Quote of the Day Archives - Page 2 of 11 - Robot 6 @ Comic Book Resources
“Everyone’s like, ‘He’s so powerful, I can’t relate to him.’ Are you kidding me? He’s the most relatable character ever. He grew up on a farm, he doesn’t have a lot of friends, feels isolated, he can’t tell everybody what his secrets are. He’s a great character. He feels overlooked — who hasn’t felt overlooked, or wanted to connect with people? All social media is, is people wanting to connect with other people. That’s all it is. Because people long to connect with other people. And Superman is the embodiment of that. He’s more relevant now than ever.”
“Why has it endured? Because you, sir, can be Batman — you hang out with me, and you’ll see. All you have to do is be crazy enough to fight crime 24/7, right?”
“Certainly when you relaunch a whole universe, something like the New 52, you’re gonna essentially create a bible that kind of guides and dictates the evolution and growth of the universe. We’re in year three of that, and certainly every story that’s created is done through the collaboration of an editor with the writer and the artist and the rest of the creative team. So I certainly think Mark Doyle coming on and becoming the Batman Group editor was a big part of that. I think it’s also a recognition that our audience has evolved and we wanna make sure that we tell the stories that the audiences are craving. So we identified this need. We’re coming out with these different kinds of storylines, and, frankly, it’s exciting because we have a lot of Batman books, and I think it’s a disservice to the fans and to the character to have everything feel of the same tonality. I’m a big fan of Becky Cloonan, so I’m really looking forward to her work on Gotham Academy. I think it’s healthy for the business, and it’s an exciting time to be a Batman fan.”
— DC Entertainment Co-Publisher Jim Lee, talking with Entertainment Weekly about the decision to take “the Batman world” in a different direction with the newly announced Arkham Manor and Gotham Academy. (He also mentions Batgirl among the developments he’s looking forward to in the back half of Batman’s 75th anniversary celebration.)
“I use ‘nerd’ and ‘geek’ interchangeably — I don’t make a distinction. I’ve said that being a nerd is not about what you love, it’s about the way that you love it. So you can be a nerd for football, and obsessively follow stats and player trades and figure out things that give you an advantage in, like, sports betting and things like that. Or, you can love Battlestar Galactica and try to work out all of the complex mythologies and get into things like blueprints of the ships. And then you can love things like Agents of S.H.I.E.L.D. and Winter Soldier, and love that so much that you end up going to a comic book shop and then reading all the way back through ten or twenty years of Captain America comics. Someone who I would describe as a ‘geek’ or ‘nerd’ is a person who loves something to its greatest extent, and then looks for other people who love it the same way, so they can celebrate loving it together.”
– actor/blogger/writer Wil Wheaton, defining for GQ a word we’ll see and hear bandied about a lot — a lot — during Comic-Con International
“Life With Archie presents a possible future for the character, and this issue is a fitting end to that story. Archie dies as he lived – a hero, representing the best in all of us. The fact that he’s saving Kevin, the most important new character in Archie lore since Archie, Betty & Veronica, Jughead and Reggie – is a metaphor for the rebirth this company has experienced over the last five years. This is truly a new Archie Comics: unafraid, daring, progressive and on the cusp of greatness.”
— Archie Comics Co-CEO Jon Goldwater, in a statement about Life With Archie #36, in which Archie Andrews sacrifices himself to save Kevin Keller, the openly gay military veteran newly elected to the U.S. Senate on a gun-control platform
“On the Internet, sometimes what appears to be an explosion is really just a fart. The accusations are totally without merit. A handful of people who have it in for Rick started a witch hunt against him, claiming he had written a scene in Captain America #22 that portrayed the Falcon engaging in what amounted to statutory rape. They used social media to spread the word, and we got some angry emails — about 90 percent which came from people who stated right out the gate that hadn’t even read the issue, but were incensed by what they’d heard Rick had written.
