comics-authors

"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…"

"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."

"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…"

"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…"

"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…"

"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."

"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…"

"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…"

"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."

"[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."

"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."

"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."

"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."

"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."

"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."

"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."

"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."

"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."

"All you are is the Go you play."

"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."

"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."

"I always thought this Marston was a phony."

"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."

"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."

"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."

"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 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."

"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 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 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."

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

"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."

"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."

"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."

"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."

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

"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'."

"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."

"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."

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

"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."

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