Comics authors

"Have you ever been in love? Horrible isn't it? It makes you so vulnerable. It opens your chest and it opens up your heart and it means someone can get inside you and mess you up. You build up all these defenses. You build up a whole armor, for years, so nothing can hurt you, then one stupid person, no different from any other stupid person, wanders into your stupid life... You give them a piece of you. They didn't ask for it. They did something dumb one day, like kiss you or smile at you, and then your life isn't your own anymore. Love takes hostages. It gets inside you. It eats you out and leaves you crying in the darkness, so simple a phrase like 'maybe we should be just friends' or 'how very perceptive' turns into a glass splinter working its way into your heart. It hurts. Not just in the imagination. Not just in the mind. It's a soul-hurt, a body-hurt, a real gets-inside-you-and-rips-you-apart pain. Nothing should be able to do that. Especially not love. I hate love."

""So computers are tools of the devil?" thought Newt. He had no problem believing it. Computers had to be the tools of somebody, and all he knew for certain was that it definitely wasn't him."

"Life — and I don't suppose I'm the first to make this comparison — is a disease: sexually transmitted, and invariably fatal."

"Everybody has a secret world inside of them. All of the people of the world, I mean everybody. No matter how dull and boring they are on the outside, inside them they've all got unimaginable, magnificent, wonderful, stupid, amazing worlds. Not just one world. Hundreds of them. Thousands maybe."

"It has always been the prerogative of children and half-wits to point out that the emperor has no clothes. But the half-wit remains a half-wit, and the emperor remains an emperor."

"Whatever happened to me in my life, happened to me as a writer of plays. I'd fall in love, or fall in lust. And at the height of my passion, I would think, "So this is how it feels," and I would tie it up in pretty words. I watched my life as if it were happening to someone else. My son died. And I was hurt, but I watched my hurt, and even relished it, a little, for now I could write a real death, a true loss. My heart was broken by my dark lady, and I wept, in my room, alone; but while I wept, somewhere inside I smiled. For I knew I could take my broken heart and place it on the stage of The Globe, and make the pit cry tears of their own."

"Look, I'm sorry it's over too. But good things have to end, stories have to end. It's what gives them meaning."

"You get ideas from daydreaming. You get ideas from being bored. You get ideas all the time. The only difference between writers and other people is we notice when we're doing it."

"I wanted to put a reference to masturbation in one of the scripts for the Sandman. It was immediately cut by the editor [Karen Berger]. She told me, "There's no masturbation in the DC Universe." To which my reaction was, "Well that explains a lot about the DC Universe.""

"You can tell when a Hollywood historical film was made by looking at the eye makeup of their leading ladies, and you can tell the date of an old science fiction novel by every word on the page. Nothing dates harder and faster and more strangely than the future."

"Do not be jealous of your sister. Know that diamonds and roses are as uncomfortable when they tumble from one's lips as toads and frogs: colder, too, and sharper, and they cut."

"Actually, my favorite treatment of bad reviews is James Branch Cabell who, in the back of the 18 volume beautiful, huge collection of all of his works the Biography of Manuel, did a final section detailing what the reviewers said for each of his books. The book reviews go like this. The first 5 or 6 books, the reviews he quotes say something like: "Beautiful illustrations by the artist; such a pity about the words." Then you get to the reviews of Jurgen: A Comedy of Justice and the reviews say: "This a terrible book. It has no redeeming features; it's simply awful; a major misstep." And then every single review for every book he wrote after Jurgen begins, "Well, this isn't Jurgen. Apparently the author has lost the facility with which he wrote that delightful book." So he did put this wonderful parade of the ridiculous things that the reviewers said over time. As I mentioned in the blog, the only final thing that you can say about the reviewers, is this. The same day that the Publisher's Weekly review came in which said, "The road trip plot was completely aimless, but I liked the stuff in Lakeside," the Summer Book Forum book review came in which said, "The roadside stuff is amazing — the novel only loses focus when you get to the stuff in Lakeside." ... If you actually pay any credence to it, it does make you crazy. So you just kind of smile and think, "Maybe someday I'll review all the reviewers someday." But you probably won't."

"Last year, initially The Scotsman newspaper — being Scottish and J. K. Rowling being Scottish — and because of the English tendency to try and tear down their idols, they kept trying to build stories which said J. K. Rowling ripped off Neil Gaiman. They kept getting in touch with me and I kept declining to play because I thought it was silly. And then The Daily Mirror in England ran an article about that mad woman who was trying to sue J. K. Rowling over having stolen muggles from her. And they finished off with a line saying [something like]: And Neil Gaiman has accused her of stealing. Luckily I found this online and I found it the night it came out by pure coincidence and the reporter's e-mail address was at the bottom of the thing so I fired off an e-mail saying: "This is not true, I never said this. You are making this up." I got an apologetic e-mail back, but by the time I'd gotten the apologetic e-mail back it was already in The Daily Mail the following morning and it was very obvious that The Daily Mail‘s research [had] consisted of reading The Daily Mirror. And you're going: journalists are so lazy."

"Writers may be solitary but they also tend to flock together: they like being solitary together. I knew a lot of writers in London and many of them were award-winning writers and many of them were award-winning, respectable writers. And the trouble with being an award-winning, respectable writer is that you probably are not making a living. If you write one well-reviewed, well-respected, not bad selling, but not a bestseller list book every three years, which you sell for a whopping 30,000 pounds, that's still going to average out to 10,000 pounds a year and you will make more managing a McDonald's. With overtime you'd probably make more working in a McDonald's. So there were incredibly well-respected, award-winning senior writers who, to make ends meet, were writing film novelizations and TV novelizations under pen names that they were desperately embarrassed about and didn't want anybody to know about."

"Fuck! I got a Hugo!"

"Tomorrow may be hell, but today was a good writing day, and on the good writing days nothing else matters."

"I was pleased to get a copy of Roger Zelazny's novel Lord of Light the other day. It's one of my favourite books (I think the first thing author Steve Brust ever said to me was "Let's have an argument. Roger Zelazny's Lord of Light is the best book anyone's ever written." "Ah," I said, "If you make it best SF book of the 1960s, I'll go along with it." "Oh. Fair enough." It was the first of a long line of failed arguments.) It's got a blurb from me on it, which I hope sells many copies."

"I think that unless a reviewer gets their facts completely wrong, the author should shut up (and even then, the author should probably let it go — although I'm a big fan of a letter that James Branch Cabell wrote to the New York Times pointing out that their review of Figures of Earth was bollocks. ... For most authors, not being James Branch Cabell, it's probably wisest after reading a particularly stupid or vicious or bad review to mentally compose your letter to the editor, fill it with your sharpest and most cutting and brilliant bon mots, and then, having made it up, to successfully resist the urge to put it to paper, and to return cheerfully to work."

"Cabell's far and away my favourite forgotten American writer — he wrote about 25 books, most of them very different from each other. The only ones to have remained more or less in print over the last forty years are the fantasies Figures of Earth, Jurgen and The Silver Stallion."

"The world always seems brighter when you've just made something that wasn't there before."

"What most people don't know about love, sex, and relations with other human beings would fill a book. Strangers in Paradise is that book. I have long suspected that what people did in private was much funnier than it ever was erotic. Terry Moore obviously thinks so too. Strangers in Paradise is a delightful new comic, and Terry Moore is a fun writer and a fine cartoonist."

"Chesterton was important — as important to me in his way as C. S. Lewis had been. You see, while I loved Tolkien and while I wished to have written his book, I had no desire at all to write like him. Tolkien's words and sentences seemed like natural things, like rock formations or waterfalls, and wanting to write like Tolkien would have been, for me, like wanting to blossom like a cherry tree or climb a tree like a squirrel or rain like a thunderstorm. Chesterton was the complete opposite. I was always aware, reading Chesterton, that there was someone writing this who rejoiced in words, who deployed them on the page as an artist deploys his paints upon his palette. Behind every Chesterton sentence there was someone painting with words, and it seemed to me that at the end of any particularly good sentence or any perfectly-put paradox, you could hear the author, somewhere behind the scenes, giggling with delight."

"Chesterton and Tolkien and Lewis were, as I've said, not the only writers I read between the ages of six and thirteen, but they were the authors I read over and over again; each of them played a part in building me. Without them, I cannot imagine that I would have become a writer, and certainly not a writer of fantastic fiction. I would not have understood that the best way to show people true things is from a direction that they had not imagined the truth coming, nor that the majesty and the magic of belief and dreams could be a vital part of life and of writing. And without those three writers, I would not be here today. And nor, of course, would any of you. I thank you."

"I'm not sure it's entirely a good thing... I've always loved the gutter."

"American Gods is about 200,000 words long, and I'm sure there are words that are simply in there 'cause I like them. I know I couldn't justify each and every one of them."

"I wish I had an origin story for you. When I was four, I was bitten by a radioactive myth."

"Travers's Mary Poppins was a natural phenomena, ancient as mountain ranges, on first-name terms with the primal powers of the universe, adored and respected by everything that saw the world as it was. And she was a mystery. ... philosophically, I suspect now, the universe of Mary Poppins underpins all my writing ..."

"The best thing about writing fiction is that moment where the story catches fire and comes to life on the page, and suddenly it all makes sense and you know what it's about and why you're doing it and what these people are saying and doing, and you get to feel like both the creator and the audience. Everything is suddenly both obvious and surprising ("but of course that's why he was doing that, and that means that...") and it's magic and wonderful and strange."

"Why do I have this imagination? It's the only one I've got!"

"Because if you don't stand up for the stuff you don't like, when they come for the stuff you do like, you've already lost."

"I tweet, therefore my entire life has shrunk to 140 character chunks of instant event and predigested gnomic wisdom. And swearing."

"Honestly, if you're given the choice between Armageddon or tea, you don't say "what kind of tea?""

"Off to bed. If squirrels take over in the night, I, for one, welcome our new bushy-tailed scampering overlords, & I know where the nuts are."

"I don't know what it's like to be God — obviously ...until that very first moment when you get to sit down and type the words in your script: INTERIOR. TARDIS. ... Suddenly I got a very good idea of what it must feel like. I went: "I'm writing it now this scene in the Tardis. I'm writing it!" And that was amazing, it was wonderful."

"Doctor Who has never pretended to be hard science fiction ... At best Doctor Who is a fairytale, with fairytale logic about this wonderful man in this big blue box who at the beginning of every story lands somewhere where there is a problem."

"Some years ago, I was lucky enough invited to a gathering of great and good people: artists and scientists, writers and discoverers of things. And I felt that at any moment they would realise that I didn't qualify to be there, among these people who had really done things. On my second or third night there, I was standing at the back of the hall, while a musical entertainment happened, and I started talking to a very nice, polite, elderly gentleman about several things, including our shared first name. And then he pointed to the hall of people, and said words to the effect of, "I just look at all these people, and I think, what the heck am I doing here? They’ve made amazing things. I just went where I was sent." And I said, "Yes. But you were the first man on the moon. I think that counts for something." And I felt a bit better. Because if Neil Armstrong felt like an imposter, maybe everyone did."

"Her words are always with us. Some of them are written on my soul. I miss her as a glorious funny prickly person, & I miss her as the deepest and smartest of the writers, too."

"On a day like today it’s worth saying, I believe survivors. Men must not close our eyes and minds to what happens to women in this world. We must fight, alongside them, for them to be believed, at the ballot box & with art & by listening, and change this world for the better."

"As I read through this latest collection of accounts, there are moments I half-recognise and moments I don’t, descriptions of things that happened sitting beside things that emphatically did not happen. I’m far from a perfect person, but I have never engaged in non-consensual sexual activity with anyone. Ever."

"In Hollywood the man who cleans your pool is an actor. The man who sells you your copy of Variety is an actor. I don't think there's a real person left in the place."

"We live in a world in which the only utopian visions arrive in commercial breaks: magical visions of an impossibly hospitable world, peopled by bright-eyed attractive men, women, children... Where nobody dies... In my worlds people died. And I thought that was honest. I thought I was being honest."

"The world is always ending, for someone."

"I don't believe in Apocalypses. I believe in Apocatastases. I think it may be the title for The Film. It's a bitch to pronounce, and no-one knows what it means, but otherwise it's a great title."

"Apocatastasis. What it means: 1) Restoration, re-establishment, renovation 2) Return to a previous condition 3) (Astronomy) Return to the same apparent position, completion of a period of revolution. Think about it."

"We are always living in the final days. What have you got? A hundred years or much, much less until the end of your world."

"“You’ve a good heart,” she told him. “Sometimes that’s enough to see you safe wherever you go.” Then she shook her head. “But mostly, it’s not.”"

"Unimpressed was his default state."

"“I have always felt,” he said, “that violence was the last refuge of the incompetent, and empty threats the final sanctuary of the terminally inept.”"

"He had gone beyond the world of metaphor and simile into the place of things that are, and it was changing him."

"This is the kind of thing you wonder about when you make up things for a living."

"It was also, they added, Very Now, which was important in a town in which an hour ago was Ancient History."

"Even the better protected files corrupt, and the best protected corrupt absolutely."

"And our latest project was Death. It's one of the hard ones—one of the big ones, too, I suspect. Possibly it may even become the attribute that's going to define the Creation for the Created: If not for Death, they'd be content to simply exist, but with Death, well, their lives will have meaning—a boundary beyond which the living cannot cross..."

"“‘He should not have been destroyed like that. That was wrong.’ “‘It was His will.’ “Lucifer stood. ‘Then perhaps His will is unjust. Perhaps the voices in the Darkness speak truly, after all. How can this be right?’ “‘It is right. It is His will. I merely performed my function.’ “He wiped away the tears with the back of his hand. ‘No,’ he said flatly.”"

"The little folk dare anything", said his friend. "And they talk a lot of nonsense. But they talks an awful lot of sense, as well. You listen to 'em at your peril, and you ignore 'em at your peril, too."

"When I was very young, somebody — maybe it was a squirrel, they talk so much, or a magpie, or maybe a fishie — told me that Pan owned all this forest. Well, not owned owned. Not like he would sell the forest to someone else, or put a wall all around it ... It's not hard to own something. Or everything. You just have to know that it's yours, and then be willing to let it go."

"Gods die. And when they truly die they are unmourned and unremembered. Ideas are more difficult to kill than people, but they can be killed, in the end."

"All we have to believe with is our senses, the tools we use to perceive the world: our sight, our touch, our memory. If they lie to us, then nothing can be trusted. And even if we do not believe, then still we cannot travel in any other way than the road our senses show us; and we must walk that road to the end."

"There's never been a true war that wasn't fought between two sets of people who were certain they were in the right. The really dangerous people believe they are doing whatever they are doing solely and only because it is without question the right thing to do."

"Fairy tales are more than true: not because they tell us that dragons exist, but because they tell us that dragons can be beaten."

"We are small but we are many, we are many we are small; we were here before you rose, we will be here when you fall."

"I don't want whatever I want. Nobody does. Not really. What kind of fun would it be if I just got everything I ever wanted just like that, and it didn't mean anything? What then?"

"Because," she said, "when you're scared but you still do it anyway, that's brave."

"What's your name," Coraline asked the cat. "Look, I'm Coraline. Okay?"

""How do I know you’ll keep your word?" asked Coraline."

"But how can you walk away from something and still come back to it?"

"The names are the first things to go, after the breath has gone, and the beating of the heart. We keep our memories longer than our names."

"Coraline shivered. She preferred her other mother to have a location: if she were nowhere, then she could be anywhere. And, after all, it is always easier to be afraid of something you cannot see."

"There was reality and there was reality; and some things were more real than others."

"It was England in the autumn; the sun was, by definition, something that only happened when it wasn't cloudy or raining."

""You're no help," he told the lime. This was unfair. It was only a lime; there was nothing special about it at all. It was doing the best it could."

"... the beast made the noise of a cat being shampooed, a lonely wail of horror and outrage, of shame and defeat."

"I think...I would rather recollect a life misspent on fragile things than spent avoiding moral debt."

"The map was gone, and the mapmaker, but the land lives on."

"I believe we owe it to each other to tell stories. It’s as close to a credo as I have or will, I suspect, ever get."

"“It can’t make things any worse.” “If there’s one thing that a study of history has taught us, it is that things can always get worse,” said my friend."

"In every way that counted, I was dead. Inside somewhere maybe I was screaming and weeping and howling like an animal, but that was another person deep inside, another person who had no access to the face and lips and mouth and head, so on the surface I just shrugged and smiled and kept moving."

"I had to go to the store, I had decided, to bring back some apples — and I went past the store that sold apples and I kept driving, and driving. I was going south, and west, because if I went north or east I would run out of world too soon."

"New Orleans is a real place, which is more than I can say about most of the cities I’ve lived in, but it’s not a safe place, not a friendly one."

"And he still thinks, in the little bit of his head that's still him, that he's not a zombie. That he's not dead, that there's a threshold he hasn't stepped over. But he crossed it long time ago."

"The average daytime speed of a vehicle through the streets of central London has not changed in four hundred years. It’s still under ten miles an hour."

"But where does contagion end and art begin?"

"She does not know where any tale waits before it's told. (No more do I.) But forty thieves sounds good, so forty thieves it is. She prays she's bought another clutch of days. We save our lives in such unlikely ways."

"“So you were in the nick?” said Smith suddenly. “Sorry?” “Prison. Pokey. Porridge. Other words beginning with a P, indicating poor food, no nightlife, inadequate toilet facilities, and limited opportunities for travel.” “Yeah.” “You’re not very chatty, are you?” “I thought that was a virtue.”"

"It was cold, in a way that Shadow was starting to become familiar with: colder inside the building than out. He wondered how they did that, if it was a British building secret."

"My grandpa sells condoms to sailors He punctures the tips with a pin My grandma does back-street abortions My God how the money rolls in."

"If they think you're a hero, they're wrong. After you die, you don't get to be Beowulf or Perseus or Rama any more. Whole different set of rules. Chess, not checkers. Go, not chess. You understand?"

"At the best of times his face was unreadable. Now his face was a book written in a language long forgotten, in an alphabet unimagined. Silas wrapped the shadows around him like a blanket, and stared after the way the boy had gone, and did not move to follow."

"People want to forget the impossible. It makes their world safer."

"Bod walked back into the graveyard and up the hill, until he reached the Frobisher mausoleum. He did not enter it. He climbed up the side of the building, using the thick ivy root as a foothold, and he pulled himself up onto the stone roof, where he sat and thought looking out at the world of moving things beyond the graveyard, and he remembered the way Scarlett had held him and how safe he felt, if only for a moment, and how fine it would be to walk safely in the lands beyond the graveyard, and how good it was to be master of his own small world."

"Bod said, "I want to see life. I want to hold it in my hands. I want to leave a footprint on the sand of a desert island. I want to play football with people. I want," he said, and then he paused, and thought. "I want everything.""

"Google can bring you back, you know, a hundred thousand answers. A librarian can bring you back the right one."

"I lived in books more than I lived anywhere else."

"I knew enough about adults to know that if I did tell them what had happened, I would not be believed. Adults rarely seemed to believe me when I told the truth anyway. Why would they believe me about something so unlikely?"