Let me be clear: An attack on Rick’s integrity is an attack on Marvel’s integrity. We would never publish a scene that had one of our super heroes engage in such an act. Jet Black is a 23-year-old woman. She was a pre-teen at the start of Rick’s run, but since that time, the book has jumped forward 13 years in the future, and Jet — along with Steve and Ian — has aged 13 years. In Captain America #22, it is explicitly stated that Jet is 23, and she is rendered [by artist Carlos Pacheco] as a fully adult woman. Jet Black is a 23-year-old woman. End of story.”
– Marvel Editor-in-Chief Axel Alonso, talking with Comic Book Resources about the social-media firestorm that followed the release of Captain America #22
“Everyone who’s ever written Captain America has wanted to bring Bucky back, and I was the first person who arrived at a time where they were willing to … The whole thing when Bucky died was a ret-con that Stan Lee did because he didn’t like sidekicks, and Jack Kirby went along with it because he thought it was this great way to add tragedy to Captain America […] But honestly, when I got the book, I was asked, ‘What would you want to do?’ and I said, ‘Well, I have this idea about how to bring back Bucky, where he is like a really cool bad guy who’s actually an adult.’ And Joe Quesada said, ‘Oh, that’s really interesting, because we just this big summit where we were arguing over whether we could bring back Bucky or not, because Captain America is not selling.’
I was working on a thing with Gene Colan years later — his last comic that he ever did; he drew Captain America, he co-created the Falcon — and I asked him, ‘How come you guys never brought Bucky back?’ And he said, ‘Oh, y’know, we were doing this story where Bucky came back and he turned out to be a robot, and I asked Stan, “Why don’t we have it be the real Bucky?” and he said, “Aw, sales aren’t low enough yet.”‘ Stan was always OK with [resurrecting Bucky], because he always left the door open — like when Bucky died, they always put the word ‘supposedly’ in there, so I felt like the door was left open. I got a lot of flak for it at the time, because it was a ret-con, but I also tried really hard to make sure the ret-con worked with the actual con, if that makes sense.”
– Ed Brubaker, in a wide-ranging discussion that touches upon his Captain America run, his collaborations with Sean Phillips and Steve Epting, and the five-year deal he and Phillips signed with Image Comics
“If you want to put politics in your own comic, go ahead, that’s a great thing. But to put it in mainstream superhero comics and use them as a platform for your own political views is something we object to. And we object to it from both ends. We don’t think these characters should be used for anyone’s point of views even if they agree with us. When I wrote these characters, I didn’t have them present my political views or any political views at all other than their own that are part of their character. Such as Batman is anti-gun. I wrote a lot of anti-gun speeches for Batman that were well-justified and compassionate. I am not personally anti-gun or anti-Second Amendment, but that’s the character. You don’t write it different than what’s established. That was basically our premise, that these were iconic characters shared by generation after generation and should be pretty much just left alone as good guys and bad guys.”
“Speaking specifically of that particular cover, we always list the writers’ credits on the cover, and he scripted that issue. No one is denying Bill’s massive contributions to the DC mythology — not just Batman. It’s never been our take that it was only Bob Kane. But the credit by Bob Kane, that’s a very specific thing, and has been around since the creation of Batman, over 75 years ago. It’s hard to talk about this publicly other than, we love what Bill Finger has contributed to the mythology, and we’ve always acknowledged and compensated him and his estate for that work.”
– DC Comics Co-Publisher Jim Lee, addressing Bill Finger’s credit on the cover of the upcoming Detective Comics #27 Special Edition, and renewed discussion of the late writer’s role as the co-creator of Batman
“Two centuries. I would love to see what kind of foil or hologram Dan DiDio could put on a book in the year 2214.”
— Superman writer Geoff Johns, responding to a question in his Reddit AMA thread about how long, in an ideal world, would his run on the series be. Other highlights from the Q&A can be found at Comic Book Resources.
“I think worrying about the life and death of superheroes is pretty meaningless. The search for ‘importance’ by the superhero comic audience is a problem, a disease. The only thing that’s important is story. If it’s a good story, it’s important and meaningful. Saying ‘I’ll bet he’ll be back within a week’ is to proudly affirm that you know Kermit is just a puppet.”
