room, typing little funny magazines and drawing comic strips.

I always have my Biore strips because they're fun. I always have Crest White Strips. I always have lip balm, and I'll bring concealer with me.

I say, if you believe what you read in the comic strips, then you believe that mice run around with little gold buttons on their red pants and drive cars.

I think in daily newspapers, the way comic strips are treated, it's as if newspaper publishers are going out of their way to kill the medium.

Many of my poems try to use a comic element to reach a place that isn't comic at all. The comic element works as a surprise. It is unexpected and energizing.

I'm extremely surprised to learn that a story, which has become familiar to children through the medium of comic strips and many succeeding novels and adventure stories, should have had such an immediate and profound effect upon radio listeners.

About the only way you can find out about the common man, his slang, what he looked like, what he thought, is through the comic strips. It's a powerful way for young people to learn history.

Anorexia is a response to cultural images of the female body - waiflike, angular - that both capitulates to the ideal and also mocks it, strips away all the ancillary signs of sexuality, strips away breasts and hips and butt and leaves in their place a garish caricature, a cruel cartoon of flesh and bone.

In general, daily strips were just a regular part of my childhood. So even if I wasn't a huge fan of most of those strips, I still read them religiously every morning while I ate my cereal.

'Blade Runner' was a comic strip. It was a comic strip! It was a very dark comic strip. Comic metaphorically.

I think the corporate world is pretty starved for personality. The reason you have comic strips like 'Dilbert' and sitcoms like 'The Office' is that people just can't be genuine human beings in a corporate environment. So if you can really be your own self, even if it's a little bit different, I think people are really drawn to that.

I imagine as long as people will continue to read novels, people will continue to write them, or vice versa; unless of course the pictorial magazines and comic strips finally atrophy man's capacity to read, and literature really is on its way back to the picture writing in the Neanderthal cave.

Comic-strip artists do not make good husbands, and God knows they do not make good comic strips.

In comic strips, the person on the left always speaks first.

Peellaert's comic strips were the literature of intelligence, imagination and romanticism.

My life is like a series of comic strips, which is why I like investing: I really like new stuff.

I can't even look at daily comic strips. And I hate sitcoms because they don't seem like real people to me: they're props that often say horrible things to each other, which I don't find funny. I have to feel like they're real people.

Think of the aged and bed-ridden Matisse cutting out strips of coloured paper, much as a child might, and investing them with a more than mortal vitality... Those strips of paper resonate because they prove that our materials don't determine in advance the worth of what we make.

In the dance, one finds the cinema, the comic strips, the Olympic hundred meters and swimming, and what's more, poetry, love and tenderness.

It's really a pity that there are observers who view political events like comic strips. There has to be a Zorro, there has to be a star. No, the problem of Upper Volta is more serious than that. It was a grave mistake to have looked for a man, a star, at all costs, to the point of creating one, that is, to the point of attributing the ownership of the event to captain Sankara, who must have been the brains, etc.

Saturday morning cartoons do that now, where they develop the toy and then draw the cartoon around it, and the result is the cartoon is a commercial for the toy and the toy is a commercial for the cartoon. The same thing's happening now in comic strips; it's just another way to get the competitive edge. You saturate all the different markets and allow each other to advertise the other, and it's the best of all possible worlds. You can see the financial incentive to work that way. I just think it's to the detriment of integrity in comic strip art.

It's one thing to have a relationship, to lay your hands on it, and another to make it continue and last. That's something I haven't talked about much in my comic strips, and it's certainly something I'm interested in.

If you look back at old Captain America comic strips, he used to fight Nazis, you know? The American ideal is standing up and saying, 'No, that is not the status quo, and we will not accept that.'

I seemed to have instinctually a strong idea of how the strip had to be written from the beginning. That changed too, but it was more in the direction of where it was headed. I didn't have a clue as to the drawing style, because the drawing style that I was groomed on from the beginning was newspaper comic strips, which were much more conventional.

I think in daily newspapers, the way comic strips are treated, it's as if newspaper publishers are going out of their way to kill the medium. They're printing the comics so small that most strips are just talking heads, and if you look back at the glory days of comic strips, you can see that they were showcases for some of the best pop art ever to come out.

My dad taught me to read by reading comic strips in the Saturday paper and Archie comics.

The first comic I read was a Spider-Man comic, and my introduction to it was through my family. My cousins are a lot older than me, and they've been huge comic book fans, from the jump.

I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter.

I grew up reading comic books. Super hero comic books, Archie comic books, horror comic books, you name it.