"I liked myths. They weren't adult stories and they weren't children's stories. They were better than that. They just were."

"Adults follow paths. Children explore. Adults are content to walk the same way, hundreds of times, or thousands; perhaps it never occurs to adults to step off the paths, to creep beneath rhododendrons, to find the spaces between fences. I was a child, which meant that I knew a dozen different ways of getting out of our property and into the lane, ways that would not involve walking down our drive."

"I went away in my head, into a book. That was where I went whenever real life was too hard or too inflexible."

"Children, as I have said, use back ways and hidden paths, while adults take roads and official paths."

"We picked some pea pods, opened them and ate the peas inside. Peas baffled me. I could not understand why grown-ups would take things that tasted so good when they were freshly-picked and raw, and put them in tin cans, and make them revolting."

"“Just go with it. It won’t hurt.” I stared at him. Adults only ever said that when it, whatever it happened to be, was going to hurt so much."

"I was a normal child. Which is to say, I was selfish and I was not entirely convinced of the existence of things that were not me, and I was certain, rock-solid unshakably certain, that I was the most important thing in creation. There was nothing that was more important to me than I was."

"“Will she be the same?” The old woman guffawed, as if I had said the funniest thing in the universe. “Nothing’s ever the same,” she said. “Be it a second later or a hundred years. It’s always churning and roiling. And people change as much as oceans.”"

"I wondered where the illusion of the second moon had come from, but I only wondered for a moment, and then I dismissed it from my thoughts. Perhaps it was an afterimage, I decided, or a ghost: something that had stirred in my mind, for a moment, so powerfully that I believed it to be real, but now was gone, and faded into the past like a memory forgotten, or a shadow into the dusk."

"Fiction has two uses. Firstly, it's a gateway drug to reading. The drive to know what happens next, to want to turn the page, the need to keep going, even if it's hard, because someone's in trouble and you have to know how it's all going to end ... that's a very real drive. And it forces you to learn new words, to think new thoughts, to keep going. To discover that reading per se is pleasurable. Once you learn that, you're on the road to reading everything. And reading is key. There were noises made briefly, a few years ago, about the idea that we were living in a post-literate world, in which the ability to make sense out of written words was somehow redundant, but those days are gone: words are more important than they ever were: we navigate the world with words, and as the world slips onto the web, we need to follow, to communicate and to comprehend what we are reading. People who cannot understand each other cannot exchange ideas, cannot communicate, and translation programs only go so far."

"The simplest way to make sure that we raise literate children is to teach them to read, and to show them that reading is a pleasurable activity. And that means, at its simplest, finding books that they enjoy, giving them access to those books, and letting them read them. I don't think there is such a thing as a bad book for children.Every now and again it becomes fashionable among some adults to point at a subset of children's books, a genre, perhaps, or an author, and to declare them bad books, books that children should be stopped from reading...It's tosh. It's snobbery and it's foolishness. There are no bad authors for children, that children like and want to read and seek out, because every child is different. They can find the stories they need to, and they bring themselves to stories. A hackneyed, worn-out idea isn't hackneyed and worn out to them. This is the first time the child has encountered it. Do not discourage children from reading because you feel they are reading the wrong thing. Fiction you do not like is a route to other books you may prefer. And not everyone has the same taste as you.Well-meaning adults can easily destroy a child's love of reading: stop them reading what they enjoy, or give them worthy-but-dull books that you like, the 21st-century equivalents of Victorian "improving" literature. You'll wind up with a generation convinced that reading is uncool and worse, unpleasant."

"And the second thing fiction does is to build empathy. When you watch TV or see a film, you are looking at things happening to other people. Prose fiction is something you build up from 26 letters and a handful of punctuation marks, and you, and you alone, using your imagination, create a world and people it and look out through other eyes. You get to feel things, visit places and worlds you would never otherwise know. You learn that everyone else out there is a me, as well. You're being someone else, and when you return to your own world, you're going to be slightly changed. Empathy is a tool for building people into groups, for allowing us to function as more than self-obsessed individuals. You're also finding out something as you read vitally important for making your way in the world. And it's this: The world doesn't have to be like this. Things can be different."

"Fiction can show you a different world. It can take you somewhere you've never been. Once you've visited other worlds, like those who ate fairy fruit, you can never be entirely content with the world that you grew up in. Discontent is a good thing: discontented people can modify and improve their worlds, leave them better, leave them different."

"But libraries are about freedom. Freedom to read, freedom of ideas, freedom of communication. They are about education (which is not a process that finishes the day we leave school or university), about entertainment, about making safe spaces, and about access to information. I worry that here in the 21st century people misunderstand what libraries are and the purpose of them. If you perceive a library as a shelf of books, it may seem antiquated or outdated in a world in which most, but not all, books in print exist digitally. But that is to miss the point fundamentally."

"Libraries really are the gates to the future. So it is unfortunate that, round the world, we observe local authorities seizing the opportunity to close libraries as an easy way to save money, without realising that they are stealing from the future to pay for today. They are closing the gates that should be open."

"Books are the way that we communicate with the dead. The way that we learn lessons from those who are no longer with us, that humanity has built on itself, progressed, made knowledge incremental rather than something that has to be relearned, over and over. There are tales that are older than most countries, tales that have long outlasted the cultures and the buildings in which they were first told. I think we have responsibilities to the future. Responsibilities and obligations to children, to the adults those children will become, to the world they will find themselves inhabiting. All of us – as readers, as writers, as citizens – have obligations."

"We have an obligation to read aloud to our children. To read them things they enjoy. To read to them stories we are already tired of. To do the voices, to make it interesting, and not to stop reading to them just because they learn to read to themselves."

"We writers – and especially writers for children, but all writers – have an obligation to our readers: it's the obligation to write true things, especially important when we are creating tales of people who do not exist in places that never were – to understand that truth is not in what happens but what it tells us about who we are. Fiction is the lie that tells the truth, after all."

"We all – adults and children, writers and readers – have an obligation to daydream. We have an obligation to imagine. It is easy to pretend that nobody can change anything, that we are in a world in which society is huge and the individual is less than nothing: an atom in a wall, a grain of rice in a rice field. But the truth is, individuals change their world over and over, individuals make the future, and they do it by imagining that things can be different."

"We have an obligation to make things beautiful. Not to leave the world uglier than we found it, not to empty the oceans, not to leave our problems for the next generation. We have an obligation to clean up after ourselves, and not leave our children with a world we've shortsightedly messed up, shortchanged, and crippled."

"I'd never heard anything like it before. It was like banshee music. This absolutely otherworldly voice, singing about a book, and as a bookish kid, I was always fascinated by anything, any music that seems to be about or inspired by books."

"One of the things I love about Kate Bush is her absolute ability to take things, to pluck things that you would never expect to see on a rock album, and put them there and make them work. James Joyce's Ulysses — one of the greatest passages in all of English or Anglo-Irish literature, is Molly Bloom's glorious soliloquy ending in a sequence of Yeses. It's about embracing the world of the senses, embracing yourself, embracing sex, embracing love, embracing the future, embracing all possibility, and it goes all the way back to me, to "Wuthering Heights" — this is somebody who is not afraid of books. This is somebody who is not afraid of reading, somebody who's not afraid of writers, and who's not afraid of translating, being an intermediary, being a door, between the world of books and the world of rock."

"Kate Bush makes a record, and you don't hear from her. And you play the stuff she has made, and one day you are surprised, and she brings out something else, and she's been quietly working away on it, for however long she wanted to work on it, and I love that. I love the willingness to be quiet, until its time to speak — which is something that she does over and over."

"For the uninitiated, Good Omens is a story about how the world is going to end next Saturday. Just after tea. And how the only things standing between us and the inevitable Armageddon are a demon, Crowley, and an angel (and rare book dealer), Aziraphale, who are, rather uncomfortably, working together, not to mention a witch, a very small witchfinder army, the Antichrist (who is 11, and very nice) and his dog."

"Terry Pratchett and I met in February 1985, in a Chinese restaurant. I was a young journalist. He was a former journalist and Electricity Board PR, and a writer who had just published his second Discworld novel. I was the first journalist who had ever interviewed him. I remember we made each other laugh a lot. We laughed at the same things. We became friends. It was easy."

"I wrote the first 5,000 words of William the Antichrist. It had a demon named Crawleigh. He drove a Citroen 2CV, and was ineffectual. Proper demons like Hastur and Ligur loathed him. It had a baby swap. I sent it to a few friends for feedback. Then my graphic novel Sandman happened, and it was almost a year later that the phone rang. "It's Terry," said Terry. "'Ere. That thing you sent me. Are you doing anything with it?" "Not really." "Well, I think I know what happens next. Do you want to sell it to me? Or write it together?" "Write it together," I said, because I was not stupid, and because that was the nearest I was ever going to get to Michaelangelo phoning to ask if I wanted to paint a ceiling with him."

"We wrote the first draft in about nine weeks. Nine weeks of gloriously long phone calls, in which we would read each other what we'd written, and try to make the other one laugh. We'd plot, delightedly, and then hurry off the phone, determined to get to the next good bit before the other one could. We'd rewrite each other, footnote each other's pages, sometimes even footnote each other's footnotes."

"Have a nice doomsday."

"There are things that upset us. That’s not quite what we’re talking about here, though. I’m thinking rather about those images or words or ideas that drop like trapdoors beneath us, throwing us out of our safe, sane world into a place much more dark and less welcoming. Our hearts skip a ratatat drumbeat in our chests, and we fight for breath. Blood retreats from our faces and our fingers, leaving us pale and gasping and shocked. And what we learn about ourselves in those moments, where the trigger has been squeezed, is this: the past is not dead. There are things that wait for us, patiently, in the dark corridors of our lives. We think we have moved on, put them out of mind, left them to desiccate and shrivel and blow away; but we are wrong. They have been waiting there in the darkness, working out, practicing their most vicious blows, their sharp hard thoughtless punches into the gut, killing time until we came back that way. The monsters in our cupboards and our minds are always there in the darkness, like mold beneath the floorboards and behind the wallpaper, and there is so much darkness, an inexhaustible supply of darkness. The universe is amply supplied with night. What do we need to be warned about? We each have our little triggers."

"We are mature, we decide what we read or do not read."

"What we read as adults should be read, I think, with no warnings or alerts beyond, perhaps: enter at your own risk."

"We build the stories in our heads. We take words, and we give them power, and we look out through other eyes, and we see, and experience, what others see. I wonder, Are fictions safe places? And then I ask myself, Should they be safe places?"

"I grew up loving and respecting short stories. They seemed to me to be the purest and most perfect things people could make: not a word wasted, in the best of them."

"He was demonstrating to the world the writing was a craft, that it was not an act of magic."

"He was kind, and gentle, with that midwestern niceness that’s a positive thing rather than an absence of character."

"Writers live in houses other people built."

"Life imitates art, but clumsily, copying its movements when it thinks it isn’t looking."

"I am not scared of bad people, of wicked evildoers, of monsters and creatures of the night. The people who scare me are the ones who are certain of their own rightness. The ones who know how to behave, and what their neighbors need to do to be on the side of the good."

"She said she would tell our fortunes from the lines in our palms, if we had coins to cross her palm. I gave the old biddy a clipped lowland groat, and she looked at the palm of my right hand. She said, “I see death in your past and death in your future.” “Death waits in all our futures,” I said."

"I thought about it. “Sometimes I think that truth is a place. In my mind, it is like a city; there can be a hundred roads, a thousands paths, that will all take you, eventually, to the same place. It does not matter where you come from. If you walk toward the truth, you will reach it, whatever path you take.” Calum MacInnes looked down at me and said nothing. Then, “You are wrong. The truth is a cave in the black mountains. There is one way there, and one only, and that way is treacherous and hard, and if you choose the wrong path you will die alone, on the mountainside.”"

"I am old now, or at least, I am no longer young, and everything I see reminds me of something else I’ve seen, such that I see nothing for the first time. A bonny girl, her hair fiery red, reminds me only of another hundred such lasses, and their mothers, and what they were as they grew, and what they looked like when they died. It is the curse of age, that all things are reflections of other things."

"In my family “adventure” tends to be used to mean “any minor disaster we survived” or even “any break from routine.” Except by my mother, who still uses it to mean “what she did that morning.” Going to the wrong part of a supermarket car park and, while looking for her car, getting into a conversation with someone whose sister, it turns out, she knew in the 1970s would qualify, for my mother, as a full-blown adventure."

"In May I received an anonymous Mother’s Day card. This puzzled me. I would have noticed if I had ever had children, surely?"

"I remember Icarus. He flew too close to the sun. In the stories, though, it’s worth it. Always worth it to have tried, even if you fail, even if you fall like a meteor forever. Better to have flamed in the darkness, to have inspired others, to have lived, than to have sat in the darkness, cursing the people who borrowed, but did not return, your candle."

"Jerusalem, thought Morrison, was like a deep pool, where time had settled too thickly."

"“Come to Jerusalem and go mad,” said Morrison. “Not much of an advertising slogan.”"

"“I suppose you must be looking forward to them sorting all this out,” he said. “Er. The Palestinian situation. The politics.” She shrugged. “It doesn’t matter to Jerusalem,” she said. “The people come. The people believe. Then they kill each other, to prove that God loves them.” “Well,” he said. “How would you fix it?” She smiled her whitest smile. “Sometimes,” she said, “I think it would be best if it was bombed. If it was bombed back to a radioactive desert. Then who would want it? But then I think, they would come here and collect the radioactive dust that might contain atoms of the Dome of the Rock, or of the Temple, or a wall that Christ leaned against on his way to the Cross. People would fight over who owns a poisonous desert, if that desert was Jerusalem."

"“See?” said the boy. There was that precocious amusement again; but all kids can be insufferable sometimes, when they think they know something you don’t. It’s probably good for them."

"Life is life, and it is infinitely better than the alternative, or so we presume, for nobody returns to dispute it. Such is my motto."

"Still, no use crying over unspilt milk, and you can’t mend an omelette without unbreaking a few eggs."

"“Were you always like this?” “Like what?” “A madman. With a time machine.” “Oh, no. It took ages until I got the time machine.”"

"Learning how to be strong, to feel her own emotions and not another’s, had been hard; but once you learned the trick of it, you did not forget."

"There’s no Hell to spite the sinners. There’s no Heaven for the blessed. God is not what you imagine."

"But Shadow kept things on the inside. It was one of the things he liked about the British: even when they wanted to know what was happening on the inside, they did not ask. The world on the inside remained the world on the inside."

"Local gossip travels faster than light."

"“You’re very good. Are you a professional artist?” “I dabble,” she said. Shadow had spent enough time talking to the English to know that this meant either that she dabbled, or that her work was regularly hung in the National Gallery or the Tate Modern."

"“The old religion.” “Druids?” asked Shadow. He was uncertain what other old religions there were, in England. “Could be. Definitely could be. But I think it predates the druids. Doesn’t have much of a name. It’s just what people in these parts practice, beneath whatever else they believe. Druids, Norse, Catholics, Protestants, doesn’t matter. That’s what people pay lip service to. The old religion is what gets the crops up and keeps your cock hard and makes sure that nobody builds a bloody great motorway through an area of outstanding natural beauty. The Gateway stands, and the hill stands, and the place stands. It’s well, well over two thousand years old. You don’t go mucking about with anything that powerful."

"“There are those who think it’s devil worship,” said Oliver. “And I think they are wrong. But then, one man’s god is another’s devil. Eh?”"

"He said nothing: seldom do those who are silent make mistakes."

"I am grim of mind and wrathful of spirit and I have no desire to be nice to anyone."

"Even the gods cannot change destiny."

"On the battlefield called Vigrid, the gods will fall in battle with the frost giants, and the frost giants will fall in battle with the gods.The undead troops from Hel will litter the ground in their final deaths, and the noble Einherjar will lie beside them on the frozen ground, all of the them dead for the last time, beneath the lifeless misty sky, never to rise again, never to wake and fight."

"It is not the end. There is no end. It is simply the end of the old times, Loki, and the beginning of the new times. Rebirth always follows death. You have failed."

"Nothing will remain of the armies of the living and of the dead, of the dreams of the gods and the bravery of their warriors, nothing but ash. Soon after, the swollen ocean will swallow the ashes as it washes across all the land, and everything living will be forgotten under the sunless sky. That is how the worlds will end, in ash and flood, in darkness and in ice. That is the final destiny of the gods."

"I really like Neil a whole, whole, whole lot, and I really do not want to marry Kevin Smith, even a little. Do you remember the Trojan War, dude? I'm just saying. Can you imagine what a world war between a Neil Gaiman army and a Kevin Smith army would actually look like? Their fans are serious. I predict there would be lots of very high-fallutin', toilet-based name-calling, confusing many. And possibly foam swords swinging at hockey sticks. Actually, that's bullshit. There's no way anybody would leave their Twitter feeds for long enough to pull out a foam sword or a hockey stick. Maybe it'll be the world's first full-on digital war and people will just head over to Second Life to duke it out. I hope Neil's army wins."

"Julia Hobsbawm OBE was a 22-year-old book publicist when in 1986 she was with Gaiman, then 25, at her studio flat in Chalk Farm, London. Hobsbawm said: "I literally have no memory of how he came to be back there. What I'm totally certain about is that romance was not on the cards, not for me. And I did not believe it was on the cards for him." In what Hobsbawm said was "an aggressive, unwanted pass", Gaiman "jumped" on her "out of the blue", forced his tongue into her mouth, and pushed her onto her sofa, before she wriggled free. Hobsbawm said she then cut off contact with Gaiman. She says she now wished she had called Gaiman out back then as she is plagued by the incident to this day and worries that she enabled his alleged misconduct to continue."

"I am consumed by thoughts of you, the things you will do to me. I’m so hungry. What a terrible creature you’ve turned me into."

"If you need me, me and Neil will be hanging out with the Dream King. Neil says 'hi', by the way..."

"But will you find me if Neil makes me a tree?"

"Seems I keep getting this story twisted so, where's Neil when you need him?"

"Get me Neil on the line. No, I can't hold. Have him read 'Snow, Glass, Apples' where nothing is what it seems."

"Where are the Velvets?"

"A million fucking message boards, email, Twitter, any number of free tools, being limited only by time and your imagination? If I’d had the internet in 1988 I WOULD OWN AN ENTIRE COUNTRY BY NOW AND WOULD PUT HUNDREDS OF YOU TO DEATH EACH DAY JUST FOR FUN AND IT WOULD BE THE LAW"

"(On Timothy McVeigh references) In terms of DOKTOR SLEEPLESS (I don't remember much of TRANSMET), it's just a nod to how quickly we assimilate our monsters. How many years was it between Charlie Manson being the terror of California and Charlie Manson being an image on joke t-shirts? I have a shirt somewhere with a pic of his face and, underneath it, the words CHARLIE DON'T SURF. Hitler's a cartoon figure now. Eminem dressed up as bin Laden within a couple of years of 9/11. It's interesting to me how we defang our nightmares -- by mocking them, but also by wearing their skins."

