Quote of the Day Archives - Robot 6 @ Comic Book Resources
“As soon as I started getting an allowance, it was for comics. I would just go [to the store]. I didn’t really have a concept of new comic day, I just thought they showed up at any given random time at Golden Apple in LA. I would just show up and was like, ‘Ooh, WildC.A.T.S.!’ It was all that — WildC.A.T.S., Spawn, Cyberforce. I got into it too late to even know that these creators worked on Spider-Man and the X-Men. I just knew that they created the friggin’ Violator. It was huge for me. It got me into comics, straight-up. I think I liked those comics more than I liked X-Men. I just remember being at my friend’s house and he was like, ‘You gotta read this Spawn,’ and I loved it.”
— Say Anything frontman Max Bemis, talking with Comic Book Resources about the ’90s Image comics that inspired his new BOOM! Studios series Oh, Killstrike
“If you get yourself into a grind with event after event, sooner or later, you’re going to be only artificially propping up the sales of your books, and your line itself. Only the event is what’s driving people, not the individual characters, and you’re being forced to add more and more things in just to attract attention. The bigger win for us is to be able to rotate the crops a little bit. Replant the land, grow strong characters, and that way, when we build something else out of it, we have a much stronger base from which all these other stories can be told. And if you look back in DC’s history, and even comics history, most of these characters that exist today, that are all now traveling in a group setting, in every event, from one event to the next — they travel as a traveling sideshow, almost — that wasn’t the case when they were introduced. Every character existed and breathed in its own right, and when they crossed over, it was special. What we want to do is make those individual things special again.”
– DC Comics Co-Publisher Dan DiDio, talking with Comic Book Resources about the company’s post-“Convergence” plans
“It’s a little bit of me trying to say out loud, the reason that Spawn looks and feels the way that it does, which is slightly different than some of the better-selling books right now at Image, is because it was started in 1992, and those trappings were put in there intentionally at that time. I can’t undo the blueprint. It’s a superhero book, and it’s always been a superhero book. That’s what it is. It’s not that I can’t do non-superhero books, or I couldn’t do a comedy book, or a true romance book, I just have chosen during that time not to. It’s not for lack of ideas or skill, I’ve just chosen not to. If people like it, some people may say, ‘Oh, it’s a change of pace for Todd. I didn’t know you could do all of this stuff.’ To me, it’s not really different than saying, ‘Draw a circle or draw a square.’ They’re both different shapes. I can do both of them, I just have been drawing a circle for so long. But it didn’t mean I couldn’t draw a square any day of the last 20 years. I could have. That’s not what Marvel and DC did, and when we left, that wasn’t what we did. We did our thing, and people then could say, ‘Well, you could have done it in the last 20 years,’ and the answer is not really, because that really wasn’t the footprint and the identity of what Image was at that point.”
– Todd McFarlane, discussing his upcoming Image Comics miniseries Savior
“I’ve been such a jerk. (Your pull quote.) I used to look down my nose at stores that would order only Marvel and DC Comics and only enough to sate their Wednesday customer base, and now I get it. At Aw Yeah Comics, we’re far more diverse than that, but even still, there’s only so much money we can spend because there’s only so much money our customer base — not just our regulars, but even our potential customer base — has.”
— writer Mark Waid, on what being a retailer has taught him about comics, in an interview with Comic Book Resources announcing that he and partner Christy Branch are reincorporating their Indiana store Alter Ego Comics as Aw Yeah Comics Muncie
“People clamor for Black Panther or Luke Cage, and the incredible response when the Static show was announced — that wasn’t just black fans going ‘yay, about time.’ That was fans going, ‘yay, about time.’ Everyone knows diversity is good. We want black superheroes, we want female superheroes, we want Latino superheroes. That makes things better. And they don’t have to be sidekicks or buddies, they can be rock stars themselves.”
— Reginald Hudlin, in an interview with Comic Book Resources, discussing the Static Shock live-action digital series, and the desire for diversity in superhero-comics adaptations
I’ve always thought there’s a beautiful eloquence of having a connection to something that was designed 50, 60, 75 years ago, that is essentially undiluted. They don’t need to be over-altered for the sake of upcoming generations. They don’t have to be unified.
If you have to always make characters younger because, ‘well, young people won’t connect with older protagonists,’ well, that is such horseshit.”
– Alex Ross, lamenting the desire of some publishers to remake superheroes for a modern audience, in the same piece in which he says he’s learned not to get too attached to certain depictions of characters: “If you start thinking that your version of a thing is the most popular, beloved version, then when they go a different way, as they have with their version of Superman today, it breaks your heart.”
“You know, I don’t regret my mistakes, but I don’t know that I liked them. I certainly don’t want to publicize them. I did draw my very first comic book, and that was a mistake. I am not a good artist. I spent three months and I was going to write and draw a comic book and I worked on this thing and it was terrible. I sent it to the distributor and they were like, ‘This is not of professional quality, we will not distribute this.’ That was a mistake, but I learned from it and it led to me realizing that drawing comics is a fool’s game. I think it led to good things.”
— The Walking Dead co-creator Robert Kirkman, recalling his “favorite mistake” in a brief Q&A with Playboy. Of course, “I think it led to good things” may be a bit of an understatement.
“To any writers or artists out there trying to decide how best to include a colorist into your creator-owned project: give them a stake in the project and include them as much as possible. The excitement that inclusion generates in someone that’s usually on the periphery of a project will increase their dedication and enthusiasm for the project and enhance the end result.”
— The Wicked + The Divine and Young Avengers colorist Matthew Wilson, discussing the differences between coloring creator-owned work and work-for-hire.
