Quote of the Day
“It’s a terrible jumping-on point. I don’t think I’ve written an issue 20-something of anything that I’ve done that is a good jumping-on point. With the way you can download all the books now and everything is collected in trades, I’m not even sure I buy into the validity of the argument that every issue should be able to be read as if it was somebody’s first issue. That, of course, may be a complete construct to prop up my inability to do that. [Laughs] So yeah, it’s a terrible jumping on point …”
– writer Jonathan Hickman, addressing the notion that the “Point Now” part of Avengers #24.NOW means the issue is a good jumping-on point for new readers. Tom Brevoort, Marvel’s senior vice president of publishing, has a differing opinion on the matter.
“I knew what a movie script looked like, I’d seen them. But I couldn’t get my head around what a comic script was. And eventually, a marvelous comics writer, probably the finest writer of comics there’s ever been, a man named Alan Moore just showed me how to write comics. He sat down and said, ‘Right, right now, you write Page One, Panel One. And then you say everything that is happening in that panel.’ In this case, you know, you’d say, ‘Page one, panel one, Neil Gaiman and Tom Ashbrook are sitting in a studio, there’s paper all over the desk, there are great big microphones. Neil is talking, waving his hands around, doing an impression of Alan Moore. Tom is nodding sagely.’
It’s stage directions, and it’s a letter to an artist. And then underneath, you’d write Tom: ‘It’s stage directions’; Neil: ‘It’s a letter to an artist’ and those would be what would go into the word balloons. And Neil, thought balloon: ‘I’m so glad they got me that cup of tea.’ You put everything. As far as I was concerned, and still to this day, as far as I’m concerned a comic script is a 10,000 word letter to an artist. I would always get puzzled when people would say to me, ‘So you write comics! So you write the words that go in the balloons.’ And you’re going, ‘That’s absolutely the tip of the iceberg.’ What I’m doing is building the cake, and in those words I will tell the artist everything I want to be in the panel — the size of the panel, the shape. What you’re also doing is working with some of the most creative people in the world.”
— The Sandman writer Neil Gaiman, turning his interview with Tom Ashbrook for the WBUR radio show On Point into a comic script on the spot
“When you think of Superman in the 1950s, only a handful of artists come to mind – and Al Plastino’s one of them. Along with the likes of Wayne Boring and Curt Swan, Plastino brought a level of humanity to Superman that had never been seen before. This amazing, super-human being now had a smile like you or me. He brought out the human side of a modern myth. It was nuanced but game changing. We can’t thank him enough for his work at DC, and we’re thinking of all those close to him during this difficult time.”
– DC Entertainment Co-Publisher Dan DiDio, discussing the work of prolific Superman artist Al Plastino, who passed away at age 91
“Now, see, I haven’t read any superhero comics since I finished with Watchmen. I hate superheroes. I think they’re abominations. They don’t mean what they used to mean. They were originally in the hands of writers who would actively expand the imagination of their nine- to 13-year-old audience. That was completely what they were meant to do and they were doing it excellently. These days, superhero comics think the audience is certainly not nine to 13, it’s nothing to do with them. It’s an audience largely of 30-, 40-, 50-, 60-year old men, usually men. Someone came up with the term graphic novel. These readers latched on to it; they were simply interested in a way that could validate their continued love of Green Lantern or Spider-Man without appearing in some way emotionally subnormal. This is a significant rump of the superhero-addicted, mainstream-addicted audience. I don’t think the superhero stands for anything good. I think it’s a rather alarming sign if we’ve got audiences of adults going to see the Avengers movie and delighting in concepts and characters meant to entertain the 12-year-old boys of the 1950s.”
– Alan Moore, addressing modern superhero comics in an interview with The Guardian about Fashion Beast, his collaboration with Malcolm McLaren. Moore also touches upon the influence of his work on other writers, and gets in a jab another in the process: “Grant Morrison has actually self-confessedly made a tactic of not only basing some of his narratives on my style or my work but also trying to make himself more famous by slagging me off at every opportunity. I have nothing to do with him.”
“The man is demented in more interesting ways than I think Batman ever was. [His] cape is actually a crescent moon and he goes out only at night and dresses in reflective white so you can see him coming. Now that’s nuts … I like that.”