"It doesn't matter who you sleep with, it's how you treat other people in this world."

"It was interesting to have humanoid villains that were rooted in our three-dimensional reality... or four dimensional reality, I'm not sure which!"

"I wouldn't want to forget anything, even the weird stuff and the bad stuff. It makes you who you are."

"I don't think you ever die on Buffy."

"I don't think anything lives up to what you envisioned."

"I'm kissing Alyson Hannigan and I almost stuck my tongue in her mouth because we just got so into it at one point."

"I really didn't want Tara to be bad, and that would have been a component of me coming back. As much as I wanted to come back—and I almost did—that was something that was dogging my not wanting to come back. I just felt like people really loved that character and for her to be bad would just destroy people. So that was one of the reasons I didn't go back."

"I saw them in the grocery store [...] sitting benignly in their spinning racks, their technicolor faces looked like a not very girl-friendly amalgam of muscles, testosterone and pulpy, bloody flesh."

"Willow: Tell me a story. Tara: Okay. Once upon a time, there was, um... a kitty. She was very little, and she was all alone, and nobody wanted her. Willow: This is a very upsetting story."

"Tara: Well, I go online sometimes, but everyone's spelling is really bad. It's depressing."

"Willow: What did I have for breakfast this morning? Do you remember? Tara: Huh? Willow: I-I wanna say bagel, but I think that was yesterday. You had two eggs sunny side up. I remember because they were wiggling at me like little boobs. Tara: Sassy eggs."

"Willow: Don't worry, we're sure to spot Faith first. She's like this cleavagey slutbomb walking around going, "Ooh, check me out, I'm wicked cool, I'm five by five." Tara: "Five by five?" Five what by five what? Willow: See, that's the thing. No one knows."

"Spike: I had a muscle cramp. Buffy was, uh, helping. Tara: A muscle cramp... in your pants? Spike: What? It's a thing."

"Tara: Sweetie, you wouldn't blow off a class if your head was on fire."

"Anya: How 'bout you, ever play Shiver Me Timbers? Tara: I'm not really much for the timber."

"Willow: Questions. Great. Tara: W-we can answer questions. Nigel: Good. I need to know a little bit more about the Slayer, and about the both of you. Your relationship, whatever you can tell me. Tara: O-o-our relationship? Willow: We're friends. Tara: Good friends. Willow: Girlfriends, actually. Tara: Yes, we're girlfriends. Willow: We're in love. W-we're lovers. We're lesbian, gay-type lovers. Nigel: I meant your relationship with the Slayer."

"Willow: Hey, clothes. Tara: Better not get used to 'em."

"Tara: No more talk of gloomy Angel, though. Only happy thoughts. Sunshine, picnic, that spell we did last night. With the oil?"

"Willow: We can come by between classes. Usually I use that time to copy over my class notes with a system of different colored pens. But it's been pointed out to me that that's, you know, insane. Tara: I said "quirky.""

"Man, staying at home is for chumps! You could shake the man's hand! YOU COULD TOTALLY SMOOCH HIM MAYBE. maybe not but still!"

"I collect power supplies like other men collect meaningful relationships! THAT IS TO SAY, AT THE RATE OF ABOUT ONE A YEAR"

"If you find you are not understanding my explanation for a joke, hit "F5" on your browser and the page will refresh and I will explain it again."

"I speculate that the genesis of the chicken-joke lies in some situation such as the one illustrated above, but over time the original context of the joke was lost, which left the chicken sadly decontextualized."

"They are "sexcellent". That is a pun for you, you will find lots of puns on the internet! Also: blonde jokes."

"Good luck distinguishing which sign is the REAL sign when my entire front lawn is covered with thousands of little green signs - each with a different number! Ahahahah! I'll be EVERY address in the whole freakin' township! And what are you gonna do about it? Hopefully, NOTHING!"

"Don't worry, it's very clear that the painting was done by a human, most likely a human with one eye removed and a feverent if incorrect understanding of design and anatomy."

"Of course it's easy to get on public transit! It's public transit."

"I saw The Mountain Ghost last night and they were really good but also scary! Actually they are called the Mountain GOATS and do not feature scary g-g-g-ghosts. Luckily."

"I'm totally applying assumed Creative Commons rights."

"I'm suddenly worried people will think that I believe their religion can be summed up on four sex-obsessed sentences."

"You're supposed to whore yourself out! Nobody will judge you! ACTUALLY EVERYONE WILL JUDGE YOU THAT'S HOW THE SYSTEM WORKS"

"We're all already aware of boobies; it is the general state of most people in North America! THANKS, MEDIA AND THE MALE GAZE"

"Strange things in the neighbourhood (partial list):"

"Failure is just success rounded down."

"I really like Colossus, actually, especially because only Ultimate writers get to use him. Eat it, Whedon!"

"I've always thought of fantasy as a genre of best-case scenarios, and horror as a genre of worst-case scenarios."

"I'm the one who started spreading that particular factoid, about Bendis, Azz and me all being bald Brian's from Cleveland, just to get my name mentioned in the same sentence as two much-better writers, and it's worked like a goddamn charm. Next up, I'm going to grow a big, disgusting beard, just so people will start talking about Alan Moore and me in the same breath."

"If a good editor will let me tell my story with the right artist, I'm happy."

"I just make crap up more than anything else."

"It's TV shows like BUFFY and ANGEL that usually have an incredible cliffhanger every commercial break that amaze me."

"Not a word of my writing has ever been changed by another person's hands, and I don't think many screenwriters can say that."

"Comics are essentially films with fewer frames per second."

"I think it was born out of that grade school fantasy that a lot of nerds like me had, which was "I could probably get the cute red-headed girl that sits across from me, if only every other boy in the entire school dies.""

"Your own creations are your own children; you gave life to them, so you’ll always have, if not more passion to them, more connections to them."

"But Cruise is really good!"

"The man is a complete wackadoo, but so is every great actor who ever lived. You gotta separate the artist from his/her art, or you won't be able to enjoy anything."

"I, for example, am a pompous asshole, but my comics are genius!"

""Writer's block" is just another word for video games. If you want to be a writer, get writing, you lazy bastards."

"When I was in college, I was belittling the woman who later become my wife for not knowing who Boba Fett was, and she responded by asking me if I knew who the Prime Minister of Israel was. Surprisingly? Not Mon Mothma."

"It's about how boys become men — and why it takes women to make that transformation possible."

"I love to work in the comics medium -- I really do -- and I've realised that a total contempt for the intelligence of the audience is the key to success. You know that Doom Force thing I did recently for D.C.? -- the pisstake of X-Force, right? Well, eighty percent of the people who sent letters of comment in on the story actually took the thing seriously! They didn't see the joke! It's horrific. Tom Peyer phoned me up and read page after page of these insane letters. That was the turning point. That is the moment that I became a super-villain. (1992)"

"I see no reason why children as young as six, seven, or even three shouldn't be allowed to produce corporate comic books to relentless monthly deadlines. And have to write several titles at once to make a decent living. That's what a proper childhood's all about isn't it? This is the 21st century after all and these unruly little bastards have been milking post-Victorian sentimentality for all it's worth for way too long. Time to get kids back where they belong - up chimneys, down mines, and tied to the printing presses! If you can pick up a brick to smash a car window, then you can build me a textile factory, son ... here's a whole half dollar for your day's labor. Now put down that Justin Timberlake bio-comic and get back on the production line! (2003)"

"Let's face it; regular monthly superhero comic books have taken on the look and smell of old men's pants. It's hardly a surprise comics lost the teenage audience or that the adult audience is now bored and irritated by the endless recycling of images they've already seen and words they've already read. (2003)"

"Truthfully, the job security in this business is uncertain, the hours are long, long and lonely, the audience is increasingly small, fickle and dissatisfied, like 3 of the 7 Dwarves. Respect is nonexistent, success fleeting; you'd be better off in a boy band, where at least you'd get laid before they made you obsolete. (2004) Popimage interview"

"Most of the people who do this kind of work, do it out of love, like the love you'd show to an ailing friend. (2004) Popimage interview"

"The comics medium is a very specialized area of the Arts, home to many rare and talented blooms and flowering imaginations and it breaks my heart to see so many of our best and brightest bowing down to the same market pressures which drive lowest-common-denominator blockbuster movies and television cop shows. Let's see if we can call time on this trend by demanding and creating big, wild comics which stretch our imaginations. Let's make living breathing, sprawling adventures filled with mind-blowing images of things unseen on Earth. Let's make artefacts that are not faux-games or movies but something other, something so rare and strange it might as well be a window into another universe because that's what it is. (2004) Popimage interview"

"As for all this talk I keep hearing about how 'ordinary people' can't handle the weird layouts in comics - well, time for another micro-rant, but that's like your granddad saying he can't handle all the scary, fast-moving information on Top of the Pops and there's really only one answer. Fuck off, granddad. If you're too stupid to read a comic page, you shouldn't be trying to read comic books and probably don't. (2004) Popimage interview"

"(On Frank Miller's comic book 'Holy Terror, Batman!') Batman vs. Al Qaeda! It might as well be Bin Laden vs. King Kong! Or how about the sinister Al Qaeda mastermind up against a hungry Hannibal Lecter! For all the good it's likely to do. Cheering on a fictional character as he beats up fictionalized terrorists seems like a decadent indulgence when real terrorists are killing real people in the real world. I'd be so much more impressed if Frank Miller gave up all this graphic novel nonsense, joined the Army and, with a howl of undying hate, rushed headlong onto the front lines with the young soldiers who are actually risking life and limb 'vs' Al Qaeda."

"(On DC: One Million) I just read it again and liked it a lot. Comics were definitely happier, breezier and more confident in their own strengths before Hollywood and the Internet turned the business of writing superhero stories into the production of low budget storyboards or, worse, into conformist, fruitless attempts to impress or entertain a small group of people who appear to hate comics and their creators."

"People say kids can't understand the difference between fact and fiction, but that's bullshit. Kids understand that real crabs don't sing like the ones in The Little Mermaid. But you give an adult fiction, and the adult starts asking really fucking dumb questions like 'How does Superman fly? How do those eyebeams work? Who pumps the Batmobile’s tires? It's a fucking made-up story, you idiot! Nobody pumps the tires! Grant Morrison: Psychedelic Superhero, 2011"

"Superhero science has taught me this: Entire universes fit comfortably inside our skulls."

"The 'Planet X' story was partially intended as a comment on the exhausted, circular nature of the X-Men's ever-popular battle with Magneto and by extension, the equally cyclical nature of superhero franchise re-inventions. I ended the book exactly where I came on board, with Logan killing Magneto AGAIN, as he had done at the end of Scott Lobdell's run. Evil never dies in comic book universes. It just keeps coming back. Imagine Hitler back for the hundredth time to menace mankind. (2004) Popimage interview"

"What people often forget, of course, is that Magneto, unlike the lovely Sir Ian McKellen, is a mad old terrorist twat. No matter how he justifies his stupid, brutal behaviour, or how anyone else tries to justify it, in the end he's just an old bastard with daft, old ideas based on violence and coercion. I really wanted to make that clear (when writing New X-Men). (2004) Popimage interview"

"All the comics are sigils. "Sigil" as a word is out of date. All this magic stuff needs new terminology because it's not what people are being told it is at all. It's not all this wearying symbolic misdirection that's being dragged up from the Victorian Age, when no-one was allowed to talk plainly and everything was in coy poetic code. The world's at a crisis point and it's time to stop bullshitting around with Qabalah and Thelema and Chaos and Information and all the rest of the metaphoric smoke and mirrors designed to make the rubes think magicians are "special" people with special powers. It's not like that. Everyone does magic all the time in different ways. "Life" plus "significance" = magic."

"Everything is literally entangled, it can all be communicated with and affected 'at a distance' because there is no distance, only a simulation of apparent separation which our limited consciousness feeds us second by second at 11 bits. The 'telepathy' which brings people together is no more or less supernatural or unlikely than the 'telepathy' which brings two of your fingers together when you think about it. Patience, participation and constant close observation of what's going on, on the inside and on the outside will soon make you a fine sorcerer, if that's what you want to be. (2004) Popimage interview"

"I got so enmeshed in (The Invisibles) that I was producing holographic voodoo effects and found that I could make stuff happen just by writing about it. At the conclusion of volume one, I put the King Mob character in a situation where he was being tortured and he gets told that his face is being eaten away by bacteria and within a few months my own face was being eaten away by infection. I still have the scar. It's a pretty cool scar too but at the time it was really distressing. Then I had the character dying and within a few months, there I was dying in the hospital of blood poisoning and staph aureus infection. As I lay dying, I wrote my character out of trouble and somehow survived. I used the text as medicine to get myself out of trouble. Writing became a way of keeping myself alive. As soon as I was out of hospital I made sure my character had a good time and got a laid a lot and within months I was having the time of my life. (2005)"

""Real life?" What's that? (2003)"

"I'd say to myself or whoever I was with, 'It'll look good in the biography.' and then I'd go ahead and do whatever daft thing it was - like taking acid on the sacred mesa or doing the bungee-jump, getting the haircut, dancing with the stranger, talking to the crowd - whatever I was 'scared' of mostly, or fancied doing, or never dared before, I'd try it on the basis that it would make for a more interesting read one day. (2004)"

"When Nietzsche said God is dead, he forgot to mention that Satan died in the same horrific accident."

"Otherwise, I know I’m often wasting my breath and electronic ink saying this, but the “real-world” is a pretty weird place where lots of inexplicable things happen all the time, and I like to catch the flavor of that too. It just seems more modern and authentic to me as a storyteller. The “real world” doesn’t come with the neat three-act structures and resolutions we love to impose on it, and if repeated doses of movie and TV-storytelling have convinced anyone that it does, it‘s time to get out and about a bit. The real world is filled with ghost stories, non sequiturs, inexplicable mysteries, dead ends and absurdities, and I think it’s cool to season our comfortable fictions with at least a little taste of what actual reality is like."

"Most human lives are forgotten after four generations. We build our splendid houses on the edge of the abyss then distract and dazzle ourselves with entertainers and sex while we slowly at first, then more rapidly, spin around the ever-thirsty plughole in the middle. My treasured possessions -- all the silly little mementoes and toys and special books I’ve carried with me for decades -- will wind up on flea market tables or rot on garbage heaps. Someone else will inhabit the rooms that were mine. Everything that was important to me will mean nothing to the countless generations that follow our own. In the grand sprawl of it all, I have no significance at all. I don’t believe a giant gaseous pensioner will reward or censure me when my body stops working and I don’t believe individual consciousness survives for long after brain death so I lack the consolations of religion. I wanted Annihilator to peek into that implacable moment where everything we are comes to an end so I had to follow the Black Brick Road all the way down and seriously consider the abject pointlessness of all human endeavours. I found these contemplations thrilling and I was drawn to research pure nihilism, which led me to Ray Brassier’s Nihil Unbound and back to Ligotti. I have a fundamentally optimistic and positive view of human existence and the future and I think it’s important to face intelligent, well-argued challenges to that view on a regular basis. While I agree with Ligotti that the universe is, on the face of it, a blind emergent process, driven by chance over billions of years of trial and error to ultimately produce creatures capable of little more than flamboyant expressions of the agonizing awareness of their own imminent deaths, I don’t share his slightly huffy disappointment at this state of affairs. If the universe is intrinsically meaningless, if the mindless re-arrangement of atomic debris into temporarily arising then dissipating forms has no point, I can only ask, why do I see meaning everywhere, why can I find a point in everything? Why do other human beings like me seem to see meaning in everything too? If the sun is only an apocalyptic series of hydrogen fusion reactions, why does it look like an angel and inspire poetry? Why does the flesh and fur-covered bone and jelly of my cat’s face melt my heart? Is all that surging, roaring incandescent meaning inside me, or is it out there? “Meaning” to me is equivalent to “Magic.” The more significance we bring to things, even to the smallest and least important things, the more special, the more “magical” they seem to become. For all that materialistic science and existential philosophy tells us we live in a chaotic, meaningless universe, the evidence of my senses and the accounts of other human beings seem to indicate that, in fact, the whole universe and everything in it explodes second-to-second with beauty, horror, grandeur and significance when and wherever it comes into contact with consciousness. Therefore, it’s completely down to us to revel in our ability to make meaning, or not. Ligotti, like many extreme Buddhist philosophers, starts from the position that life is an agonizing, heartbreaking grave-bound veil of tears. This seems to be a somewhat hyperbolic view of human life; as far as I can see most of us round here muddle through ignoring death until it comes in close and life’s mostly all right with just enough significant episodes of sheer joy and connection and just enough sh-tty episodes of pain or fear. The notion that the whole span of our lives is no more than some dreadful rehearsal for hell may resonate with the deeply sensitive among us but by and large life is pretty okay generally for most of us. And for some, especially in the developed countries, “okay” equals luxurious. To focus on the moments of pain and fear we all experience and then to pretend they represent the totality of our conscious experience seems to me a little effete and indulgent. Most people don’t get to be born at all, ever. To see in that radiant impossibility only pointlessness, to see our experience as malignantly useless, as Ligotti does, seems to me a bit camp. (2014)"

"We're so familiar with written language that we sometimes forget how outlandish a concept it must have seemed to our ancestors. Writing allowed people to copy and transfer their thoughts and their tribal codes of conduct to others, even unto generations they themselves would not live to personally instruct, affect or control. The words themselves must have seemed alive and immortal and as "holy" as ghosts. Written law was thus a way of mastering time and influencing the future, a weapon greater than fire and steel, I hope you'll agree. When read, the written word made the head buzz and ring and fill up with voices and commands from nowhere, as if God Himself had come thundering down through the symbols, off the page and into the room, fertilising and impregnating the mind with his Ghostly, unmistakable presence. (2005)"

"I told you about my cat Jarmara. I took her to the vet every Tuesday and Thursday, I liquidized her food and fed her with a dropper, I prayed for her to get better... I'd have done anything to save her, really. And yet there was a part of me - the part that observes and writes - rubbing its hands and saying, "Well, at least if she dies, I'll be able to use it in '. It'll add a nice touch of poignancy." — Animal Man #26 (1990)"

"It's really simple. The truth of that one is that design staff on The Matrix were given Invisibles collections and told to make the movie look like my books. This is a reported fact. The Wachowskis are comic book creators and fans and were fans of my work, so it's hardly surprising. I was even contacted before the first Matrix movie was released and asked if I would contribute a story to the website. (...) I'm not angry about it anymore, although at one time I was, because they made millions from what was basically a Xerox of my work and to be honest, I would be happy with just one million so I didn't have to work thirteen hours of every fucking day, including weekends. (2005)"

"I use media exposure as a means of playing with multiple personalities. Each interview is a different me and they're all untrustworthy (2000)"

"My work ethic is rigorous, brutal, and uncompromising. I've had my pension plans in place for a long time and I never spend more than I have or forget to pay my tax bills. My repressed, inner Protestant is an absolute Godsend in that respect. I also have lots of highly-paid and well-regarded work outside the comics field now and with Jupiter in the second house on my horoscope, I shouldn't have to worry too much about my dotage. I love the future and it loves me. (2003)"

"I must admit to being increasingly deranged by the kinds of bizarre myths which have grown like moss around my name in comics fan circles - I keep coming up against this idiot savant image; me reflected back at myself as a shambling, incoherent drug addict, wanking and drooling out meaningless gibberish which can only be understood by 'those lying bastards' who claim they can see 'Magic Eye' 3-d pictures and wee men reading the news on the TV. (2004) Popimage interview"

"The Reign of the Superman"

"Superman! Champion of the oppressed. The physical marvel who had sworn to devote his existence to helping those in need."

