Top 1200 Comics Quotes & Sayings - Page 2

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.

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

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 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.

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.

Part of running DC Comics is that it's much larger than Image Comics is, or was. There's a challenge to being one of the industry leaders in that everything you do is scrutinized and watched.

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.

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 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.

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.

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.

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 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.

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.

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.

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.

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

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.

I grew up on comics and cartoons. So, as an adult, I like comics and cartoons.

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 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.

I do still read comics since I started writing for DC, but nowhere near as much as I used to, and I'm finding now that it's becoming harder to read comics as a consumer, so I think I'll have to make the call there and stop reading them.

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.

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.

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.

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

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

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 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 don't care how people read their comics, I want them to read comics. I don't care if they read them on an iPad or a phone or in store, I just want them to read 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.

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.

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

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.

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.

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!’

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.

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.

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.

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.

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's something very strange and wrong-seeming about drawing realistic eyeballs in comics, at least in the mode of comics where action is carried more by the movement of the characters rather than where narration links disparately framed selected images.

The good news is that the comics field is small enough and informal enough that once you have made a comic, you have achieved your dreams: you have broken into the comics industry. The problem with breaking in, though, is that staying in is harder.

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 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.

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 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.

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

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.

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 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.

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.

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.

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.

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 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.

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.

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.

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 good part of what comics trains you to do is it trains you - especially if you've worked in mainstream comics like Marvel and DC, or if you're just doing your own independent comics - to compartmentalize things and work on multiple things at the same time. And that's a skill that is incredibly handy in Hollywood, because within the first year that you get here, you realize there's a reason why every successful person in Hollywood has like seven or eight projects up in the air at any point.