“It was terrifying. It was really, really scary. It was mostly really scary because — at the beginning of writing Sandman, nobody expected anything. All I wanted was not to be canceled. Back then, DC Comics had a really nice system, where they would give you a year to save face for everybody. So I knew I had twelve issues, and I loved the fact that I had my twelve issues. That was great! All I wanted was not to be canceled at the end of issue twelve, not to get the phone call.
Back then, I wasn’t nervous. Nobody was looking, nobody cared. Since then, “Sandman” has sold millions upon millions upon millions of graphic novels. You have a generation that grew up reading them, and then a younger generation that got infected. Now, I will do signings and it’s kind of weird that I’ll be signing copies of “Sandman” graphic novels for people who were not born when the first issues came out.”
– Neil Gaiman, on sitting down to write the six-issue Sandman: Overture
“Superman was the start of the whole superhero thing. He had the superpowers and wore that costume with the bright colors and silly cape. It’s the costume that was different. Zorro didn’t have superpowers, Doc Savage didn’t have superpowers; they could just do things a little better than the rest of us. The Shadow could be a superhero because he could make himself unseen, and if he appeared in a comic book today, he might be a superhero, though he doesn’t really wear a costume. I’m not an expert on the Shadow, but I think he just had a dark business suit and a sort of raincoat and a slouch hat. Superman’s costume was different because of the bright colors, that silly cape, those red boots, his belt, and his chest symbol. I mean, it’s ridiculous, because you really don’t need a costume to fly or fight bad guys. If I had superpowers, I wouldn’t wear a costume. [...]
Although a costume isn’t required of superheroes, the fans love costumes. The characters are more popular if they wear costumes. (Don’t ask me why.) In the first issue of the Fantastic Four, I didn’t have them wear costumes. I received a ton of mail from fans saying that they loved the book, but they wouldn’t buy another issue unless we gave the characters costumes. I didn’t need a house to fall on me to realize that — for whatever reason — fans love costumed heroes.”
– Stan Lee, from his essay for What is a Superhero?, from Oxford University Press
(For the story on Lee’s 1983 “centerfold” photo, visit Sean Howe’s Marvel: The Untold Story blog.)
“We sit at home and make comics and we don’t really see the impact until we go to a comic show or we get letters. I get letters just about every day. I either get a letter or a tweet. I get physical letters mailed to my P.O. Box still, which is cool. That’s how you know you’re doing it — you’re doing it right — because when I’m at home, I am making comics and throwing out the garbage. But when we’re at a convention, we’re like rock stars. [Laughs] And if we get recognized at the grocery store or a comic book shop, that’s pretty cool too.”
– Art Baltazar, about introducing children to reading through comics, in an interview with CBR about the return of Tiny Titans
“Ultraman is not an evil Superman. He’s a Superman who believes in power and strength. Strength is the most important attribute, above everything else. If you’re strong, and you’re the strongest there is, that’s all that matters. And that’s how Ultraman views everything.
The fact that there was a being that destroyed Krypton and then ravaged his Earth and could possibly come to ours — he actually is worried in the back of his head that there’s something out there that’s stronger than him. His motivation is to shore this world up and prepare for war.
And Ultraman’s a perfect example of the absence of empathy. Complete absence of empathy. He comes to our world and he sees things like soup kitchens and homeless shelters, and he sees us taking care of the sick, and he does not understand it. Why do we waste our time? In his mind, we’re keeping our gene pool weak. And that all points back to his paranoia about our world not being ready to fight, or strong enough to survive an attack.”
– Forever Evil writer Geoff Johns, discussing the Crime Syndicate and their “different breed of villainy”
“After much thought and internal discussion, we felt that between the two, ‘Miracleman’ was the coolest name for the project. I wish I had a more scientific answer for you, but that’s kind of how it went down. A bunch of us sat around at the editorial meeting and talked about it. We all remember it fondly as ‘Miracleman’ and just felt that the name was by far better than Marvelman. That’s not to say that the name Marvelman isn’t in play for something else down the line some day, but when asked to choose between the two, well …”
– Marvel Chief Creative Officer Joe Quesada, in an interview with Comic Book Resources, explaining why the company chose to go with the name “Miracleman” over the original “Marvelman”
“There was a very fine line to walk, though. To create a book that Comic Book Guy could enjoy because wa-hey, boobies and gore … but that also as a female writer (and a feminist) I could be OK with. Most people won’t notice that the gaze in the book towards the female characters is not predatory — the women are complicit, and in fact usually in charge. It’s a gossamer thing, this manipulation of gaze, this slight change, this look awry — but it makes a huge difference to how the book feels when you read it. The book makes people really happy. And, you know, for the horror crowd, the little changes in having a woman write it so some of the invasive, penetrative horror happens to men — well, it makes for more effective and unexpected horror.”