"In the January, 1933 issue of "SCIENCE FICTION" appeared a story I had written in 1932 entitled, "The Reign of the Superman." I used the pseudonym "Herbert S. Fine" which combined the name of a cousin of mine together with my mother's maiden name. After the publication of "Reign of the Superman", it occurred to me that a different version of Superman could be the basis of an extremely powerful and successful comic book. And so I originated, together with Joe Shuster, the comic book "THE SUPERMAN", back in 1933."

"As a science fiction fan, I have long been very familiar with the various themes in the field. The superman theme has been one of them ever since Samson and Hercules. I just sat down and wrote a story of that type — only in this first story, the Superman was a villain. A couple of months after I published this story, it occurred to me that a Superman as a hero rather than as a villain might make a great comic strip character in the vein of Tarzan, only more super and sensational than that great character. Joe and I drew it up as a comic book."

"Clark Kent grew not only out of my private life, but also out of Joe Shuster's. As a high school student, I thought that someday I might become a reporter, and I had crushes on several attractive girls who either didn't know I existed or didn't care I existed."

"One night, when all the thoughts were coming to me, the concept came to me that Superman could have a dual identity, and that in one of his identities he could be meek and mild, as I was, and wear glasses, the way I do. The heroine, who I figured would be some kind of girl reporter, would think he was some kind of worm; yet she would be crazy about this Superman character who could do all sorts of fabulous things. In fact, she was real wild about him, and a big inside joke was that the fellow she was crazy about was also the fellow whom she loathed."

"Initially, we were turned down by almost every comics publisher in the country."

"Look around you. Everywhere. They are there. In every home - lurking in dark corners … small, bi-pedal entities with almost human brains play their games in which adults are the pawns. They play and wait for the time when they will take over the world!"

"Pedophiles are almost certainly "born that way". Again, we go to evolutionary conditioning. Seek the youngest, strongest, most healthy, for breeding purposes. A sure (or as sure as it gets) way to guarantee the survival of your genes. Pedophilia also brings along a big heaping helping of learned responses, however. In a society like ours, where "normal" sex is considered by many to be filthy and disgusting, "abnormal" sex is of course even moreso. "Abnormal" in this case meaning anything—even simple physical attraction—that is not "age-appropriate", heterosexual, and strictly for procreation. Preferably missionary position. Thus, any confused individual who finds himself attracted to young girls is likely to find himself attracted to increasingly younger girls, as part of his pattern of self-loathing. So much emotional torment—in victims and victimizers—would surely be set aside if our society was sexually liberated enough to even be able to say "Sure, it's okay to be attracted to eleven year olds. Just don't do anything about it!" (2010)"

"Imagine, 24 pages of superhero adventures produced by the same writer and artist every month!! How did they do it? (What? By being professional about it? But that's too much like work!) (2008)"

"One of the things that kept most comics from being monthly was that very few artists could produce 24 pages per month. Jack Kirby was very much the exception to the rule, but his towering presence at Marvel started to dictate the whole shape of the industry—and that's where problems set in! (2008)"

"Tom Strong and the rest of the ABC bunch leave me cold for a lot of reasons. First—and I realize this is purely subjective, but what isn’t?—I find a smugness, a condescension that reads to me as nostalgia being done by someone who is not in the least bit nostalgic. Almost as if Moore sits down to write and flips his brain 180°, so he’s not really writing what he feels or what he likes, just the exact opposite of what he would usually write. Also, there is the whole pastiche/homage/whatever thing. I find this really annoying. Not just when Moore does it. I can look back on elements of my own work and be annoyed at myself for going down that path. I only did it on rare occasions, tho. Moore has turned it into a career. So much so, that in the post-Watchmen era I have trouble calling to mind much that he has done that was not based on someone else’s previous work. I am not the most original guy on the block, but at least when I do Superman, I do Superman. I suppose a lot of this could simply be the bad taste his earlier work left for me. All that tearing down and “deconstructionism.” All that revealing of the flaws and feet of clay, not a bit of which has served the industry in any positive way, and, in fact, has left huge scars across it, like the ones left in the landscape by open pit mining."

"1963 was an insult to all the craftsmen who actually worked to produce American comics in that period. I was appalled—and deeply saddened—by the number of “fans” who embraced the series as a “brilliant evocation” of the comics I’d read as a kid. I tried to tell myself the “success” of 1963 merely served to indicate how hungry fans were for “old fashioned” superhero comic books. So much so that they would embrace travesty as tribute. But eventually I came to see this as yet another harbinger of what was to come—of the ever increasing legions who are embarassed to be caught reading superhero comics, and so would rather see them mocked (or changed beyond recognition, as with current M*****) than simply move on and make room for readers who are happy to enjoy them for what they are. (2005)"

"I get no sense from Morrison’s work that he has any “love for the genre.” I get the same vibe I get from Moore—a cold and calculated mixing of ingredients the writer knows the fans like, but to which the writer himself has no eviceral [sic] connection. Nostalgia without being nostalgic, as I have dubbed it. (2004)"

"Being an immigrant myself, I have something of an insight, I think, into the way Clark’s mind works. I was born in England, and I am proud of my English heritage (I was also quite a lot older than Kal-El when I left “home,” so my connections would be stronger) but I grew up in Canada and I have lived for the last 25 years in the US, and I don’t ever—ever—feel like a “displaced Englishman.” Clark would be proud, too, of his Kryptonian heritage, but later portrayals of him have tried to shoehorn in too much of the pychobabble of adopted children longing for and seeking out their biological parents. Excuse my French, but to me, they fall under the heading of “ungrateful little sh*ts.” Clark grew up as human, thinks as a human, reacts as a human. He lives and loves as a human. And that is what really defines him. (2005)"

"When working with existing “franchises,” any good writer will return to the source material from time to time, to see if s/he can divine from that work something that might have been missed before. This is true whether the work is good, bad, or indifferent. The best place to start, however, no matter what the context, is not by saying “the creator didn’t get it right.” That’s the worst kind of hubris. I have been pilloried for my work on Superman, Spider-Man, Doom Patrol, and in the early days even FF and X-Men, yet I have never once said the creators of those series/characters “didn’t get it right.” It disgusts me not only to read Gaiman saying this—about Jack Kirby of all people!—but to see the cartwheels people are willing to turn in order to make his words seem other than what they are. Apparently, dissing one of the greatest talents this industry has produced is okay, as long as you’re on the Approved List. Next, how Eisner screwed up the Spirit, and Lee and Ditko on Spider-Man—what the heck were they thinking?? Maybe you should keep in mind, then, that the only person who knows if a creator “got it right” is the creator himself. Unless Kirby told Gaiman he felt he didn’t “get it right” on The Eternals, it’s pretty f***ing arrogant of Gaiman to make such a statement. “Kirby didn’t get it right, and I probably won’t either” sound like it should read “I don’t want to do this series.” (2006)"

"As I have noted elsewhere, and with the clarity of hindsight, I think Stan and Jack made a mistake when they decided to make Thor the “real” Thor. “Whosoever holds his hammer, if he be worthy, shall possess the power of Thor(r)!” That was really all I needed to know. But, of course, the rest of the Norse mythology began appearing early on, so it was only natural (if a tad anal) that fans should start writing in wondering what had happened to the real Thor. (2007)"

"...were I in charge of either of the Big Two, my “solution” to the ills of the industry would be to “reset” all the books to where they were at some arbitrarily chosen point in time. Usually I say 1976, for many reasons good and bad. Mostly because that’s the last year when, while actually still working in the Biz, I really still felt like a fan. (2007)"

"To harken back to the pre-Crisis days is to play to exactly what I find most wrong with DC these days—their idea of “innovation” is to press “rewind”. And that is most definitely catering to the “old” crowd. (2007)"

"As I have said many times, I don’t care if they wipe away every trace of every book I have ever worked on. I just wish they’d stop doing so by pressing the “rewind” button. That’s just creative bankruptcy. (2005)"

"If ^^***** had the stones they’d say “Screw continuity! As of January 2007, we’re hitting ‘rewind’ and resetting all the books to where they were in 1972—just set in modern time.” No “cosmic events,” no 100 issue crossovers. Just an editorial fiat, like Man of Steel. Only way to get things done. (2006)"

"I’d go back to 1975. I commented elsewhere, recently, that pressing the “rewind” button would be a good idea, as long as it was done across the board, and not piecemeal or in stealth mode, a la “Birthright.” Take all the characters back to their status quo circa 1975, but set the stories now. Since the most anal-retentive fanboys need “explanations” for everything, have the Shaper of Worlds do it at M*****. Not sure who’d be up for the job at DC. (2004)"

"I have noticed that people have begun referring to Christopher Reeve as a hero. I do not wish to take away one iota of the courage he must have needed not to wake up screaming every single day, but the hard truth is there was nothing heroic in what happened to him or how he dealt with it...In fact, as far as how he dealt with it he didn’t even have a choice. We could imagine he spent every hour of every day when not in front of the cameras begging family members to simply kill him and get it over with—but none of them did so he had no choice but to deal with each day as it came.* Heroism I believe involves choice. *Not in any way suggesting this is what was happening, just in case there are those who are paralyzed from the neck up who might be reading these words... (2004) —Comments four days after the actor’s death"

"There are lots of people who call black people “niggers.” Are both terms “right”? You seem to have missed the rather important point that my response indicated roughly the same percentage of fans and pros use the improper terms for various elements of what we do—but that percentage does not approach a balance. It is not that roughly half say “balloon” and half say “bubble.” It is that some say “bubble” and they are wrong."

"Um...in point of fact there are plenty of people who use the word “nigger” because that is the word they use, not because they imagine it has any negative racial connotations. That’s precisely why I chose that word as my illustration."

"The Onion lost all credibility for me a while back when they did a “story” on the Hudson River cleanup GE was forced to do. As some of you may recall, one of my neighbors is a GE veep, and he was directly in charge of this, so from him I found out all kinds of details the press did not bother to pass along to the public. Since The Onion apparently gets its info from other papers, the story was full of inaccuracies. What are they, Michael Moore? Anyway, I stopped reading The Onion from then on. (2005)"

"Okay, time for me to rain on this parade. I didn’t know he had kids. Young kids. This alters the mix considerably. This makes him an asshole. Cops and firemen, to name but two, place their lives on the line every day to protect others. There was nothing Steve Irwin was doing that he could not have done—as did, say, David Attenborough—without putting his life at risk. This takes this from tragedy to stupidity, and, worse, irresponsibility."

"I am glad this asshole is dead. Sorry for his wife and kids, but relieved they are in no further danger from his lunacy!"

"This guy should have been taken out of the croc pen, had his kids taken from him, and been thrown in the deepest, darkest, dankest pit the Australian judicial system has to offer. Preferably after being skinned alive. Asshole is too good a word. (2006)"

"John Byrne is tired of stepping up to the plate. John Byrne is tired of “doing the right thing” and getting f**ked up the ass for his troubles. John Byrne is tired of being lied to. John Byrne is tired of you. (2006)"

"No. Sorry, but no. I fully appreciate how much “trouble” I will get into for this, but no. I cannot let this pass without comment. Using the only hours past death of your own mother to make a point about a comic book story? There are not sufficient words in the English language to properly express my disgust. (2008)"

"Any opinion—even an informed opinion—expressed from behind the shelter of a screen name is rendered automatically invalid, as far as I’m concerned. Courage of one’s convictions is one of the few things that make people worth the powder to blow ’em up. And, after all, no one would be getting up in arms if I was posting as FuzyBuny and not letting anybody know who I really was. Internet cowards are among the lowest of the species. Grow some f***ing balls, you losers! (2006)"

"To think that the internet allowing fans to feel that they are “not alone as readers” plays to the “clubhouse” mentality that is a large part of what’s wrong with comics today. When you have isolated fans, reading the books on their own and not knowing (or much caring) if anybody else is, then the prime reason for reading is enjoyment—it’s all about the books themselves. It’s not about “getting together” with fellow fans to dissect and deconstruct..."

"There had been fan clubs before. The Merry Marvel Marching Society shamelessly stole its name from the Mary Marvel Marching Society. I was, myself, a member of the Supermen of America. What was key to these, tho, was that the fans who belonged were not truly interconnected. There was a sense of being part of a greater whole, but the hobby itself remained largely solitary. Which, the history of the industry seems to teach, was a good thing. (2007)"

"If you had paid any attention, instead of just scanning for places you can display your sparkling wit, you might have noticed that I use this forum in much the same way firemen use fire to fight fire. But, since you ask, I can shut it down for you. (2007)"

"Usually, I am quick to point out how the internet would have had a profoundly negative effect—as it does today—if it had been in place twenty, thirty, forty years ago. How things like the DC rebirth in the 1950s would have most certainly died aborning had internet chat rooms and forums been around, where a small group of vocal fans could make themselves seem like an army screaming against this utter abandonment of cherished “continuity.” (2007)"

"I kinda wish the internet had been around. Or at least some major force that could have screamed “Why are you turning Magneto into a half-assed clone of Doctor Doom?” and cataloged each and every way in which this transformation violated the long standing continuity. (2007)"

"Aliens 3 [sic] is everything that’s wrong about Hollywood, from an incorrect title (it’s Aliens 2)...[after being shown that the title was, indeed, Alien3]...Aliens 3 or Alien 3—title is still wrong. (2007)"

"It’s too late for someone to steal this story now, I suppose. I intended Doom to return to Latvaria and absolutely freak out when he discovered what his robots had done to Kristoff. Basically—he’d need a whole lot of new robots by the time he calmed down. And then he would devote a whole lot of time and energy to restoring Kristoff. (I had not decided if he would be successful. Part of my brain wanted him to realize he needed the help of the other smartest guy on the planet—and there was no way he could ever go there!) (2007)"

"Oh—and “but it’s a good story” is the biggest load of crap ever foisted on the reading audience. Any story which deliberately violates core concepts and themes of original materials is not, by definition “a good story.” Time some people pulled their heads out of various writers’ asses and realized that. (2006)"

"Androids (i.e., artificial humans) tend to blur the line between living and non-living. Especially in a case like the Human Torch, where his origin tends to establish him as something much more than a clever assemblage of non-organic parts. The “instability” which originally caused him to burst into flame spontaneously indicates there’s an unknown factor involved. Push come to shove, I would put Jim Hammond into his own category, and grant that, altho he is “not of woman born,” he is, in a true sense, alive. In other words, not a toaster. (2006)"

"The question becomes, I suppose, one of value. Knowing that the Vision’s complete personality/memory/intelligence was downloaded into a computer in Titan (was it Titan? Memory blurs) allowed me to scrape his brain in my VisionQuest story, since everything could be restored with a literal flip of a switch. Should something that can be so easily copied and retrieved be treated as having the same intrinsic value as a human being? Should any of the human Avengers, for instance, ever risk their lives on behalf of the Vision? My vote would be no (as some of you have probably already guessed)—but I would say that even if it were not possible to restore or “save” the Vision in any other way. He is a “toaster.” (2006)"

"I have no interest in this grave robbing. (2008)"

"Byrne has developed a noticeable online presence, with his own website and forum, on which he is a participant and moderator, and a column, titled “In My Humble Opinion” [sic], which has run at both Slush Factory and UGO.online. His comments and statements, both online, and through the years in print, have gained Byrne a reputation as a controversial figure. Whilst noted as “one of if not the most longstanding and prolific writer/artist in comics today” Byrne has also gained a reputation for engaging in feuding with other comic book creators, being accused of getting into such conflicts with Peter David, Jim Shooter, Joe Quesada, Mark Evanier, and Marv Wolfman [http://www.comicbookresources.com/columns/index.cgi?article=1941, whilst in 2003, Byrne and Erik Larsen got into an argument, which saw Byrne claiming, “You can tell when Erik is saying something stupid—his lips move” and Larsen calling Byrne “a habitual liar.” Rich Johnston has noted the feud as ending with Byrne issuing a “non-apology apology” [http://www.comicbookresources.com/columns/index.cgi?article=1696."

"At the Dallas Fantasy Fair, during a panel discussion Byrne made unflattering comments about a number of industry figures, including Gene Colan, Lynn Graeme, Marv Wolfman, Len Wein, and Roy Thomas. After a transcript of the panel was published in The Comics Journal #75 (September 1982), Thomas threatened a libel suit if Byrne did not apologize. In a letter printed in TCJ #82 (July 1983), Byrne retracted his statements. He claimed he was only repeating information from Wolfman and Wein and wrote “I acted only in the office of a parrot.” ."

"Mark Waid reportedly responded to an anecdote Byrne had used in illustrating comic book terminology, Byrne recounting “...when Mark Waid stuck up his hand at a convention Q&A to ask me if ‘we can have the real Superman back’...,” by accusing Byrne of fabricating the story: “This, by the way, never happened, even though it’s become one of Byrne’s new favorite anecdotes.” Waid then went on to question Byrne’s impartiality as a moderator on his message board, noting “I’d gladly refute it more directly at the message board on which it was posted, but—at least in my experience—those who attempt to correct John’s delusional statements and borderline libels are quickly booted,” further clarifying “I have already been banned.” Waid went on to explain that a previous attempt at extracting a clarification or retraction from Byrne in reference to another matter had ended with Byrne removing Waid’s message: “...I registered, posted a response, and within ten minutes it was deleted and my membership was cancelled.” (2004)"

"In 2005, Byrne complained about his Wikipedia article, claiming it was full of “opinion, rumor and borderline libel” but did not specify what he objected to within the article. He attempted to “delete lies and troll-fodder” by removing most of the article [http://en.wikipedia.org/w/index.php?title=John_Byrne&diff=23225889&oldid=23225741, but it was soon restored. The article was revised following a complaint from Byrne to Wikipedia founder Jimmy Wales."

"If something knocks you five degrees out of whack, the journey of a thousand miles that begins with a single step ends up thousands of miles away from its intended destination."

"It seems to me a core element of belief in God that a choice is a choice and it eliminates all other choices."

"What the feminists and their ventriloquist puppet husbands are talking about doing with Government-Funded Daycare is raising children as if they were a herd of interchangeable swine. No surprise coming from a gender which has no ethics, no scruples, no sense of right and wrong."

"I'd rather live in the gutter embracing reality than live like a king embracing unreality."

"If you really want to do it nothing and no one is going to stop you, if you don't really want to do it, nothing and no one is going to help you."

"I'd rather take a major financial hit being honest than get rich by lying."

"Reality is reality. It is the way things are, not the way you want them to be in your head."

