Quote of the Day Archives - Robot 6 @ Comic Book Resources
“When the government, in effect, attempts to dictate what college students must, or must not, read, the state is going to suffer. Not only will its censorship impede academia from innovation and honesty, it will, as Rep. Gilda Cobb-Hunter, D-Orangeburg, said, hurt the state’s efforts to attract jobs. Who wants to live in a place where legislative budget writers determine what gets taught in college?
Voters expect their representatives to fix roads, fairly fund education and make laws for the safety of citizens, not to police people’s thoughts.”
– the editorial board of the Charleston, South Carolina, Post and Courier, responding to a vote last week by the state House Ways and Means committee to reduce funding two universities that recommended gay-themed books. One of the schools, the College of Charleston, selected Alison Bechdel’s acclaimed graphic novel Fun Home, which Rep. Garry Smith, R-Greenville, said “goes beyond the pale of academic debate. It graphically shows lesbian acts.”
“Cowboys & Aliens was a completely manufactured myth of a comic book. They went in and sold the idea of Cowboys & Aliens based on a one-sheet of what they thought the cover of a comic book might be, then sold it as a movie, then created as a comic book. They backed in to the comic book part of it. The book itself isn’t actually very good. It’s worse than the movie.
I did another one like that — Hellbenders was an idea that J.T. Petty had, and he wrote it as a script. One of the producers got the idea to pitch it around as a comic book. As soon as something is a graphic novel or a comic book or has another life in a another medium, people sit up and take notice and are more willing to write the check.
I don’t know why that is — well, I think it’s obvious why that is: Because the traditional properties like Superman and Batman and the Marvel characters — Spider-Man and so on — they’re all money machines. So, people are trying to create that. [...] Everything is being optioned now to be turned into franchises because of the success of Walking Dead and a few that have made the transition. Mostly, people walk into a room and pitch a movie — and the first question if they don’t say it in the original pitch is, ‘Is this a graphic novel or comic?’ and of course you say, ‘Yes’.”
– actor Clancy Brown, who has a good deal of experience with comic-book adaptations, discussing Cowboys & Aliens Hollywood’s continued attraction to comics
“I know there’s a certain appeal for creators to work on the classic characters like Batman, Superman and Spider-Man, but I’ve said this before: I asked creators who have worked on those books who the people were doing the books ten years ago, and they don’t know! But I can say, ‘Who worked on Sin City?’ and they’ll go ‘Frank Miller.’ Who worked on Hellboy? Mike Mignola. Who worked on The Goon? Eric Powell. They know it instantly. So to me, the lure of creating your own character and owning it — owning your own universe and being associated with that — in the long run for talented writers and artists makes me question why someone would toil away on a company owned character for years and years of their lives.”
– Dark Horse founder Mike Richardson, discussing his company’s commitment to publishing creator-owned work
“I do admit that I am surprised that the series has such a high profile still but, make no mistake, I’m very happy to be a part of it. I can’t speak for Frank [Miller], but neither I nor anyone else in the DC office realized the impact of the books at that time. It would have been crazy to predict way back then. It’s not unheard of to have a particular project garner a lot of attention in the moment, but it is unusual for a project to cast such a long shadow, to hold up so many years later. Dark Knight Returns was a hurricane. It was a force of nature that swept everyone up in its path, and I learned a lot from that experience. I’d love to work with Frank at least once more, whether it’s for the 30th anniversary or something else, so this is my way of starting to put the offer out there. Let’s go, Frank — it would be great fun!”
“Oh, always press. Just understand the difference between useless whining and actual pressing. What corporations understand is money. They don’t give a toss about blog posts or combative questioners at conventions. Clearly.
You vote and make change by the strategic application or withdrawal of money. Buy the products you want and withhold money from those companies that don’t produce said product. And say why you’ve done so in both cases.
But this isn’t politics. It’s business. At least, we’re all pretending it’s only business.”
– actor, screenwriter, novelist and comics writer Geoffrey Thorne, when asked whether consumers should give up hope that Marvel and DC will hire “a respectable amount” of writers of color
“While we don’t have any market research, the eyes don’t lie. If you go to conventions and comic book stores, more and more female readers are emerging. They are starved for content and looking for content they can relate to.”
