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.
It's cool if people want to make movies of stuff, but I'm really interested in the comics.
Once comics become your life, you have to make decisions on what you spend your time on.
When I started out, some women comics were jealous of other women comics, thinking, "If she gets "The Tonight Show," I can't. " My philosophy always was, "If she did, I can too. "
I feel like I understood the language of comics. I had a real fluidity with that medium at a very early age.
With comics, you always talk about a big break, but there are a lot of big breaks in your life and not one of them makes a big difference.
[Comics] were viewed as the literary equivalent of bubblegum cards, meant to be poked into the spokes of a young mind where they would produce a satisfying but entirely bogus rumble of pleasure.
There is also a kind of mean-spiritedness with LA comics.
The reason I started to do comics for kids, the real reason is because it worked for me.
Of course, I started really being a comics fan with the underground stuff in the '70s
I'm not opposed to comics on the Internet. It's just not interesting to me.
Hanging out with comics, all they did was make fun of me.
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.
There's 54 years of X-Men comics by now, so there are a lot of characters to explore.
Comics are so full of amazing work. And I can't look at a drawing of a woman without thinking of, for instance, Wallace Wood and his amazing way of capturing beauty.
The comics I hate are thieves. Nothing's more disgusting than a guy who steals another person's ideas and tries to claim them as his own.
There's a certain pressure you put on yourself to use the comics page to full advantage that can focus your mind to a pinpoint, and when the juices are flowing, that's incredibly exciting. When you've managed to fit a complex set of actions or a complicated emotional passage into a single page there's the sense of satisfaction that I suspect a sculptor gets from chipping away at a piece of stone and ending up with a fully-realized work of art.
I'm going to take over on the Techno Comics so I'm going to be dealing in the children's merchandising type department. But that's just setting it up and having somebody run it.
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 wasn't sure what I wanted to do with my life. I always wanted to pursue either music or comics, so when the opportunity came from comics publisher Fantagraphics for my brothers Jaime and Mario and I to make a comic book together, we jumped at the chance: "Let's just do it and see what happens. " Really, we weren't sure where we were going to go with it. We thought our work was good enough to be out there, but we didn't know that the response was going to be pretty good, pretty quick.