"Pointing out that there's a turd lying on the carpet is not the same as shitting on the carpet.(p. 75)"

"I take it as a given that God's knowledge of the Cerebus storyline dwarfs my own as God's knowledge of everything dwarfs my own. (#2, p. 9)"

"[A]n attractive lie is always going to be more popular than a hard truth. (No. 11, p. 27)"

"Because I say what is empirically true: nothing exists except God, I am deemed to be insane. (ibid, p. 28)"

"In my experience women are like cats. When you don't want them you can't get rid of them and when you do want them it's like trying to pick up lint with a magnet. (p. 267)"

"The first five years that I did Cerebus I could have made more money baby-sitting (that isn't a joke). Five years. Think about it. (p. 20)"

"In any creative field--any creative field--you must first understand that you have no value whatsoever. Your work has no value whatsoever. You are completely worthless. Whatever potential you have is just that--potential--and when you are discussing self-publishing a comic book, you have about the same chance of success as 10 thousand others. (p. 21)"

"...there is very little about self-publishing a comic book that can be taught, but everything about it can be learned. (p. 21)"

"Stop trying to impress some art-school teacher with a stick up his butt whose opinions you never respected from the time you entered his class until you left it 10 years ago. Draw like you. (p. 27)"

"Get out of your own way. (p.28)"

"The greatest mistake you can make is to say that your work is better than a lot of the shit that's out there. No doubt. But being better than shit is not exactly a shining credential. (p. 30)"

"No companies are ever going to pay you enough money to sue them successfully. (pp. 50-51)"

"Oscar: In a society where dissenting viewpoints are suppressed, those viewpoints are potent and dangerous... Where dissent is tolerated, it rapidly becomes quaint and is viewed as un-sophisticated; people merely amuse themselves with the expression of contrary opinion. (p. 41)"

"Cerebus: The valuable lesson is that you can get what you want and still not be very happy... (p. 296)"

"Anything done for the first time unleashes a demon. (Cover and title of Cerebus #65, August 1984, collected in Church & State I, p. 7 and 273)"

"Narration: Their gaze met for a few seconds. The exchange was as warm and friendly as a pair of automated range finders getting a mutual target lock."

"Commissar-General Delane Oktar: Winning is everything, but the trick is to know where the winning really is.... We're political animals, Ibram. Through us, if we do our job properly, the black and white of war is tempered. We are the interpreters of combat, the translators. We give meaning to war, subtlety, purpose even. Killing is the most abhorrent, mindless profession known to man. Our role is to fashion the killing machine of the human species into a positive force. For the Emperor's sake. For the sake of our own consciences."

"Colonel-Commissar Ibram Gaunt: Give any man the power of a god, and you better hope he's got the wisdom and morals of a god to match. There's nothing feeble about my moral line. I value life. That is why I fight to protect it. I mourn every man I lose and every sacrifice I make. One life or a billion, they're all lives."

"Real truth was out there in the shattered outhabs of Vervun hive. Real truth was waiting and silence, courage and stealth. Real truth was the ability to function in extremes. To fire a cannon and miss and try again. To fix a silver blade to the end of a las-weapon and leap from safety into a shroud of smoke, prepared as you did so to really use that makeshift spear. Real truth was a tiny hole in a man's forehead."

"Inquisitor Gregor Eisenhorn: All my life, I have had a reputation for being cold, unfeeling. Some have called me heartless, ruthless, even cruel. I am not. I am not beyond emotional response or compassion. But I possess - and my masters count this as perhaps my paramount virtue - a singular force of will. Throughout my career it has served me well to draw on this facility and steel myself, unflinching, at all that this wretched galaxy can throw at me. To feel pain or fear or grief is to allow myself a luxury I cannot afford."

"Inquisitor Gregor Eisenhorn: If he speaks again without me knowing who he is, I will throw him out of the window. And I won't open it first."

"I was an avid anime watcher until I was about 10, when I moved to manga. I think I am influenced by Osamu Tezuka's and Walt Disney's works which I watched during that time, such as Tetsuwan Atom and 101 Dalmatians."

"The method of producing comics in Japan is very hectic, but it's also rewarding because it's possible to do both the story and art all by yourself. In this way, it's possibly to bring out one's individuality. If this idea appeals to you, I call on you to try drawing your own manga."

"Drunken Master (the first one). If I hadn't seen this movie, I would never have come up with Dragonball."

"Actually, I have a lot of hobbies, but I've kept up with model-building the longest. In particular, I love military models."

"I believe mine would be Piccolo. He was the first character in my manga where I was like, "He has a scary face, but he's so cool!" It really is cliché when bad guys turn into good guys, but it just feels great drawing it!"

"Shōnen Jump: Several readers have asked if Namekians are plants. Of course, based on their names, they seem to be slugs... but they are green, they have a strange method of reproduction, and they live on water."

"Akira Toriyama: That's a tough question. I thought of Piccolo first, and I wanted to draw him as a scary character, and it was only afterwards that I had to come up with a species. Since they have antennae, I thought they looked like slugs. So "Namekian" is a play on words, but I didn't think too deeply about it. I don't think they're plants, but they may be hermaphrodites."

"With second-form Cell as well, I liked him well enough. Actually, I had wanted him to play a more active role. But since I was told he looked stupid, I had no choice but to change him. (laughs) So I made him into his cool-looking perfect form, which was to Kondō-san's liking."

"The offer to direct an animated version of Blue Dragon came in February of last year [2006]. Studio Pierrot approached me regarding it. I knew that Sakaguchi had been working on assembling staff to produce a game, although at the time Blue Dragon hadn't yet been formally announced. According to the materials, it was to be a fantasy world like Lord of the Rings, with a detailed world view and story. This may be my final anime, I'm a little worried (about it). There's incredible pressure, but at the same time, there's a sense of accomplishment — that it's worth doing. Blue Dragon will be a masterpiece, not simply because I'm working hard on it, but because the staff is expecting nothing less."

""Blue Dragon: Toriyama's Final Anime?", (29 March 2007)."

"There's a golden thread connecting everything we do - it strings the days together and is easily seen when we look back at where we've been. I always thought the thread was purpose - a self-defining core - but I was wrong. When I look back now...all I see is love."

"...[Bob Kane] had an idea for a character called "Batman", and he'd like me to see the drawings. I went over to Kane's, and he had drawn a character who looked very much like Superman with kind of ... reddish tights, I believe, with boots ... no gloves, no gauntlets ... with a small domino mask, swinging on a rope. He had two stiff wings that were sticking out, looking like bat wings. And under it was a big sign ... BATMAN."

"Bruce Wayne's first name came from Robert Bruce, the Scottish patriot. Wayne, being a playboy, was a man of gentry. I searched for a name that would suggest colonialism. I tried Adams, Hancock ... then I thought of Mad Anthony Wayne."

"I knew many homosexuals but I certainly didn’t think of Batman in those terms. I thought of it in terms of … Frank Merriwell and Dick Merriwell, his half-brother, who was the kid he was taking care of. … In America we always talk about the Western hero and the pioneer kind of man—the Davy Crockett types—as being loners. They’re never really. They always have a sidekick. … Certainly there’s no homosexual relationship. It’s just part of the American syndrome. … It was just that the author realized that you’ve gotta have somebody to talk to. Sherlock Holmes had Watson—were they homosexuals? Baloney. You just can’t have your hero walking around thinking aloud all the time. He’d be ready for the men in white coats after a time. So we created a junior Watson and that’s all [Robin] was."

"Robin was an outgrowth of a conversation I had with Bob. As I said, Batman was a combination of Fairbanks and Sherlock Holmes. Holmes had his Watson. The thing that bothered me was that Batman didn't have anyone to talk to, and it got a little tiresome always having him thinking. I found that as I went along Batman needed a Watson to talk to. That's how Robin came to be. Bob called me over and said he was going to put a boy in the strip to identify with Batman. I thought it was a great idea""

"There were other Batman writers throughout the years but they could never capture the style and flavor of Bill's scripts. Bill was the best writer in the business and it seemed that he was destined to write Batman"."

"He was a terrific writer and was the most responsible for the success and development of Batman. He really was the background for Batman; Bob Kane had ideas while Bill sort of organized them"."

"What was good about Bill was that whenever he wrote a plot, he did a lot of research for it. Whether the setting was a railroad station or a factory, he would find a photo reference, usually from National Geographic, and give Bob all the research to draw from. He was very orderly and methodical. His only problem was that he couldn't sustain the work... he couldn't produce material regularly enough"

"We had some problems with the Howard newspaper strip, which led to problems with the Howard book, which ultimately led to the lawsuit. Marvel wouldn't pay the artist to draw it. Gene Colan and I were supposed to get a percentage of the syndicate's take for the strip. The problem was, the money came in 90 days, 120 days, six months — I don't remember how long exactly — after the strips were published. So, essentially, the artist was working for nothing up until that time, and no artist can afford to do that. [In comparison with Stan Lee and John Romita|'s Spider-Man comic strip,] Stan, as publisher of Marvel, had a regular salary coming in, and John Romita, I believe, was also on staff at the time. They didn't have quite the same problem."

"You'll find my power comes from within.... and is a force to be reckoned with."

"Obviously my best strategy is to wait, listen, and learn."

"My name is Thanos, and my name means Death."

"Who would have thought that becoming God would be such a hollow victory."

"The Universe will now be set right. Made over to fit my unique view of what should be. Let Nihilism reign supreme!"

"There are forces at work you do not perceive. I weave a delicate strategy which rash actions could rend. Patience, please."

"Naked power is seldom the answer to any problem. Surely you must know that even this group's combined might is nothing compared to the force Thanos wields. Only a richly complex and skillfully executed strategy will insure your survival. Time is short and I have such a plan."

"We tried to do this the easy way — and we failed. Now begins the conflict I strove to avoid. It may well prove to be a battle the Universe cannot survive! Eternity, it is now your turn."

"Adam Warlock, a being who wished nothing more than to spend the rest of his days within the peaceful environment of the Soul Gem. He now possesses the Infinite Power and the responsibility that goes with it. While I, whose entire life was dedicated to the pursuit of power, now find myself scraping out a living from the soil. Irony worthy of the drama. Yet strangely enough though, I envy not Adam Warlock. Somehow I feel, that in the long run, Thanos of Titan came out ahead in this particular deal."

"I've made more money in novels than I did in my entire career in comics. The few years I did novels, they paid off so well, I don't have to be a slave to doing comics. But I'd rather do comics than novels. If I wanted to do it just for the money, I'd run off and do another novel. I just don't have the juice for it. I'm really not interested in it. It's a love for what this medium is."

"As big as an elephant is, a whale is still larger. Everything's relative. Even gods have their spot on the food chain."

"I’m still proudest of The Death of Captain Marvel followed closely by various Dreadstar stories, Warlock, Kid Kosmos Kidnapped, The Thanos Quest and a series next-to-nobody ever read, called Wyrd, the Mystic Warrior..."

"When I finished with Captain Marvel I had turned him from a warrior into a mystic. Adam Warlock was a mystical messiah. Where to go from there? Decided to reverse course and turn him into a suicidal paranoid/schizophrenic, which was the way I was feeling at the time. I’ve always used my work to examine what is currently going on in my own life. It’s cheaper than going to a shrink. The Death of Captain Marvel was a great way of working through my own father’s death."

"I’m a firm believer that in-depth subjects can be better handled in a fantasy setting. … Let’s face it, traveling to some far off land is a terrific way to break the mold, to do something different. Isn’t that why we go on vacations?"

"Just came from the premiere of Guardians of the Galaxy. With all the hype I expected to be a bit disappointed. It just couldn't be as good as everyone was predicting. And they were wrong. It's even better than everyone said. It just might be Marvel's best movie yet."

"Bill Finger was a contributing force on Batman right from the beginning. He wrote most of the great stories and was influential in setting the style and genre other writers would emulate … I made Batman a superhero-vigilante when I first created him. Bill turned him into a scientific detective."

"Bill Finger and I created the Joker. Bill was the writer. Jerry Robinson came to me with a playing card of the Joker. That's the way I sum it up. [The Joker] looks like Conrad Veidt — you know, the actor in The Man Who Laughs, [the 1928 movie based on the novel] by Victor Hugo. … Bill Finger had a book with a photograph of Conrad Veidt and showed it to me and said, 'Here's the Joker'. Jerry Robinson had absolutely nothing to do with it. But he'll always say he created it till he dies. He brought in a playing card, which we used for a couple of issues for him [the Joker] to use as his playing card"."

"There were other Batman writers throughout the years but they could never capture the style and flavor of Bill's scripts. Bill was the best writer in the business and it seemed that he was destined to write Batman."

"Robin was an outgrowth of a conversation I had with Bob. As I said, Batman was a combination of Fairbanks and Sherlock Holmes. Holmes had his Watson. The thing that bothered me was that Batman didn't have anyone to talk to, and it got a little tiresome always having him thinking. I found that as I went along Batman needed a Watson to talk to. That's how Robin came to be. Bob called me over and said he was going to put a boy in the strip to identify with Batman. I thought it was a great idea."

"A lot of people don't give him [Kane] as much credit for his art, but I thought he had a flair. It was rudimentary, but in a way that worked to his benefit in the strip. He didn't know much about perspective and anatomy, so he had to improvise."

"Bob and I got on very well during the years I worked on Batman. He was a mild-mannered individual who made no demands on Jerry [Robinson] and me, and in general, he was terrific to work for."

"What the fuck is DC anyway? They'd be better off calling it AOL Comics. At least people know what AOL is. I mean, they have Batman and Superman, and they don't know what to do with them. That's like being a porn star with the biggest dick and you can't get it up. What the fuck?"

"Interviewer: Is that why you draw yourself as a cow ?"

"Arakawa: Yes, and because I think I look a little like a cartoon cow, so it fits."

"Interviewer: In other words you were born with your destiny tied to cows. So, of course you must love cows?"

"Arakawa: Of course. I love to take care of them and also eat them."

"Arakawa: After I gave birth, I felt even more of a connection to cows, because my breasts started making milk. My breasts got bigger and my nipples swelled up, and every time my daughter went to suckle them, it reminded me of how I used to squeeze the cows' udders on the farm to get the milk out. [chuckle] It was like my own daughter was milking me."

"Interviewer: So between those two, if you lived in your own manga world, what would you be like?"

"Arakawa: I'd follow three simple rules: 1) Never go within two kilometres of circus freaks. 2) Never go near the butcher shop in Dublith. 3) Always spend under 300 sen on snacks. That ought to keep me alive! [chuckle]"

"Interviewer: Would you say any other manga artists have influenced you?"

"Arakawa: The manga artist that I look up to the most is Suiho Tagawa, the author of Norakuro. He is the root of my style as an artist. I also love Rumiko Takahashi and Kinnikuman or Ultimate Muscle by Yudetamago. As far as composition and how to draw, I learned that when I was apprenticed to Hiroyuki Eto, the author of Mahoujin Guru Guru for Shonen GanGan."

"Interviewer: Your first serialized work is a tremendous success all of a sudden. Tell us the whole story of how a newcomer came to have her works serialized."

"Arakawa: At the beginning, I was contracted for a one-shot publication. However, the editor-in-charge of the storyboards passed down a request, "Let us serialise this, okay...". With a story that is meant to be completed in one chapter at this time, "How on earth am I going to do it?" [laughs]. I pounded my brains for around half a month, thinking about ideas to serialise this work."

"I like B movies. I take a look at this and that, while thinking, “What the hell is this!? This makes no sense!” till the end. I like that sort of feeling. So an alchemy manga was born because I wanted to have that kind of feeling in my manga. Thanks to everyone who bought it. While getting into it and thinking, “What is alchemy supposed to be like this?” Please enjoy it."

"I left home, and I wasn’t going back until I could make a living on manga. I’m happy that my wish was granted and that I’ve gotten a series, but now I’m busy and have no time to go home. I’m kind of happy and kind of sad."

"“I love reading manga!!” “I really, really love drawing them too!!” “I draw therefore I am!!” “This is proof that I exist!! I’m satisfied with just that!!!” The point is I’m a manga idiot."

"After starting to draw manga, a lot of unexpected things happened, leaving me quite stunned. But it is these sudden events that make life interesting."

"A few friends that also drew manga gathered at the pub regardless of the fact did we drink any alcohol, we would talk excitedly about manga. We will get so preoccupied with the topic, that we always miss the last train. Although we all have the feeling, “We’re so old already, why are we still mucking around like this?” But whenever we hear something like “I want to draw this!!”, the passion from everybody, our spirits are refreshed with new enthusiasm. This time I even got Moritaishi Sensei to draw the omake for me. Wah!! (Happy)"

"The cover for Volume 9 seems to be very well liked. I received many letters discussing their opinions regarding it. “Follow me! That’s what it is trying to convey!!” or “Men speak with their backs!!” or “It’s like saying everybody’s fate is resting upon my back, what a great cover!!” and stuff like that. ... Can’t bear to say “It’s because drawing the colonel’s face is really troublesome” ... Can’t say it ... -->"

"I understand the most profound and simplest Truth of all: Any time any of us reaches out, any time we pour even a drop of love, compassion, simple human decency (no matter how small; how seemingly insignificant) into the sea of earthly existence — we are, each and every one of us — the being called Mercy."

"As I’ve mentioned elsewhere, I’m a Total Disnoid. Walt Disney is one of my heroes: it’s extraordinary what one man, armed only with will and imagination, accomplished. To be a part of that history, that legacy — in any small way — is really an honor."

"I love kids’ fantasy...everything from L. Frank Baum to A. A. Milne … Narnia to Wonderland to Neverland. These are magical stories that nurtured me as a child and then nurtured my own children, as well. What better legacy could a writer have than to continue that wonderful tradition of imagination and insight and adventure? Comics, of course, pretty much ignore the children’s market. I’ve been obsessed, for years now, with doing some projects that could bring that level of imagination and literary and artistic quality to the comic book form."

"I’ve realized over the years that, with rare exceptions, most writer’s block isn’t writer’s block at all: It’s necessary time that allows the unconscious mind to do its deep work. The great “Ah-Ha!” moments don’t usually come at the keyboard. They come when I’m lying on the floor, staring into space (or banging my head against the wall in frustration). All of a sudden the Unconscious Camera turns on, a movie starts playing in my head-and there it is: The Big Moment. Or the Whole Damn Story. And, in many ways, I had nothing whatsoever to do with it."

"Follow your heart, follow your dreams. If writing is your passion, put everything you have into it. Let that passion, that joy, lead you. In the end it might not lead you to exactly the place you thought you were heading...but it will absolutely lead you someplace wonderful. And don’t let the Nay-Sayers, the Practical People, stop you or wear you down. Follow your dreams...and you can’t go wrong."

"The impossible isn't a limitation, it's an invitation."

"I've been blogging — however irregularly — over at Amazon.com for a few years now, but I've always felt that arena was for the "official" JMD. It was as if I was standing in the aisle of a book store, greeting potential readers: sharing my thoughts, certainly — but also trying to get them interested in my wares. I'm hoping that this blog will be more like a living room: a little more casual and personal. A place where I can talk about, well, anything that comes to mind, from the trivial to the profound. And I hope to do it at least once a week. (I'll wait a moment for the laughter to die down.)"