“What keeps this industry alive is creators doing their own work. Once you change a costume or origin enough times, it’s a dead body — you’re just electrocuting it and keeping it sort of shambling on. There is a lot more creator-owned stuff now, and some of it I look at and go, ‘Oh, that’s his pitch for a TV show. That’s his pitch for a movie. That’s him saying oh, this kind of thing sells.’ I didn’t do that. My one piece of advice to people who are saying “‘I wanna do it, but DC and Marvel pay so well …’ is that in between your big paying gigs, just find time just to do one comic! It doesn’t have to be a 6,000-page epic! It doesn’t have to be Hellboy! Ten years down the road, when you’re scrambling for work or drawing some book you hate, at least you did something when you had fire in your belly that’s really you.”
“I thought that the way Warner Bros. announced the slate of DC movies could have been handled better. I think that someone like Grant Gustin, who has just launched an iconic character like The Flash, to record-breaking numbers — numbers that far surpassed Arrow‘s numbers […] I think that he should have been given a wider berth than two episodes before another actor was announced to play his character. […] I thought that it was shitty that all of this stuff got announced the morning that the ratings — the spectacular ratings — of the second episode of The Flash came in.”
I don’t know if that’s a byproduct of the anonymity there, but when you’re sorta scrolling through looking at Twitter reactions to the show, they exist at the edge of each spectrum. They’re incredibly negative towards some characters. They’re overwhelmingly positive towards others … I don’t think Twitter’s important.
Think of social media like NSYNC. I think that Facebook is Timberlake, OK? And I think that all of the other forums are the other members of the group.
On the Facebook side, connecting with the fans in that way I think holds a lot more value, holds a lot more sway and it’s just been fun. I’m the same person as I was before I got this job, but this job has given me the platform to have fun and do interesting things on Facebook.
I personally haven’t encountered anything negative on Twitter. People I know have. And I think Twitter does a horrendous job of protecting those folks. When they have a better policy, maybe I’ll go back.”
— Arrow star Stephen Amell, who has more than 2.7 million Likes on Facebook, discussing his social media presence and preferences during a set visit
“There’s a loosening up, and this is kind of current, at both companies in terms of what each company considers a comic, which is a ridiculous thing to say, because a comic is basically what sells. That’s a good comic. Dick Giordano hated, hated, hated Lobo — hated the character, hated the book — hated him. But he understood that Lobo was a popular character, not his cup of tea, so he wasn’t constantly after me to change and conform to his way.
That was, for a while, the way comics were being run. If the editor didn’t like the direction a book was going, it didn’t matter how well it sold — they’d get in there and start pinching and tweaking and fucking it up. But lately — and I know this for a fact, I’ve talked to people who actually make these decisions — it’s loosening up. It’s really loosening up. They’re actually saying, ‘You know what? You’re always saying, “If I was left alone, I would do this and this and this. I’d make this book popular.” Fine. The shackles are off. Go.’
I love that. I absolutely love that. I think if you’re willing to go after it, I think comics are loosening up a little bit; the way they approach the market, the kind of stories they’re doing, the kind of characters they’re willing to put in their books. This is just, I’d say, within the last year that I’m feeling this. A couple of years before that — as soon as last year — they were pretty horrible.”
– Justice League 3000 writer Keith Giffen, identifying a relatively recent loosening of the creative reins by DC Comics, and by Marvel
‘How do I write believable women?’ from male writers, is essentially asking how to write characters that are different from you. But all characters are different from you, or should be, unless they’re you. Characters are individuals, not types. If you’re writing them as types, you’re doing it wrong.
All characters are like you in some ways, and not like you in others. How do you write the parts that aren’t like you? Same as you do with any character. You have eyes, ears and a brain. You write from observation, experience, research and analysis.
If you’re writing a woman, you’re not writing a ‘women.’ Write her. That character, that individual. A person, not a category.”
“I use the Gillette Pro power and skintimate shaving cream. yes, this is woman’s shaving cream but as I learned many years ago from listening to tiny Tim of the Howard Stern show, you heard me :-), that most women’s cosmetic products are far superior to the ones that they sell men. they are softer and they smell better.
“And that’s why no skin bumps or razor burn for me.
“I often use strawberry scented and I’m telling you that at least three times a week a woman says: your head smells very good. if I was single, I know that this is a home run move I’ve been married for 18 years and I know my head smell has kept my marriage happy
“The new Gillette razor system that moves with the contour of your face is a disaster. do not buy it. it doesn’t work.
“If this isn’t quote of the day on robot six I’m going to be very angry “
– Brian Michael Bendis, responding to a Tumblr question about shaving his head
“My perspective is a little different than most because I take so much time in between conventions and when I’m there I’m working… but watching from behind by signing table and seeing people becoming friends online or just having a great time expressing themselves through costume and just sharing their love of whatever they love is amazing. My feeling is if you are a creator and your book or art or whatever isn’t selling that is on you. And I’m talking about myself here as well. If something didn’t connect with an audience, that’s my problem, that’s not the culture’s problem.
“The culture shifts very quickly. Quicker than it ever has before. Most of the time I think for the better. But I think if you are trying to sell something to someone at a convention or anywhere you better take a good look at yourself and what you’re selling and how much you are selling it for. You can’t just show up at your table and drop your portfolio and sit back and wish of the sea to part. (which I see a lot of people doing) You have to have work out there, that is vital. You have to let people know what you have that is special and worth their time.”
– Brian Michael Bendis, responding to a question about the effect of cosplay on comic conventions