– writer Alex de Campi, talking with ThinkProgress about her new series Grindhouse: Doors Open at Midnight, a gleefully trashy exploitation comic the describes “straight-up tits and gore, the way nature (and Russ Meyer) intended.”
Nonetheless, De Campi, whose work ranges from the action thriller Ashes to the all-ages Kat and Mouse and My Little Pony, approaches her work in a thoughtful way. In the same interview, she discusses how changing the point of view of a rape scene radically alters it. De Campi’s work illustrates the point that bringing diversity into comics can greatly improve the stories, by introducing fresh and original perspectives — and even surprising the reader.
“It is important, but it’s not the driving factor. The driving factor for me is having DC as one company together ourselves. Our ability to work more collaboratively with the whole studio is certainly a benefit. I believe everyone in DC will feel more a part of Warner Bros in the best ways. But it isn’t about more of our people talking to the film and TV people.
This is not the corporatization of DC. It isn’t about folding DC into Warner Bros. We’re going to help DC feel like more of an important priority in Warner Bros.”
– DC Entertainment President Diane Nelson, addressing whether film, television and video-game adaptations are the primary reason for the recently announced move of DC’s publishing operations from New York City to Burbank, California. Since August 2011, the company’s film and television, digital, administrative and consumer-products operations have been housed on the second floor — 35,000 square feet of space — of The Pointe, a new 14-story office tower less than a mile from Warner Bros. Studios.
“You have to be scrappy. There’s a tremendous amount of noise. There’s more good comics coming out right now than probably any point in the history of comics. In order to make Valiant stand apart and let everyone know what we’re up to, you have to get a little bit P.T. Barnum from time to time. We have a tremendous amount of fun doing it, but we also want to make sure that anything that we do is in service to the storytelling of the books. That’s something that we take very seriously.”
– Valiant Entertainment’s Hunter Gorinson, discussing cover gimmicks like the 8-bit animated “variant” for Unity #1 in a lengthy group interview with Comic Book Resources that addresses the publisher’s growth, marketing to retailers, development of stories and events, and more. Unity #1 sold a reported 68,500 copies to the direct market.
“There was a time when I was 23 years old that I thought my career was over because I couldn’t move my hand. It turned out it was just a pinched nerve. But Archie Goodwin, the [Marvel] editor at the time, made sure that when I went to the doctor, I was covered for medical bills. I didn’t have health coverage then. I try to pay it forward. I do a lot of philanthropic and charity work. Some of my greatest awards, greatest rewards, have not been for comic work, but for charity work. Like art — thank you’s for money raised — from children in the Make-a-Wish Foundation. Photos from their wishes coming true. They’ll laminate it into a plaque that I can hang on the wall. I cherish those. I was actually the subject of a wish once, a child wanted to meet me. Me, out of all the things he could have wished for. Good gosh, that is something that I will never forget.”
– veteran artist and writer George Perez, recalling the nicest thing anyone has ever done for him
“I started to feel an enormous amount of sympathy and empathy for Charles Dickens, because he was doing the same thing – a serialized story. And I started reading Dickens in a very, very different way. While writing The Sandman I’d go, ‘Ah, this is part of the big plot that you absolutely know what you’re doing, and this bit is you going, “I’m not quite sure what I’m doing here, so I’m gonna busk a little bit. And this is you just bringing on a character and just going I know I’ll find a use for you somewhere down the line.”‘ These days, probably the nearest thing to it outside of comics would be serial television, if you had just had one writer. [...] But the one thing that TV has is the same thing wonderful thing that Dickens had, and same thing that I had – to be able to take stock of what you’re doing and what’s working as you go, to the point where you bring on somebody who was a little better than an extra and you go, ‘Actually, everybody really likes that guy and we like that guy! Let’s bring him back and have him do something else.’ And by season two he’s one of the stars and nobody actually remembers that he wasn’t even in the original outline. There were definitely things when I was writing Sandman that were like that. And in a peculiar way, there are moments when I’m writing Overture where I get to do little things that set up for later things that I wasn’t expecting.”
– Neil Gaiman, reflecting on writing The Sandman on a monthly basis, in an interview with RollingStone.com