– Marvel Editor-in-Chief Axel Alonso, discussing comics’ shifting demographics
“Ed [Brubaker] got too busy, so Ed had to leave. Sales were what they were — it was Iron Fist. It was critically acclaimed, and not losing money was enough. But David Aja was going to stop because of the schedule and other work, and Ed was going to stop because of his schedule, and I basically didn’t want to be the Mike Love of Iron Fist, the only original member left ruining what you remember about the band. So I said alright, we’ll stop at #16. I knew what my twist was, what my end was, I thought I’d do that sort of West Wing thing where you end with a “holy fuck!” moment for the next guys, and let them have fun building everything up and finding out what the new status quo is. So it felt more important to go out on a high note with everybody happy, than to be the guy who ruined the book.”
– writer Matt Fraction, on why he left Marvel’s The Immortal Iron Fist with Issue 16, in an interesting discussion of his career from Rex Mantooth through The Order
“Forget the mythology. I don’t care that Hemingway was a drunk or the Beatles dropped acid or [Insert famous artist here] did [insert drug here]. If you are using drugs or alcohol as part of your creative process you are killing yourself slowly and as a friend of mine once put it, you’re ‘committing a sin against your talent.’
You can’t die of a heroin overdose if you never try heroin. You can’t kill someone in a drunk driving accident if you never pick up the first drink. You won’t throw up your guts or have liver failure or lose your mind from illegal substances if you don’t put things in your body that do not belong there.
There are other ways to sin against your talent, but drugs and alcohol are easily avoided and if you are serious about being a writer/artist/musician/creative soul. Madness is not mandatory. It is not even recommended. The romanticized idea that the drug-addled creative lives a more authentic life is 100% horseshit manufactured to justify self-destructive behavior.
You can create art while sober. You can experience mind-blowing sights and sounds with a clear head. You can access deeper meaning and glimpse the secrets of the universe just by being present.
The world will be more beautiful, more authentic, more amazing, because you will be a part of it instead of stumbling towards it.”
“If you’d asked me several years ago, I likely would have spoken about some tipping point where you have too much and everything crashed. Part of that is that I grew up in a world where there was one X-MEN book, one AVENGERS book and, well, three SPIDER-MAN books (counting MARVEL TEAM-UP.) But today, I think that, while there is a tipping point potentially somewhere out there on the horizon, it’s nowhere near as close as we sometimes like to think (or fear.) What matters is the quality of the work. How many BATMAN books are there at this point, every month? How many WOLVERINE books? And still, those characters are more likely to sell better than, I don’t know, THE FLASH or STORM. The audience likes what it likes, and so long as what you produce is good, they will always be content to have more. It’s when the quality goes down that you have a problem — but you have that problem with there being only one book as well.”
– Tom Brevoort, Marvel’s senior vice president of publishing, responding to a question on his Formspring about how to address character “oversaturation,” if it’s even an issue that exists
“No one gets to have their cake and eat it too. So I don’t get to talk about the problems with the lack of diversity in both the books we put out and the creators behind them, I don’t get to speak up about that and then not have my gender brought up as an issue as well. … People will often apologize when they ask me about feminist issues in the industry, and it’s tough. I don’t want them to apologize. These are things that need to be discussed. … My husband’s [comics writer Matt Fraction] gender never comes up in an interview. I think it’s a thing that, if we want it to get better, we have to talk about it. It’s on the table whether we like it or not, so let’s go ahead and – if it’s there, let’s sit down and feast.
I’ve been accused of putting forth sort of an agenda in Captain Marvel, which I actually don’t think I’m doing at all. I think I’ve been very true to what the character was created for, the roots of the character that I had nothing to do with. I was 7 years old when that character’s first book came out under Ms. Marvel. I’ve been accused of putting forth an agenda and so on and so forth. There’s a certain part of me that’s just like, ‘If I’m going to take the heat for it, well … let’s do it then. Let’s steer into the curve.’”