"We’re not really the authors of our work: we’re channels, tuning into another frequency, another dimension, and bringing that information down into the physical world, where — using the tools, the talents and perspectives that are uniquely ours — we transcribe and embellish that information, transforming it into that wonderful creature called a Story. In the end, it doesn’t matter whether the transmission is instant or unfolds slowly, it’s the opening up that’s so magical. That moment of realizing that you’re connected to something so much bigger than yourself. I remember, years ago, when I was just beginning work on Moonshadow, standing in the shower — mouth open, eyes glazed, still as a statue — watching the ending of the series play out on the movie screen of my psyche. Make no mistake: I didn’t create the scene, I just witnessed and transcribed it."

"I seriously considered putting Nine Lives aside (I no longer feel compelled, as I did when I was younger, to finish every book I start). I’m happy I stuck with it: as I continued reading, the lives chronicled — in clear, compassionate prose — became more and more fascinating, and, on occasion, heartbreaking: The collision between ancient and modern culture in India threatens to wipe away traditions that have gone on, uninterrupted, for thousands of years and most of Dalrymple’s seekers struggle with that knowledge in some way. There’s a lovely chapter about a Sufi devotee in southern Pakistan — she’s known as the Red Fairy — that illuminates the lyrical, mystical side of Islam. Considering the current mood in the United States, it should be compulsory reading for every American who thinks the Taliban and Al-Qaeda represent the totality of Muslim life."

"I'm glad the work doesn't come across as heavy-handed. I'm not trying to preach or convert, just explore interesting ideas and touch some hearts."

"In the majority of cases which are brought to me as a consulting psychologist for love and marital adjustment, there are self-deceptions to be uncovered as well as attempts to deceive other people. Beneath such love conflicts there is almost always a festering psychological core of dishonesty."

"A motion picture must be true to life. If a picture portrays a false emotion it train people seeing it to react abnormally."

"Sound and talking undoubtedly increase the entertainment value of a picture. There is a distinct conflict, however, between a pictorial and sound elements, which cannot be entirely avoided until third dimensional pictures are made."

"Not even the church is so powerfully equipped to serve the public psychologically as is the motion picture company."

"The next 100 years will see the beginning of an American matriarchy—a nation of amazons in the psychological rather than the physical sense. In 500 years there will be a serious sex battle. And in 1000 years women will definitely rule this country."

"Tolerant people are the happiest, so why not get rid of prejudices that hold you back?"

"There are one or two rules of thumb which are useful in distinguishing sadism from exciting adventure in the comics. Threat of torture is harmless, but when the torture it’s self is shown it becomes sadism. When a lovely heroine is show bound to the stake, comics followers are sure that the rescue will arrive just in the nick of time. The readers wish is to see save the girl, not to see her suffer. A bound or chained person does not suffer even embarrassment in the comics, and the reader, therefore is not being taught to enjoy suffering."

"If you conclude, as I do, that the only hope of a permanent peace and happiness for humanity on this planet is an increased expression of love, and that women are the primary carriers of this great force, one of the problems we face is to provide women with more opportunity for using their love powers. The last six thousand years have demonstrated quite conclusively, I believe, that woman under the domination of man can increase but meagerly the world's total love supply. Our obvious goal, than must be to devise social mechanisms whereby man is brought under the love domination of woman."

"The only hope for civilization is the greater freedom, development and equality of women in all fields of human activity."

"A woman character without allure would be like a Superman without muscle."

"The picture story fantasy cuts loose the hampering debris of art and artifice and touches the tender spots of universal human desires and aspirations. Comics speak, without qualm or sophistication to the innermost ears of the wishful self."

"If children will read comics [...] isn't it advisable to give them some constructive comics to read? [...] The wish to be super strong is a healthy wish, a vital compelling, power-producing desire. The more the Superman-Wonder Woman picture stories build this innner compulsion by stimulating the child's natural longing to battle and overcome obstacles, particularly evil ones, the better the better chance your child has for self-advancement in the world. Certainly there can be no argument about the advisability of strengthening the fundamental human desire, too often buried beneath stultifying divertisments and disguises, to see good overcome evil."

"Comics, they say, are not literature – adventure strips lack artistic form, mental substance, and emotional appeal to any but the most moronic of minds. Can it be that 100,000,000 Americans are morons? Possibly so; but there seems to be a simpler explanation. Nine humans out of ten react first with their feelings rather than with their minds; the more primitive the emotion stimulated, the stronger the reaction. Comics play a trite but lusty tune on the C natural keys of human nature. They rouse the most primitive, but also the most powerful, reverberations in the noisy cranial sound-box of consciousness, drowning out more subtle symphonies. Comics scorn finesse, thereby incurring the wrath of linguistic adepts."

"Oh yes, but not until women control men. Wonder Woman – and the trend toward male acceptance of female love power, which she represents, indicates that the first psychological step has actually been taken. Boys young and old satisfy their wish thoughts by reading comics. If they go crazy for Wonder Woman it means they're longing for a beautiful exciting girl who's stronger than they are. These simple, highly imaginative picture stories satisfy longings that ordinary daily life thwarts and denies. Superman and the army of male comics characters who resemble him satisfy the simple desire to be stronger and more powerful than anybody else. Wonder Woman satisfies the subconscious, elaboratedly disguised desire of males to be mastered by a woman who loves them."

"Women now fly heavy planes successfully; they help build planes, do mechanics' work. In England they've taken over a large share of all material labor in fields and factories; they've taken over police and home defence duties. In China a corps of 300,000 women under the supreme command of Madame Chiang Kai-shek perform the dangerous function of saving lives and repairing damage after Japanese air raids. This huge female strong- arm squad is officered efficiently by 3,000 women. Here in this country we've started a Women's Auxilary Army and Navy Corps that will do everything men soldiers and sailors do except the actual fighting. Prior to the First World War nobody believed that women could perform these feats of physical strength. But they're performing them now and thinking nothing of it. In this far worse: war, women will develop still greater female power; by the end of the war that traditional description the weaker sex" will be a joke-it will cease to have any meaning."

"Men actually submit to women now, they do it on the sly with a sheepish grin because they're ashamed of being ruled by weaklings. Give them an alluring woman stronger than themselves to submit to and they'll be proud to become her willing slaves."

"If, as psychologists, we follow the analogy of the other biological sciences, we must expect to find normalcy synonymous with maximal efficiency of function. Survival of the fittest means survival of those members of a species whose organisms most successfully resist the encroachments of environmental antagonists, and continue to function with the greatest internal harmony. In the field of emotions, then, why would we alter this expectation? Why should we seek the spectacularly disharmonious emotions, the feelings that reveal a crushing of ourselves by environment, and consider these affective responses as our normal emotions? If a jungle beast is torn and wounded during the course of an ultimately victorious battle, it would be a spurious logic indeed that attributed its victory to its wounds. If a human being be emotionally torn and mentally disorganized by fear or rage during a business battle from which, ultimately, he emerges victorious, it seems equally nonsensical to ascribe his conquering strength to those emotions symptomatic of his temporary weakness and defeat. Victory comes in proportion as fear is banished. Perhaps the battle may be won with some fear still handicapping the victor, but that only means that the winner's maximal strength was not required."

"In the spring of the freshman year, the sophmore girls held what was called "The Baby Party" which all freshmen girls were compelled to attend. At this affair, the freshmen girls were questioned as to their misdemeanors and punished for their disobedience and rebellions. The baby party was so name because the freshman girls were required to dress as babies."

"Appetite emotion must first, last and always be adapted to love."

"The creation of children is not justifiable in a majority of unions between the sexes; but when the creation responses are justifiably undertaken, there is sound psychological ground for advising the woman to provide, beforehand, sufficient funds of her own to carry both herself and the child through the period of her physical incapacity for appetitive work. There is sound psychological ground, also, for requiring the male to share equally at least, in the home work and the care of children."

"The talkies are the only art that would attract Leonardo da Vinci were he alive to-day. It is the only art that excites a scientist's curiosity, the only art that challenges the engineer, the only art that offers the great artist a medium capable of expressing every human thought and emotion, as well as the pure aesthetic effects of color and music. It is a baby giant, as clumsy as all babies are. Its noises are, we grieve to admit, often as inartistic as the squalling of a baby. But squalling babies have a way of growing up into soft-voices women and great singers. This is why we, the authors, have gladly played the role of nursemaids. We don't know what the baby will be doing and saying when it grows up. But we are sure it will make its mark in the world."

"The literary story is hard enough, heaven knows. It calls for a thorough understanding of the kinds of people you set out to depict. It cannot be of high quality unless the author can plot well. And, of course, it must be cast in distinctive style. The picture of the silent screen does not demand literary abilities, but it does require insight into character as well as drama; furthermore, it is founded upon a high order of visual imagination. The stage play, in a certain sense, calls for all the chief abilities of literary stories and silent pictures; and, in addition, it must be managed with dialogue, which is some thing very different from literary language. But the sound picture goes beyond all of these other art forms. To invent a good one, you must grasp character, drama, settings, and dialogue. But you must go beyond these. You need a fanciful ear. The backgrounds of your story now cry out. The tale is filled with noises. And every least sound adds a unique quality to the total effect."

"People go to moving pictures to be made to weep or laugh, to be happy or unhappy as they watch what hap pens to the screen characters before them. They become completely absorbed in the screen action. They follow the story, willy-nilly. And in so doing, they are forced to feel the emotion/ aroused by the dramatic situations.Pictures makes millions of people, day after day, feel glad or sad, courageous or fearful, righteous or angry. He, can do this, that is to say, within limits, and these limits largely depend upon the story of the picture. If the producer has a powerful enough story, these millions for get themselves and their little joys and woes and escape into the scenes on the screen before them. Small wonder then, that, with such stupendous power over the thinking and feeling of myriads of men, women, and children, the moving picture producer is willing, even eager, to spend hundreds of thousands of dollars — or even a cool mil lion or so — to secure and produce a picture for this world of movie-goers. But the story selected must itself have power enough to arouse the emotions of an audience. Excellent photography and good acting can help to carry successfully any story, but they can never put emotional meaning into a story that is built without emotional appeal."

"The task of depicting character in the sound picture is, in one sense, far easier than in the silent picture. The latter, being essentially pantomime clarified with titles, is cruelly restricted as a medium of depicting human nature. Few of us express ourselves in postures and gestures. Our natural manner finds itself freer and surer in spoken words and, most of all, in decisive acts involving such forms of language as promises, commands, prohibitions, and so on, all of which readily lends itself to reproduction in talk and scene combined. To this extent, character drawing in sound pictures seems to offer pretty much the same opportunities and difficulties as in the drama of the Broadway stage. But a closer study brings out the somewhat startling fact that a sound picture, skillfully handled, can reveal more of a personality than any other device of art or science. The actor on the stage can talk, gesticulate, and move to and fro; but there his powers end. The actor of the talking screen can do all of these things and then carry on his subjective life in the presence of the spectators. We can show pictorially his memories, his fears, his hopes, and his cunning schemes. We can reveal his clenched fist in a close-up. We can show the beads of perspiration on his brow, as he trembles with suppressed rage."

"The social value of freeing women from a harem-enclosed existence to a life of activity can be questioned only by those advocates of a "man's world" who wish to perpetuate its butchers and savage jungle law."

"If Marston is whipping up comics stories while Rome burns, there must be a reason."

"He believes the sexes have changed their professional status, that the hunted has become the huntress, that men have more ideas about women than about themselves and that a majority of men prefer to be 'unhappy masters' rather than 'happy slaves'."

"This noted scientist is the most genuine human being I’ve met. He isn’t fat—that is, in the ordinary way. He’s just enormous all over. We walked through the garden and about the grounds. The doctor asked me about my work and myself, and I told him more in 15 minutes than I’d tell my most intimate friend in a week. He’s the kind of person to whom you confide things about yourself you scarcely realize."

"I always thought this Marston was a phony."

"Marston’s work opened the door for those in his profession to be more actively involved in the legal system. This perhaps begs the question: Is it a good thing for psychologists to be allowed to testify in court? There is certainly evidence to suggest that psychologists have something to offer the legal process above and beyond what their medically trained psychiatric colleagues might offer. Clinical psychologists typically have substantially more training in research than psychiatrists do and also spend several more years in formal study of human behavior. Likely as a result of this extra training, judges, attorneys, and law professors performing blind reviews rated forensic reports by psychologists to be more thorough and of higher quality than those completed by psychiatrists. Thus, William Moulton Marston, by tipping the first domino in a line that allowed psychologists to testify as recognized experts, directly contributed to better information and higher-quality work being used in the legal process. In this respect, much like his famous creation, he was a warrior for truth and justice."

"I wanted to learn Go, so I paid a go school and started to attend classes once a week with a pro. He was mean, and never let the students win the teaching games. This was frustrating to me, because I was thinking "Why am I paying to lose all the time?" I wished that I had a guardian angel or a ghost that could help me beat him really bad. It was at that moment that Hikaru no Go was born."

"All you are is the Go you play."

"This is the universe! And I'm placing stones one by one on that. Like I'm increasing the number of stars one by one... I'm making the universe. It's like I'm a God. I'm going to become a God! On this Go Board."

"To link the far past, with the far future."

"He’s like a pizza with the works. He’s a touch of Zorro, a dash of Dracula, a helping of the Shadow and a bunch of Sherlock Holmes all mixed together. Plus the cars and gadgets and that great hideout. You can’t miss with a combination like that. But you can’t recreate that same magic in a new character either. There’s only one Batman."

"The name “Bane” popped out at me while looking through a thesaurus to compile a list of possible names. That’s the name I kept coming back to when I thought of him and I eventually brought everyone else around to calling him that. The worry was that the name was too simple. I think that’s its charm; snappy and elegant and on-message. This guy is the bane of everyone he touches."

"I am staunchly opposed to presenting political opinions in mainstream comics. No manifestos from Spider-Man. The reader should be able to project themselves on these characters. That’s necessary when writing heroic escapist fiction. Superheroes are wish fulfillment characters. We want to be Superman. We hope we’re as principled as Captain America. It’s important that these characters portray only the most universal values."

"I’ve seen my characters morphed into PC cyphers. But the thing is once I’m done working on them, it’s like watching your kids go off with another guy. The new daddy is here, I just don’t pay attention to it otherwise I’d be crying myself to sleep every night, so I just walk away from it and go on to new work, move forward."

"It all comes down to the great stories. The colorful and interesting characters that people can invest themselves in. The ones that they want to follow. That is the most critical thing for me. The second thing is, you have to have a filmmaker who gets it. Who has a passion for a character. Who has a vision for a character. Someone who really knows how to execute that vision. It's a hard thing to find. And its essential. The third thing is, and I have been in the trenches of Hollywood for thirty-five years, day by day, trying to make them understand this...Comic books and superheroes are not synonymous."

"This is our modern day mythology, this is American folklore and it's becoming international folklore. The ancient gods of Greece, Rome and Egypt still exist, except now they wear spandex and capes."

"The original movie landed in 1982 and caused an immediate stir, being the first live-action flick which featured literally no human characters. I'm not sure the audiences of the day quite knew what to make of it. Critics expected it to fit tidily into the continuum of knowingly comedic Muppetry which had made the Henson name, and couldn't wrap their heads around this slice of totally earnest, unironic adventure which set its sights on nothing less than pure wonder. Is it sci-fi? Fantasy? A kids' flick?"

"Cut forward to the present, BOOM! imprint Archaia receives the license to explore the unproduced screenplay in the comics medium and asks me to be involved -- that last point entirely because they knew I'd pursue them like a hound from hell if they didn't let me. Or, worse, I'd totally sulk."

"[F]or me the brilliance of the first film — the underlying reason that I hold it so highly — can be boiled down to two words: childlike wonder. Literally every character in that movie is a version of a child we'd all recognize. From the laid-back mystics — remember that high-functioning kid in every classroom who just stares dreamily out the window all day? — to the petulant and venal bullies of the villainous Skeksis. They're all cast as utterly original monsters, but they're very recognizable tropes once you know what you're looking for. This was a movie which introduced a whole new world, after all -- not just some lazy Tolkien-esque fantasy rip-off, but a teeming, exotic, alien reality full of impossible life and delightfully weird wonders. The little piece of genius which underlies the movie is that the central characters are experiencing all this craziness for the first time, just like we the viewers."

"I've adhered to the story in the screenplay pretty closely but the one thing I've insisted upon is that we should experience it all through the eyes of a newcomer. The accidental upshot of that is that a reader of the new comic doesn’t even need to have seen the movie (although of course they should!), since our protagonist is encountering this world and its history for the first time, too."

"[T]he Skeksis will always be horribly memorable. I'm pretty sure the scene where the Chamberlain is attacked and defrocked by his sneering brothers gave me nightmares as a youngster."

"It would've been too easy to go looking for an artist from the same hazy 'beautifully messy' school of creation as Brian Froud, whose aesthetic is most closely linked to the Henson movies. But there's literally nobody who can do that stuff as well, so why bother? It makes far more sense to lean the other way and present this world in a very clean and bold aesthetic."

"I think it spoke to me so strongly when I first saw it because it set itself a very precise challenge: presenting a totally new world, which nonetheless has the capacity to make the viewer relate and respond to its characters' interactions. That sounds very simple, but as a storyteller I can reliably report that it's unutterably sophisticated."

"Books, words, were my most treasured escape. I lived inside stories, I breathed them. I felt like they made me more human, or a better human…"

"It was an interesting phenomenon, being of mixed race, especially in the eighties. And actually, things haven’t changed all that much, because people still don’t like to talk about race. The inhibition around discussing racism and what it means to be a person of color in this country is profound. Growing up, there was no space to talk about racism. If anyone brought that up at school, suddenly that person was a troublemaker. And as a mixed race kid who had a lot of mixed race friends, if anyone talked about racism we were held up like little trophies. Literally, people would point to us and ask, “How can there be racism? Look at all these biracial kids running around. How is there racism when we see a melting pot?” We were the biological representatives of a post-racial society, and that created an incredible silencing effect…"

"For the most part, romance novels are stories about women finding and taking up space for themselves. And not just taking up space, but daring to find happiness. And yes, romance novels are about the fantasy—the heterosexual fantasy—of having the perfect relationship with a man, but it’s also about women taking power over their sexuality, women taking control over their lives, women making themselves vulnerable to all the intimacies of love…"

"Monstress, however, was the product of many different ideas; my grandmother’s experience of the Japanese occupation of China, for example, my desire to explore what it is to be monstrous. But it also had to do with women—more precisely the representation of women."

"I realized I was thinking about fiction two-dimensionally. When I’m writing comics, I’m also visualizing how the story will look on the page—not even always art-wise, but panel-wise, like how a moment will be enhanced dramatically by simply turning a page and getting a reveal. It requires thinking about story in a way I never had to consider when I was writing prose."