– Wolverine writer Paul Cornell, addressing a Comic Book Resources reader’s question about the often-temporary nature of superhero deaths
“Regarding single issue sales: they are incredibly important to a lot of Image creators. On Rocket Girl, it’s by far the biggest chunk (of course, we don’t have a tpb yet). And every reader counts. A few thousand copies can make or break a series. If Rocket Girl dips into the 8000s, we’ll start thinking about when to wrap it up. If it stays above 12,000 we can do it forever. At 12,000 copies I can make as much writing Rocket Girl as Hulk; Amy Reeder can make as much penciling/inking/coloring as she would on Batwoman. 8000 vs 12,000 is a significant difference in percentage, but it’s not a huge amount of readers. A lot of Image creators are in the same boat, albeit their individual line might be a bit higher or lower. Certainly collected editions and digital and ancillary media/merchandise contribute as well. But a lot of making creator-owned work is down to financing: and single issues have the biggest impact on cash flow – and the only impact on cash flow for almost a full year when you take into account early production to ‘get ahead’ as well as solicitation.”
— Rocket Girl writer Brandon Montclare, commenting on The Beat’s monthly analysis of indie-comics sales, and the ensuing discussion
Street Angel and Afrodisiac creator Jim Rugg was participating in one of those 10-question interviews when the website asked one he found problematic:
F, Marry, or Kill. They used to play this game a lot on Howard Stern, so since I have no original ideas we’re going to play The Comics Tavern version. You must assign one of those actions to the 3 choices given, and I would like to hear your reasons.
Baroness (GI Joe…)
Rugg’s answer was polite but firm:
I’m going to refrain from answering this question. Sexism, gender inequality, sexual harassment, and misogyny are major problems in the comics industry and I don’t want to contribute to it. I’m sure you don’t mean any harm with this question, but I don’t want to alienate anyone when it comes to comics.
How about – draw, read, ignore? I would read Tank Girl, draw Baroness, and ignore Kitty Pryde. When I started reading comics, I LOVED X-Men, but it was after Kitty Pryde had left the team. She might have been on Excalibur then. I’m not sure. But I never really connected with her character.
“Unfortunately, the curators of the exhibition ‘Comics Unmasked’ at the British Library have been overwhelmed by the Gothic vision, at the expense of every other contribution to the medium. And as creative as [Alan] Moore’s gothic is, it is still a lot less interesting than the material that has been left out of the exhibition. It is an aesthetic for adolescent boys who think that unhappy and twisted stuff is correspondingly profound, while comedy is trivial and facile. The truth is often the other way round, where horror and gore are really just sentimentality, prurient and moralistic at the same time, while comedy allows marvellous slippages of meaning that are much more intelligent […]
The gothic does encourage some flashes of imagination, but it is quite taxing to see yet another raddled prostitute eviscerated – in spattered ink, of course – for the entertainment of troubled adolescents. How much wittier to peer through the Desperate Dan-shaped hole that Desperate Dan leaves in a brick wall – right down to the buttons on his shirt. Where are those truly subversive characters, the Bash Street Kids? They’ve been elbowed aside by the showroom dummies (an unintended self-satire) in the Guy Fawkes masks that loiter in the shadows of the exhibition, threatening nothing.”
“I felt a lot of pressure taking on this icon and knowing that Wonder Woman means so much to so many people. When I’m drawing her, I try to think about what that character is and make sure that I am paying respect to what other people feel about her. I’m trying to draw a character; I’m trying to draw a living, breathing person and make them feel as alive as I can to the reader. It’s funny when people come up to me and say they really like the way I draw her. They appreciate that she’s not oversexualized. That’s really a decision that an artist has to make — and it’s a lot of decisions. It’s not just, ‘Hey, whoops, my pen slipped and she’s suddenly too sexy.’ You’ve got to draw that thong bikini, you’ve got to draw those big boobs and all that stuff. I feel like we have to check ourselves and say, ‘Well, is this really accomplishing telling the story that we want to tell?'”
– artist Cliff Chiang, talking with CBR TV about developing his take on DC’s Wonder Woman