– writer Kelly Sue DeConnick, discussing Bitch Planet, Captain Marvel and feminism
“I think it’s very interesting that you bring up Shia because I just brought him up to Mike [Carey] the other day. I was proposing that we introduce a character based on him, because he does crystallize a lot of what we talk about. We’ve had a lot of discussion about whether copyright is a good thing or a horrible thing. What would happen if Superman was copyright-free? And people could add onto his story? Maybe we would end up with incredibly powerful stories that add a whole dimension of life to our existence because they would be able to build in a way that they can’t build otherwise. I don’t know. On the other hand, I want to get paid for what I do. [...] I think we should write to Shia and his people for permission to use him and his likeness in our story. If they said ‘No,’ it would bring up a lot of interesting issues. Wouldn’t it?”
– The Unwritten co-creator Peter Gross, commenting on Shia LaBeouf, the public domain and storytelling, in an interview with Comic Book Resources
“I know it was a bit of heavy lifting for some of the longtime fans of the core characters on the book — and Newsarama fans haven’t been shy about voicing their complaints — but I can’t find it in my heart to apologize.
I was hired to write a series that started the team ‘on page one’ … no history, no preexisting relationships, for readers that were not familiar with the concept of Teen Titans. The new continuity being what it was, Bart could not have been Bart Allen from the future, Superboy could not have been a clone who spent the last few months living on the Kent Farm as Ma and Pa had died some 10 years ago, and on and on. … so while I wouldn’t expect anyone to agree with every choice I made or was handed, I will say I remain very proud of the book I’ve worked on for the last 30-odd issues.”
– writer Scott Lobdell‘s message to longtime Teen Titans fans as the DC Comics series heads toward its April cancellation
“I think why we make good comics together is that he – if you believe in the right-brain/left-brain sort of thing – seems to be a really out-there, weirdo right-brain guy, and I’m very literal-minded and I believe in strict storytelling rules. I never break the 180 rule in my storytelling. I have a very literal perspective. I’ve got all sorts of instructions that I live by to tell a coherent story. And a lot of people’s problems with Grant Morrison comics is that they can get a little too confusing for them. I think that my very literal, very disciplined storytelling style can help to sell his crazy flights of fancy and make it a little more coherent – and I don’t really agree with most of the people who say it’s too confusing to follow, but I guess I can see where they’re coming from. I think it helps get the story over if it’s very clear exactly what’s happening. And then the stuff that’s happening is weird enough where you can still have that sense of unease.”
“It’s very humbling to put your best effort into something for so many years, and not really know if it’s appreciated, and then to find out that people have been paying attention and following what you’ve been doing.”
– artist Russ Heath, famed for his work on such titles as G.I. Combat and Our Army at War, reacting to the news that he’ll be honored in May with the National Cartoonists Society’s Milton Caniff Lifetime Achievement Award
“I announce From Hell and in short order he ‘has the idea’ for a comic strip account of a historical serial murderer. I announce Lost Girls, a lengthy erotic work involving characters from fiction, and within a few months he has somehow managed to conceptualise a Vertigo mini-series along exactly those lines. What I at first believed to be the actions of an ordinary comic-business career plagiarist came to take on worrying aspects of cargo cultism, as if this funny little man believed that by simply duplicating all of my actions, whether he understood them or not, he could somehow become me and duplicate my success. It would appear that at one stage, as an example, he had concluded that the secret to being a big-time acclaimed comic-writer was to be found in having a memorable hairstyle. Perhaps unsurprisingly, the possession of talent, hard-earned craft or even his own ideas would seem never to have occurred to him.”
– Alan Moore, delving deep into his history with Grant Morrison (such that it is), whom he refers to as “some feverishly fixated non-entity” and “my own personal 18th century medicinal leech,” who “through the early years of this present century [...] somehow managed to perpetuate his career seemingly without the accomplishment of any major or memorable works.”
The interview, conducted via email by Padraig O’Mealoid, is a fascinating and contentious read, with Moore also taking aim at journalist Laura Sneddon and The Independent. But he devotes a lot of space to Morrison.