"Female rage is not really permitted in real life. Angry women are called bitches, too emotional, hysterical, whereas male rage is often portrayed as heroic, righteous, intelligent. In Monstress, Arcanics wear collars around their necks to keep them from exercising their full selves. And I think one of the collars around the necks of women is society’s views about female rage. Which isn’t to say anger is necessarily a force for good. Rage can be energizing and sustaining, but it’s ultimately problematic if it doesn’t lead you to a deeper exploration of the source…"

"Taking time to color in the people around your main characters truly does a lot of heavy lifting for you in terms of subtext and context because tiny misunderstandings and micro-aggressions or avoidance speaks volumes without requiring so much exposition…"

"The thing about sexual assault and the narrative that gets played out so often is that it’s a deadlock. It’s what one person said vs. what another person said. It’s just that my personal experience as a survivor is incredibly muddied. I was very young and had such a crush on the person. I willingly obliged so many preambles to The Moment. I felt incredibly complicit. My self-gaslighting was so sustained and calcified that I wasn’t entirely sure if it “counted.” At the time it wasn’t something I would ever have felt secure declaring as assault if the burden of proof lay with me recounting everything about my intentions vs. the other person’s. We talk about consent and it’s important to define, but it’s never this hard and fast yes/no pact that’s then committed to the stenographer…"

"Sometimes there’s nothing better in the world than talking to another creative person about where you are, because you may feel like you’re floating in outer space a lot of the time."

"It doesn’t get any less scary. All that happens is that you have less life left. It helps if you do your falling early, and it really helps if you do your reaching early."

"Definitely if I am writing something that feels completely straight, I’ll sew some queerness in there, because queerness is always there. It’s like when you’re writing a cityscape, you need to write in the characters that would be there. To me, not doing that is more of a choice."

"I try to write to the story, as opposed to writing for the reader…"

"Books don’t have a nutritional value. Which is to say, we don’t just read "good" books because they’re good for us. We read to expand our horizons, to understand and connect with something outside ourselves, good and bad. We read to challenge ourselves…"

"Comics allow you to really subtly do those different perspectives without necessarily telling you explicitly what anyone is thinking, just what they’re saying or what they’re doing, which is incredibly valuable I think in storytelling."

"What can be taught in the school isn’t even as important as the connections you make. College gets you to meet likeminded people who will be in the same career as you. You meet someone who knows someone and you can work your way into writing a script or a novelization of a movie."

"The (Communist) "Daily Worker" of July 13, 1953 said that comics play the conscious role of: "...Brutalizing American youth, the better to prepare them for military service in implementing our government's aims of world domination, and to accept the atrocities now being perpetrated by American soldiers and airmen in Korea under the flag of the United Nations." This article also quotes Gershon Legman (who claims to be a ghost writer for Dr. Fredrick Wertham, the author of a recent bast against comics published in "The Ladies Home Journal"). This same G. Legman, in issue #3 of "Neurotica," published in autumn 1948, said: "The child's natural character...must be distorted to fit civilization . . . fantasy violence will paralyze his resistance, divert his aggression to unreal enemies and frustrations, and in this way prevent him from rebelling against parents and teachers . . . this will siphon off his resistance against society, and prevent revolution.""

""Entertaining reading has never harmed anyone. Men of good will, free men should be very grateful for one sentence in the statement made by Federal Judge John M. Woolsey when he lifted the ban on ‘’Ulysses’’. Judge Woolsey said, 'It is only with the normal person that the law is concerned.' May I repeat, he said, "It is only with the normal person that the law is concerned." Our American children are for the most part normal children. They are bright children, but those who want to prohibit comic magazines seem to see dirty, sneaky, perverted monsters who use the comics as a blueprint for action. Perverted little monsters are few and far between. They don't read comics. The chances are most of them are in schools for retarded children. What are we afraid of? Are we afraid of our own children? Do we forget that they are citizens, too, and entitled to select what to read or do? Do we think our children are so evil, so simple minded, that it takes a story of murder to set them to murder, a story of robbery to set them to robbery? Jimmy Walker once remarked that he never knew a girl to be ruined by a book. Nobody has ever been ruined by a comic." As has already been pointed out by previous testimony, a little healthy, normal child has never been made worse for reading comic magazines. The basic personality of a child is established before he reaches the age of comic-book reading. I don’t believe anything that has ever been written can make a child overaggressive or delinquent. The roots of such characteristics are much deeper. The truth is that delinquency is the product of real environment, in which the child lives and not of the fiction he reads. There are many problems that reach our children today. They are tied up with insecurity. No pill can cure them. No law will legislate them out of being. The problems are economic and social and they are complex. Our people need understanding; they need to have affection, decent homes, decent food. Do the comics encourage delinquency? Dr. David Abrahamsen has written: “Comic books do not lead into crime, although they have been widely blamed for it. I find comic books many times helpful for children in that through them they can get rid of many of their agressions and harmful fantasies. I can never remember having seen one boy or girl who has committed a crime or who became neurotic or psychotic because he or she read comic books.”"

"WE BELIEVE: Your editors sincerely believe that the claim of these crusaders . . . that comics are bad for children...is nonsense. If we, in the slightest way, thought that horror comics, crime comics, or any other kind of comics were harmful to our readers, we would cease publishing them and direct our efforts toward something else! And we're not alone in our belief. For example: Dr. David Abrahamsen, eminent criminologist, in his book, "Who Are The Guilty?" says, "Comic books do not lead to crime, although they have been widely blamed for it . . . In my experience as a psychiatrist, I cannot remember having seen one boy or girl who has committed a crime, or who became neurotic or psychotic . . . because he or she read comic books." A group led by Dr. Freda Kehm, Mental Health Chairman of the Ill. Congress of the P.T.A., decided that living room violence has "a decided beneficial effect on young minds." Dr. Robert H. Feli, director of the National Institute of Mental Health, said that horror comic do not originate criminal behavior in children . . . in a way, the horror comics may do some good . . . children use fantasy, as simulated by the "comics" as a means of working out natural feelings of aggressiveness. We also believe that a large portion of our total readership of horror and crime comics is made up of adults. We believe that those who oppose comics are a small minority. Yet this minority is causing the hysteria. The voice of the majority . . . you who but comics, read them, enjoy them, and are not harmed by them . . . has not been heard!"

"Beaser: "Is the sole test of what you would put into your magazine whether it sells? Is there any limit you can think of that you would not put in a magazine because you thought a child should not see or read about it? ""

"Kefauver: "Here is your May 22 issue [Crime SuspenStories No. 22, cover date May]. This seems to be a man with a bloody axe holding a woman's head up which has been severed from her body. Do you think that is in good taste? ""

"RINGGENBERG: I'm here with Mr. William M. Gaines on the fourth of June, 1991, doing an interview for Gauntlet Magazine. Mr. Gaines, my first question is, having lived through the repressive censorship climate of the 1950s, how would you compare the current climate in this country?"

"RINGGENBERG: Do you think there are any limits about what should be published in a comics format?"

"RINGGENBERG: Well, given that the Comics Code expressly forbid the use of the words Weird, Horror and Terror, did you feel that your company was being particularly targeted?"

"RINGGENBERG: Before you changed Mad into a magazine, you did a whole new line of magazines, or comics, rather; the New Direction line. Were titles like MD and Psychoanalysis sort of an attempt to mollify some of the criticism from your detractors?"

"RINGGENBERG: One thing I'm curious about is the Jack Davis baseball story in Haunt of Fear #19. That was the one where the evil baseball player was dismembered."

"RINGGENBERG: Let's jump ahead a little bit, to the New Direction comics. In Impact #4 you had a story called "The Lonely One", which was about prejudice against Jews. The Jewish in the story had a very bland name. It was "Miller"."

"RINGGENBERG: How do you feel about your friend Lyle publishing a book for bomb-makers?"

"RINGGENBERG: Do you find that a lot of the people who criticize Mad and maybe criticized the E.C.s back in the fifties lacked a certain sense of humor?"

"Mr. Gaines fought a never-ending war between his willpower and restaurants of the world. Every few months, he would have an on-again, off-again flirtation with a new diet. This meant that no two pair of pants fit him at the same moment. His wardrobe, Mr. Jacobs said, looked as if it were fresh out of the laundry hamper, but Mr. Gaines had his own dress code. "I own three ties, which I wear as infrequently as possible," he said. "I wear my multicolored tie to wine tastings because it's required. I wear my bright red tie with my orange jacket and my green tie with my brown jacket to restaurants when ties are required. My ties are narrow. I wear short socks, gray or blue, which I buy eight dozen at a time, at Korvettes.""

"So he said it can't be a Black [person]. So I said, 'For God's sakes, Judge Murphy, that's the whole point of the Goddamn story!' So he said, 'No, it can't be a Black'. Bill [Gaines] just called him up [later] and raised the roof, and finally they said, 'Well, you gotta take the perspiration off'. I had the stars glistening in the perspiration on his Black skin. Bill said, 'Fuck you', and he hung up."

"This really made 'em go bananas in the Code czar's office. 'Judge Murphy was off his nut. He was really out to get us', recalls [EC editor] Feldstein. 'I went in there with this story and Murphy says, "It can't be a Black man". But ... but that's the whole point of the story!' Feldstein sputtered. When Murphy continued to insist that the Black man had to go, Feldstein put it on the line. 'Listen', he told Murphy, 'you've been riding us and making it impossible to put out anything at all because you guys just want us out of business'. [Feldstein] reported the results of his audience with the czar to Gaines, who was furious [and] immediately picked up the phone and called Murphy. 'This is ridiculous!' he bellowed. 'I'm going to call a press conference on this. You have no grounds, no basis, to do this. I'll sue you'. Murphy made what he surely thought was a gracious concession. 'All right. Just take off the beads of sweat'. At that, Gaines and Feldstein both went ballistic. 'Fuck you!' they shouted into the telephone in unison. Murphy hung up on them, but the story ran in its original form."

"Gaines got his empire from his father, publisher Max C. Gaines, who died in a motorboat crash in 1947, when Bill was a 25-year-old NYU education student. Having inherited his dad’s nearly bankrupt company, Educational Comics, Inc., the legatee renamed it Entertaining Comics, and switched from publishing his father’s favorite title, Picture Stories From the Bible, to such corpse-strewn pulp as ”Ooze in the Cellar,” Crypt of Terror, and Vault of Horror. According to the recent book Completely Mad, he dreamed up his stories by staying up all night on diet pills his doctors prescribed to counter his compulsive eating, while gorging on sci-fi and Grand Guignol fiction. Despite the medication, Gaines stayed large; he contained multitudes-slob and nabob, hedonist and workaholic, and iron-fisted dictator of budgets figured according to what he called the ”Boogerian Constant,” a law he declined ever to define. He paid contributors faster and better than anybody in the comics business-but strong-armed them to sign over all rights to their work. When Mad cartoonist Sergio Aragones reportedly provoked a 1960s Paris street mob to rock Gaines’ limo, shrieking, ”Feelthy fat capitalist!” there was something underlying the joke. Yet, Gaines was paying for the trip, just as he frequently flew the Mad staff on revels all over the globe at company expense. Could he be Santa? Or Stalin with a sense of humor?"

"”Bill wasn’t a nice guy,” says artist/editor Harvey Kurtzman, the creative genius who invented Mad, ”and he wasn’t a bad guy. He was bold, but he’d sit there with a slide rule every day very preoccupied with how to distribute his money.” Gaines sold the magazine partly for pure profit, but also out of a nagging dread that ”sooner or later, there’s gotta be an end to it.” To paraphrase his ubiquitous cover boy, Alfred E. Neuman, he needn’t have worried."

"Mad publisher William M. Gaines, says former editor Nick Meglin, was a “living contradiction. He was singularly the cheapest man in the world, and the most generous.” Gaines, a self-described “maniac” who looked like Santa Claus’ wiseacre younger brother, was a millionaire but dressed like a bum. He shelled out thousands for exotic annual trips for Mad’s staff and freelancers but forced the group to pay for their phone calls. Meglin once asked for a raise of $3 a week and was turned down, only to have Gaines continue the conversation over an expensive dinner at one of New York’s finest restaurants. “The check came, and I said, ‘That’s the whole raise!’” Meglin recalls. “And Bill said, ‘I like good conversation and good food. I don’t enjoy giving raises.’” Gaines, living contradiction that he was, also wasn’t a funny guy. Despite that, he “appreciated humor,” Jaffee said, and helped build one of the most influential magazines in American history."

"Wertham testified on the afternoon of the first day of the hearings, followed by Gaines. Gaines originally had been scheduled to appear in the morning, but other witnesses apparently ran on longer than expected, pushing Gaines’s testimony until after lunch. After the committee reconvene, however, Wertham appeared to testify, and the committee move him ahead of Gaines. Gaines later contended that the postponement of his appearance adversely affected his testimony. According to his biographer, Gaines was taking diet pills, and as the medication began to wear off, fatigue set in. Gaines recalled: “At the beginning, I felt that I was really going to fix those bastards, but as time went on I could feel myself fading away…They were pelting me with questions and I couldn’t locate the answers” (Jacobs 107)."

"The corpulent Gaines relished jokes about his 240-pound size and his Santa Claus-like hair and beard. Born in New York and graduated from New York University, Gaines took over his father Max’s publishing firm, EC, in 1947. Prodded by its failing fortunes, he made the company a successful pioneer in the horror comic genre, publishing such strips as “The Vault of Horror” and “Tales From the Crypt.” Less controversial series included “Saddle Justice” and “Moon Girl.” In 1952 Gaines launched Mad as a 10-cent comic book titled “Tales Calculated to Drive You MAD.” Although he staunchly denied that horror comics had any connection to juvenile crime, Gaines was the object of congressional scrutiny in 1955, testifying at widely publicized U.S. Senate hearings."

"Gaines may have been the last publisher to computerize, still keeping his circulation figures in hand-penciled ledgers well into the 1980s. Like other publishers, he frequently lashed out at a national decline in reading. Reluctantly, Gaines agreed to produce a videodisc as the magazine’s “commemorative issue” on its 30th anniversary in 1982. “Those people who don’t read, we’ll give ‘em TV,” Gaines groused."

"Bill Gaines was the publisher, and Al Feldstein the editor, of EC Comics, a legendary but short-lived publisher (circa 1950-55) of some of the greatest science-fiction, crime, war, humor and horror comics ever created, that featured artwork by some of the greatest comic-book illustrators to grace the field, and is considered a high-water mark for the medium. The stories that Gaines and Feldstein co-wrote were not the typical comic-book fare of the previous decade. Coming of age in the same postwar era that began to examine the darker underbelly of American society, producing new cinematic genres like film noir, Gaines and Feldstein’s eight-page stories (four to an issue) took a similar darker and more adult turn: EC’s horror comics were more horrible than any before (or since). Their war comics were anti-war comics. Their science-fiction stories had ironic endings that predated The Twilight Zone’s. And their crime and suspense titles featured stories steeped in social and moral issues that had never before been tackled in comics (or most of the larger popular culture) — bigotry, racism and anti-Semitism — which reflected the traditional social and moral aspects of the Judaism of Gaines’ and Feldstein’s upbringing. These were the seeds that would grow into both the underground and overground comics revolutions of the 1960s."

"Gaines says his father, Max, an advertising man, invented the comic book. Gaines senior conceived the idea of producing small, hand-lettered color pictorials for department stores to use as giveaways. "As the family legend goes, he came up with the idea of putting a 10-cents sticker on them and putting them on the newsstand," Gaines said. The comics moved so quickly that he was able to persuade Dell Publishing Company to back him. His first comic book was called "Famous Funnies.""

"It wasn't a patriotic thing," he said, laughing. "I was flunking out of school and I just wanted to get the hell away from home. The only problem was I was a physical wreck and nobody would take me." After being turned down by the Army, Coast Guard and Navy (he didn't even try the Marines), Gaines went back to his draft board and requested to be drafted. It worked. He was the first 20-year-old from his district to go during World War II. He was drafted into the Army Air Corps and trained as a photographer. But after his training at Lowry Field in Denver, he was assigned to a field in Oklahoma City that had no photo facility. He was put on permanent KP duty. He loved it. "Being an eater, this assignment was a real pleasure for me. There were four of us, and we always found all the choice bits the cooks had hidden away. We'd be frying up filet mignon and ham steaks every night. The hours were great, too. I think it was eight hours on and 40 off."

"Gaines says the comic-book business was subject to the same intense scrutiny that was applied to baseball in the 1920s and to movies in the 1940s. Gaines says the strict censorship crippled the comics industry. In the '50s, he says, there were 700 separate comic books with circulations of up to 400,000. Gaines said those figures began plummeting almost as soon as the censors took on the industry. Now, he says there are only 130 titles in comic books, with an average circulation of 150,000 each."

"In a way I was responsible for the crackdown, too," Gaines admits. "Some of the stuff I was publishing at that time was so rough that they had a Senate subcommittee investigating comics. Many thought that we were causing juvenile delinquency. When you look at it now compared with the material that is being published today, that stuff was innocuous. At that time, though, it was pretty rough." Gaines avoided censorship in another way. He has never accepted advertising in MAD and says this is the most effective way of maintaining freedom in picking material for the publication. "I don't know if anyone remembers it anymore, but I got this idea from a newspaper called PM that was published in New York in the '40s," said Gaines. "They were liberal and I was always intrigued with their concept — a paper refusing ads so they wouldn't have any censorship problems."

"PM was edited by Ralph Ingersoll, who had made a name for himself at Time magazine, and published by Marshall Field, the Chicago-based department store magnate who went on to found Field Newspaper Enterprises. The newsstand price of PM was a nickel at a time when the N.Y. Daily News sold for 2 cents and the N.Y. Times, 3 cents. It began publishing in 1939 and ceased operating in 1946. "Ingersoll was my hero," Gaines laughs. "I did what he did only I got away with it. Seriously, though, when you consider the kind of material we publish, it makes sense not to accept ads. You can't take money from Pepsi and spoof Coke." It's been for that reason that Gaines has never brought MAD into other forms of the media as some of his rivals — most notably National Lampoon — have done. "First of all it's really a hard thing to do," he explains. "Many people have tried it. Look at Monty Python, who are just incredibly funny. They have never been able to do anything successful in print.""

"Gaines says he misses the old days when he was an active plotter in the editorial side of his operation. With the success of MAD, he was forced out of editorial into the business end of the company. He sold the magazine to Warner Communications in 1960 and has stayed on as publisher. His fondest memories, he says, are the days when he and Al Feldstein were putting out four comics a week. "We had a western love comic called `Western Romances' and we did a column for the lovelorn called `Chat with Chuck,' " he mused. "We were Ann Landers types but unfortunately we didn't give her kind of answers. God knows what stupid things we said. It was a lot of fun in those days, being involved in the creative process. Once MAD came along it was business for me. Business isn't that much fun but I guess you have to have both."

