quote of the day Archives - Robot 6 @ Comic Book Resources
“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 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.”
“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
“What we are learning is that the traditional idea of done-in-one stories not selling in comics just doesn’t apply to the new audience buying the books, and believe me, most of that new audience are female. I think the problem right now is we have some people running the companies that just aren’t going out and trying new comics or interacting with the next wave of readers and keep pushing things the traditional way they did years ago. The retailers themselves are seeing this happening daily now and I feel it’s the reason Image Comics will continue to grow and eventually outsell the big two, unless they start thinking outside the box and just make superheroes a PART of their publishing plan and not the entire thing and start looking at the different ways a superhero type of book can be done. Harley is one example, Hawkeye is another. The traditional graphics people associate comics with have been changing for years now and the market is embracing different looks and styles that are outside the house style and its pretty cool to see.”
“I dislike the phrase ‘strong female character.’ Perhaps it began as a way to applaud the few realistic and complex female characters among the flat ones that merely play a role (mother, love interest, damsel in distress) in a hero’s story. But we never hear ‘strong male character’ because that idea is default. Almost as if the idea that a female character could be strong is so unusual, so unexpected, that it’s noteworthy. It’s also become a way to justify that lack of female characters in stories. ‘Yeah, there’s only one female character in this show/comic/book, but she’s STRONG!’ Variety, diversity, complexity are more important than ‘strength,’ whatever that word means.”
— Shannon Hale, co-creator of the graphic novel Rapunzel’s Revenge and author of the novel Dangerous and the children’s book Princess in Black, in an interview before her appearance at Salt Lake Comic Con. Growing up, Hale was a fan of the Wonder Woman television series, but she never read comics because, she says, “I thought they weren’t for girls and simply didn’t have access to them.”
“We always listen to fans’ concerns so we can do better by them. We want everyone — the widest breadth of fans — to feel welcome to read Spider-Woman. We apologize — I apologize — for the mixed messaging that this variant caused.
And that’s what this cover is. It’s a limited edition variant that is aimed at collectors. While we would not have published this as the main cover to the book, we were comfortable publishing this as a variant that represented one artist’s vision of the character — a world-renowned artist whose oeuvre is well-known to us, and to collectors. It is not the official cover for the issue. It is a collector’s item that is set aside or special ordered by completists — and it doesn’t reflect the sensibility or tone of the series any more than the Skottie Young variant or Rocket and Groot Spider-Woman variants. If you open up the book, you’ll see that this series has everything in common with recent launches we’ve done, like Black Widow and Ms. Marvel and She-Hulk and Captain Marvel. It’s about the adventures of two women that have complete agency over their lives, and that are defined by what they do, not how they look.
We’re far from perfect, but we’re trying. It’s been a priority for me as EIC to make our line and our publishing team more inclusive. We’re at an industry high of around 30 percent female in editorial group, about 20 percent of our line is comics starring women, and our Senior Manager of Talent, Jeanine Schaefer, actively looks to bring more female writers and artists into the fold each month. In fact, very soon we’ll be announcing new series and creators that I’m very excited about.”
– Marvel Editor-in-Chief Axel Alonso, addressing criticism of the Milo Manara variant cover for Spider-Woman #1, in this week’s “Axel-in-Charge” on CBR
“If you want to know my opinion on Milo Manara’s Spider-woman cover, I’m going to have to disappoint you and say I feel super divided on it. I love Milo Manara!! It’s a variant cover…so it’s sort of an erotica variant! Of course, I’d also like to see Katie Cook do her own version…that’d make Marvel’s choice seem a little less like a systemic problem. And yes, it’s all a different story with context, but without context, it is a bit jarring and I don’t negate that because the Internet really changes our experience these days. And the image itself does remind me a lot of images by artists I DON’T respect…I wish it looked more characteristically Manara instead of a Greg Horn illustration (sorry, Greg Horn! (Not that you care!)). Again, all that said, it’s Milo Manara and if anybody should be able to do things how he wants, it should be him.
“That’s not my point. My point is, it’s not an easy thing to evaluate or explain what is okay and what’s not. Some sexy drawings of women I can get behind, some I can’t. Some of that’s context. But a lot of it is what seemed like a weird intuition that I couldn’t really pinpoint, until recently.
“The word that changes everything for me is ‘personhood.’ Does this woman seem like a person? Do they have life breathed into them? A personality? Or are they an object? Do they feel manufactured or repetitive? Would guys who like this appreciate that I am a living, breathing woman? Or would they complain I talk too much?”
–Rocket Girl artist Amy Reeder, responding to the controversy around erotic comic artist Milo Manara’s variant cover for Spider-Woman #1. She goes on to give examples of women portrayed with and without “personhood” in a long and thoughtful post. Manara has also responded to the controversy.
“The Dark Knight series is all from Batman’s point of view. But if you look at Dark Knight 2, you’ll see a Superman who’s much calmer than the one in the first Dark Knight. Batman and Superman are dead opposites. I love Superman. Do I love Batman more? They’re not people. They’re only lines on paper.”
“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?”
“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