"Gaines was a comic-book publisher by accident. The accident involved a motorboat on Lake Placid, and had killed his father, Max, who was the founder of EC Comics. The name stood for Educational Comics, and its proudest product was “Picture Stories from the Bible.” EC Comics also put out “Picture Stories from American History,” “Tiny Tot Comics,” “Animal Fables,” and “Dandy Comics”—nothing that would have attracted the attention of a psychiatrist. William had had no interest in his father’s business. He was studying to become a high-school chemistry teacher when Max died, in 1947, and at first he left the operation of the company he had inherited to others. But he soon became involved, and, along with his editors at EC (renamed Entertaining Comics), Al Feldstein and Harvey Kurtzman, he began producing cleverly drawn, literate, artistically self-conscious, and unapologetic pulp: “The Crypt of Terror” and “The Vault of Horror” (horror comics), “Frontline Combat” and “Two-Fisted Tales” (war comics), “Shock SuspenStories” (topical tales with O. Henry twists, the sort of thing Rod Serling would later do on “The Twilight Zone”), “Weird Science” and “Weird Fantasy” (science fiction). Gaines was a living symbol of the industry as Wertham had described it—and he had volunteered to testify. He sensed the seriousness of the threat that Wertham and the Senate committee posed, and he seems to have genuinely believed in the integrity of his product. But his testimony (partly because the effects of the Dexedrine he had been taking when he was preparing his statement wore off halfway through it) was a catastrophe. Many people, then and after, thought that Gaines destroyed the industry."

"Gaines was not a stupid man, but, as Hajdu points out, he was in the position many liberals find them-selves in when they set out to defend the freedom of artistic expression: he claimed that comic books that treated social issues in a progressive spirit were good for children, and that comic books that were filled with pictures of torture and murder had no effect on them. If art can be seriously good for you, though, it follows that it can be seriously bad for you, and that is the point at which censorship enters the picture. The committee was not interested in debating the merits of comics that treated social issues in a progressive spirit; it was interested in the claim that horror and crime comics were merely anodyne entertainment, and they twisted Gaines like a pretzel."

"As Gaines must have realized too late, it was absurd to defend comic-book art by a standard of good taste. Disrespect for good taste was one of the chief attractions comic books had for pre-adolescents. Grossness is a hot commodity in the ten-to-fourteen demographic. Gaines, Feldstein, and Kurtzman were justifiably proud of their ability to reach that market with a superior gross-out product. That’s what Gaines, in his post-amphetamine fog, meant by “good taste.” It’s not what most people mean."

"Where, in a concept of Cold War culture, does the panic over comic books fit? As Hajdu points out, Communism was never a real issue in the controversy. Since comic books were attacked in the Daily Worker (as weapons of American cultural imperialism), Gaines at one point suggested that criticism of comic books was anti-American, another argument that did not go far with the senators."

"Bill Sarnoff: A couple of incidents kind of show the type of fellow he was and that we knew and loved. The first was back in about 1975, a little earlier than that, when Warner Communications took over the big building in Rockefeller Plaza and a lot of the divisions were moving into the building. And I went over and I asked Bill, I said, "How would you like to move Mad magazine with the rest of the company?" And he said, "Well, if you were a grown child, would you like to live with your parent?""

"Bill Sarnoff: Warner has-had and has-a unique management philosophy, wherein the executives are rewarded enormously well when they perform enormously well. And I went to Bill and I said, "Gee, uh, Bill, I'd like to work out some sort of profit sharing arrangement with you. Not taking anything away. Whatever you're getting you're getting. But this is just added to it. We'd like to introduce something where you have a possibility, as Mad does better, that you'll be rewarded even more meaningfully." And he said to me, "Bill, I'm really not interested." [small laughs] I said, "Really, Bill, there's no hidden agenda here." [big laughs] "This is only-this can only be good for you. Please believe me, only be good." And he said, "Bill, I'm really not interested." And I said, "Well, okay. You know, if it doesn't make sense to you. But, could you tell me why?" And he said, "Sure. Because that philosophy assumes that I'm not doing everything I can to make Mad as good as it can be. And I tell you that's never been the case, and it never will be the case. So if you think that by giving me a profit incentive I'm gonna work harder, you're absolutely wrong and you've got the wrong guy here." And that's the kind of guy Bill was."

"Maria Reidelbach: He was impossible and he was impossible in many ways. He ate impossible amounts of food. He was impossibly disheveled. His laughter was impossibly loud and long. At first, I thought it couldn't be genuine, but it was. And Mad, in the middle of the 1950s, when the competition was getting bigger, glossier and more colorful, it was ridiculous to launch a small black and white newsprint magazine that dared-no, it delighted in poking a finger at the American dream. It was suicide not to take advertising. It was impossible. Yet, forty years later, it's hard to name another magazine that's had the impact that Mad's had on American culture. Bill immensely valued Mad's artists and writers, yet he was stubborn about artist's rights; refusing to bend just a bit. He was just impossible. He cared an inordinate amount for an extraordinary number of us. About our health and our love lives, our joys and our sorrows. How could one man have such love in him? It was really impossible."

"Lyle Stuart: At a certain point there were some nuts. One was a psychiatrist, one was an attorney and these nuts felt that comic books were what ruined America. This is before Ronald Reagan, before Nixon. So the Senate committee decided they could get a lot of publicity, a lot of mileage out of investigating comic books. Everybody ran for cover and I, who was then Bill's business manager, suggested that he volunteer to be a witness. And he was the only person who volunteered to be a witness to defend comic books. And we stayed up all night and wrote a speech that is now a historic speech. And he delivered it very well. And when he was through, there was some antagonism on the part of the attorney for the committee because inadvertently we had offended him. These were the days when you were either pro-Franco or anti-Franco depending on how you felt about the Catholic Church and so forth. And Bill ended the speech saying "Let's not make this country another Russia or Spain.""

"Joe Raiola: Bill was an atheist, and I used to talk to him about this because you know it occurred to me that as atheists went Bill was a very religious atheist. I remember one day I went to his office [and] said, "You know, you are a religious atheist. Because you don't believe passionately. You don't believe as much as people who do believe, believe. And you look kind of like a guru, kind of like a perverted or deranged Zen master. I think you're a religious person after all. I don't believe this atheism bit." And he said, "Please, will you please get the hell out of here.""

"Joe Raiola: [T]here was one story that really best typified my relationship with Bill. Like I said, we disagreed on everything. I'm skinny, he's fat. He's hairy and I'm bald. And I'm a healthy guy. I'm into nutrition and vitamins and vegetables and bean sprouts. And Bill would eat anything that moved. I mean this is a guy who ordered steak by mail and got cases of frozen beef in his apartment. So one day Bill calls me into his office. He says, "I want you to go downstairs to the corner of 53rd Street and Madison. It's gotta be 53rd and Madison. It's gotta be the southwest corner. There's a hotdog vendor on that corner. I want you to get me two hotdogs with mustard, sauerkraut." I said, "Bill, I can't do that." I said, "Bill, not only can't I do it, but you don't want me to do it." He said, "Why don't I want you to it? I'm hungry." I said, "Because you know I'm a vegetarian. You know it would be against everything I stand for. It would be against my principles. I am a man of integrity, Bill, like you are. To go down and buy you hotdogs and bring them to you... you would have no respect for me. So you don't want me to buy you these hotdogs." And Bill said, "Wrong!" He said, "Not only do I want you to buy me these hotdogs, but Joe, you are the only person in the office I could trust to bring the hotdogs back without eating them.""

"Nick Meglin: Bill Gaines had a logic unique unto himself. For instance, he could stop everyone from their work at any time, to try to hunt down the culprit who made a dollar twenty-seven personal phone call to Des Moines without recording it. When John Ficarra made him aware that the time devoted to this investigation-the actual cost per hour for eight of us to search through our address books, calendars, appointment books-could cover the cost of a three hour call to Tibet, he just snarled and said, "I had to assemble you here anyway to talk about our trip. This year I'm taking you all to Switzerland and Paris." And so, thirty artists, editors and writers trekked through the wonders of Europe, all on the dollar twenty-seven we saved tracking down a phone call to Des Moines."

"Look, if you're going to do what you want, I'm going to do what I want, but you're not going to like it."

"I’m eager for a president who’ll nurture his capacity for growth in our nation itself. That’s why I support Joe Biden."

"I'm not excusing the racism"

"As a black man, I am not scared of another person because their race or ethnicity, but this man IS threatening with his body language and screaming. I don’t know Amy Cooper at all, I’ve said hello to her because that’s what dog owners do to other owners in the park, but when I saw that video, I thought, I cannot imagine if he approached her the same way how she may have genuinely been afraid for her life. people need to understand this man is a dick and probably did threaten her. You can read his Facebook post where he tells the world he told her “you’re not gonna like what I’m going to do next.” That’s a threat. And she has no idea if this man is pulling out a knife, a gun, or a treat that (sic) laced with a rat poison. If I wasn’t who I was, I would of called the police on that guy too. Sure, we’re breaking the rules by having our dogs off leash in a park that has 80% of its area off-leash hours, but that gives that guy no authority to accost people in such manner. My two fellow dog owners have had similar situations with this man, but don’t feel comfortable coming forward because they’re white."

"Christian Cooper’s encounter in Central Park was another wake-up call for our nation and a reminder of the work that remains to root out hate and intolerance. I'm grateful for Christian's support and know with folks like him leading the way, we'll get the job done."

"But as his poise in the infamous video reveals, Cooper is well-suited to this teachable moment for America. As a gay black birder, and as someone who has helped comic books become more inclusive, he knows the cultural forces that try to reduce him to something he’s not — and has the will and the confidence to defy them."

"Suddenly I heard this loud booming voice behind me, y'know, screaming something to the effect of, y'know, "GET OUT OF HERE! YOU SHOULDN'T BE HERE!" or something like that. Whenever you hear something loud you naturally just startle a little bit, and I turned around and immediately saw, y'know, this man standing there, looking, y'know, like he's VERY annoyed that I'm in there invading the space. And then he uttered something that, y'know, sounds to me like a threat. That's he's going to do something to me I'm not gonna like, and I'm like woah-woah-woah and I'm trying to figure out what does that mean? Is it a physical attack on me? Is that to my dog? What is he about to do Before I could even figure it out and process this, he has this giant... I don't know if it was as fannypack-slash-knapsack that's on his front and he pulls out dog treats. I'm like -what the heck is this guy doing?- and I look up and y'know he's holding these dog treats in one hand and a BIKE helmet in his other hand, and I'm thinking -oh my gosh, is this guy like, going to like, lure my dog over and try to like, hit him with his bike helmet?- And if my dog gets over there am I gonna get hit by this bike helmet if I end up over there?"

"He threatened her, I thought, stunned. He says himself that he approached her — a woman alone in a wooded area. He tried to lure away her dog. How was this the first time I was reading these details? Had I just missed them in the other stories I’d read? I started looking at the Cooper coverage more critically. A Washington Post article summarized the conflict this way: Christian Cooper “approached the dog’s owner early on Monday with a request: Could she leash up the canine, as the park rules required? Amy Cooper said she would be calling the police instead.” The implication of this and most other accounts was that Amy Cooper called the police simply because he’d asked her to leash her dog. And even though the article included a link to Christian’s Facebook post, the text of the article failed to mention the threat at all. Why had the Post left it out?"

"Even if my main product is webcomics, I know that there's a whole generation for whom a real author is someone who makes books."

"The names of the characters in Pepper & Carrot all actually follow the names of plants, herbs, and for the animals that accompany them, vegetable names. So for all the spice names, what inspired me was simply going to do my shopping at the traditional market, there are always grocers' stalls, and then I saw 'coriander', I saw 'saffron', I saw 'pepper', and there it was. There was 'poivre' but in French it sounded too much like 'poivrot'. So I said to myself "We're going to avoid 'poivrot' and 'carrot'", which didn't work very well, which is why I kept the English 'Pepper'."

"Managing everything on this project is hard and challenging, but extremely rewarding on a personal level. Pepper&Carrot is the project of my dreams."

"Before 2000 [and the internet], you had to pay for a book or go to exhibitions to see new artworks. And suddenly many artists were on the internet, and you could see thousands of artworks daily."

"It's a dream come true! Every artist I know would love to make their own comics. Would love to get paid for making it, and to keep the control of it, about the stories, about the heart."

"I'm really happy if Pepper & Carrot can bring more money for external people."

"I'll never regret making Pepper&Carrot so open."

"That was a really bad week: [I] had to spend a lot of money and my productivity was totally ruined."

"My grandmother remains—despite her futile efforts to make me more ladylike—one of the most feminist women I’ve ever had the pleasure of knowing, and yet she would never have carried that label. Because so much of what feminists had to say of her time was laden with racist and classist assumptions about women like her, she focused on what she could control and was openly disdainful of a lot of feminist rhetoric. But she lived her feminism, and her priorities were in line with womanist views on individual and community health."

"Learning to defend myself, to be willing to take the risk of being a bad girl, was a process with a steep learning curve. But like with so many other things, I learned how to stand up even when other people were certain I should be content to sit down. Being good at being bad has been scary, fun, rewarding, and ultimately probably the only path that I was ever meant to walk."

"No woman has to be respectable to be valuable."

"One of the biggest issues with mainstream feminist writing has been the way the idea of what constitutes a feminist issue is framed. We rarely talk about basic needs as a feminist issue. Food insecurity and access to quality education, safe neighborhoods, a living wage, and medical care are all feminist issues. Instead of a framework that focuses on helping women get basic needs met, all too often the focus is not on survival but on increasing privilege. For a movement that is meant to represent all women, it often centers on those who already have most of their needs met."

"There’s nothing feminist about having so many resources at your fingertips and choosing to be ignorant. Nothing empowering or enlightening in deciding that intent trumps impact. Especially when the consequences aren’t going to be experienced by you, but will instead be experienced by someone from a marginalized community."

"Sometimes being a good ally is about opening the door for someone instead of insisting that your voice is the only one that matters."

"Too often white women decide that when they feel uncomfortable, upset, or threatened, they can turn to the patriarchy for protection. Because they don't want to lose that protection (dubious as it is), they stand by when it's convenient, and challenge it only when it directly threatens them. Yet, they know they benefit from it being challenged, and thus rely on others to do the heaviest lifting. They fail to recognize the conflicted relationship they have with the patriarchy includes a certain cowardice around challenging not only it, but other women who have embraced it."

"Poverty is an apocalypse in slow motion, inexorable and generational."

"An intersectional approach to feminism requires understanding that too often mainstream feminism ignores that Black women and other women of color are the proverbial canaries in the coal mine of hate."

"America loves the myth of a meritocracy more than anything else, because it lets us ignore the reality of the impact of bigotry."

"For women of color, the expectation that we prioritize gender over race, that we treat the patriarchy as something that gives all men the same power, leaves many of us feeling isolated."

"Politeness as filtered through fragility and supremacy isn't about manners; it's about a methodology of controlling the conversation."

"The problem has never been the ways that victims don’t tell, so much as it has been that some victims aren’t seen as valuable enough to protect."

"We have to be willing to embrace the full autonomy of people who are less privileged and understand that equity means making access to opportunity easier, not deciding what opportunities they deserve."

"There is no shame in asking for help; it takes strength to admit you need it."

"I wanted also to be very clear for young people coming out what their work is. And your work is not to make your mom accept you. That's your mom's work. Your mom has to work to understand what she needs and ... the best ways that she can love you. Your work is to just live authentically and as honestly as you can."

"When you lose yourself, dig deep into your ancestry, because you will find the pieces there."

"Just like Captain America did in 1941, and who knew we'd need America Chavez to punch Nazis in 2018."

"That myth of having to go it alone and having to be tough doesn't serve us...it's in that space where softness and vulnerability meet strength that we transcend our everyday selves..."

"And then suddenly I feel tears in my eyes. I bring up to cover my face and when I speak, my voice is all high-pitched and wobbly. "I feel like shirt." "Oh, Charlie." Tori puts down her crisps and pulls me into a hug, running one hand over my back. "It's okay." I shake my head into her shoulder, trying not to get tears all over her dressing gown. "It's not okay... it's really not okay..." She lets me cry into her shoulder for a few minutes before she speaks again. "I think you need to talk to him.""I don't know what to say," I whisper. "Just something. Anything." "He hates me." "That's untrue." "He's angry." "That's temporary." "I don't know what to say." "It doesn't matter what you say," she says. "You just have to say something.""

"When people think of emo, the My Chemical Romance frontman usually comes to the front of mind because of his immense impact on the genre. Taking notes from Queen and Britpop, Way is a phenomenal storyteller whose theatrical, soul-baring performances make MCR’s songs feel like high drama. From the melodic “Early Sunsets Over Monroeville” to the experimental cabaret banger “Mama,” Way’s vocals ripple with emotional intensity and passion, leaning into darkness as much as hope. Quite simply, no other singer could fit this band."

"Even when you’re ready for it, nothing sneaks up on you like grief."

"“You’re telling me you can hack into an FBI agent’s phone?” “Only when they’re dumb enough to use their personal one instead of a secure line. Swear to Steve Jobs, whoever invented working from home should get a big wet kiss on the mouth.”"

"302 phone number. Delaware. Truthfully, I didn’t think they allowed anyone to live in Delaware anymore."

"In every life, whatever you do, you either destroy or create."

"He felt…good, which should’ve been a sign. If life taught Zig anything, it’s that the universe saves its best punches for when you least expect it."

"I hate watching cable news; it makes you dumber."

"I know why you’re here, Mr. Zigarowski. Your commitment to repetition makes it nauseatingly obvious."

"There are only four different magic tricks: You make something appear. You make something disappear. You make two things change place. Or you change one thing into something else. Everything in magic is a variation on those four."

"“How old are you, Mr. Zigarowski? Late forties?” “Fifty-two.” “Mhmm. You got lucky with that head of hair. Lady Time picks her lovers with care.”"

"You say you’re a mortician? You should know better than anyone. Just because you’re not dead doesn’t mean you’re alive."

"Sure enough, as Colonel Hsu stepped into his office, she gave him a big thumbs-up with a double pump. She was a politician. If she was leading with charm, bad news was coming."

"She thought about praying, but learned long ago there’d be no answer."

"Years ago, his stepdad had told him that anyone who drives a BMW has a small penis."

"“I love that you’re one of the kindest people on the planet, Ziggy, but I’ve seen teenagers in horror movies who’re less predictable…car washes that were less predictable…” “I get the point, Waggs.” “Ferris wheels that were less predictable!”"

"Years ago, during her first visit, Nola came here to do good, to set things right. But like any decision you look back on through the lens of time, what you marvel at most is how naïve you were."

"As Huck’s about to learn, the worst prisons are the ones we create for ourselves."

"A pedophile is a person with a sexual attraction to or predisposition toward children. That’s not Slade Wilson. If it was, I’d have written the character as a man struggling with those kinds of impulses. I didn’t write him that way because that’s not who the character is. Slade couldn’t stand Terra. He was only using her to help him kill the Titans. Which does not excuse his heinous behavior nor does it, I suppose, fully exempt him from the label. But labeling him a pedophile diminishes a very serious global threat to children by applying the term generically and often disparagingly as a dismissive aspersion rather than treat the term and condition with the gravity with which it must be considered."