Comics

"If I were a better artist, I'd be a painter, and if I were a better writer, I'd write books — but I'm not, so I draw cartoons!"

"Female comic book characters are often treated as secondary to the main male character whom they assist in their current endeavour. They are often transformed into the Other, objects acted upon by the male character for his own ends through sub-par plot writing, as evidenced by such tropes as the ‘damsel-in-distress’. There have been a few characters treated as active subjects capable of continued growth. X-Men featured both Kitty Pryde and Jubilee as young female characters with complex emotions and desires. Kitty’s desire to be treated as an adult is blatantly expressive of Levinas’ concept of recognition. Their costumes, while occasionally sexualized, are overall more expected with elements that can be loose fitting and functional over showing off their sexuality. The interesting problem is that both of these characters are very young; teenagers in fact. By placing them below the legal and moral age of consent, the publishers essentially free themselves from the expectation of sexualizing them for their readers. They fit into an Otherness that shields them in a way similar to Haraway’s cyborg."

"I think it's sad and terrible. I think that too many creators got on the "Bad Girl" bandwagon and did nothing but pander and exploit their own creations. To be honest, many creators that I've talked to solely created those characters to be exploited and exploitative. Now mind you I don't see this as a gender thing as much as I see it as a genre thing. Everybody is out for the quick buck and too many are too lazy to try to come up with something original. I know it's scary but if tomorrow's hot comics are about one-legged Mongolian dwarfs, than you can be sure that more than one respected creator will be jumping all over the concept but will claim to be giving it "their spin." (...) The worst news is that it's a million times worse in other parts of the entertainment field, mainly because there is more money involved and fewer morals."

"Whether or not they know how to say it, superheroes don't kill because they believe the system needs help, but isn't irreparably broken. We know this for two reasons: one, they talk about it so dang much. Fixing Gotham. Saving Hell's Kitchen. And two: If they didn't believe the system was ultimately fixable and desirable, they wouldn't be punching criminals and corrupt officials while befriending the good cops and lawyers. They'd be tearing that system down. They'd be Nolan's Two-Face, Moore's V, they'd be Ra's al Ghul or Magneto. They'd be the Punisher."

"It's a pretty scary list, scary mostly for what it says about (male) comics creators. What I think about this is the guys have good intentions, to use more female characters, and they try consciously to make them strong and positive role models and all that good stuff, but unconsciously it's very hard for many men to see women as something other than victims. (...) And where it comes from in many men is that men are real and women are vehicles for men's needs. One of those needs is to feel strong emotions such as grief, anger, pain, maturity. There are any number of movies and books in which a weak man becomes a hero, or faces up to life, because a woman has been raped or murdered or has committed suicide. Did the writer realize he was (once more) victimizing women? (...) I just checked out the web site after all, to see the reactions of (some of) the other creators. It was interesting to see how many of the men felt called on to defend (or apologize for) their own murdered female characters. You know, I assume, of the point made by people like Trina Robbins that the powers of female characters in the '60s showed a good deal about the male creators-- a "girl" who turns invisible, another who makes herself tiny and buzzes around men annoyingly (when she's not shopping)..."

"PBS, “The Comic Book Code”, Culture Shock: Flashpoints."

"After World War II readership dwindles for popular superhero titles, such as Superman, Wonder Woman, and The Spirit, and many comics turn to gory, true-life stories, or tales of horror and the supernatural. E.C. Comics' Vault of Horror, Crypt of Terror, and Haunt of Fear cram their pages with severed heads, drug use, and graphic violence. Some of the most popular of these extreme stories come from the pen of comic artist Jack Cole. Throughout the decade, attacks against the violent comics mount. Citizens' groups and religious organizations pressure publishers and news dealers to drop the most offensive lines. Newspaper editorial pages and national magazines debate the influence of comics on the young. In 1954 the U.S. Senate Subcommittee on Juvenile Delinquency holds hearings on whether comic books inspire juvenile delinquency. A lead witness, psychologist Dr. Frederick Wertham, testifies that comics "create a mental readiness for temptation" and create "an atmosphere of deceit and cruelty" for children. He even attacks Superman for "arousing fantasies of sadistic joy in seeing others punished while you yourself remain immune." E.C. Comics publisher William Gaines speaks in the comics defense, emphasizing his stories' endings, in which the criminals always pay for their crimes. "Good taste" is his only criterion. Senator Estes Kefauver asks if an E.C. Comics' cover displaying a woman's severed head and a bloody axe is Gaines' idea of good taste. Backed into a corner, Gaines boldly answers 'yes.' The exchange makes the front page of the next day's New York Times."

"Of course, to work alone is both harder and easier. There's nothing fabulous about drawing comic books. When you finish, you're relieved and happy, but it's the middle of the night and there is no one to share your joy with. With filmmaking you have a party with your crew and then the premiere. All that stuff you miss when you just draw manga. But there are drawbacks to filmmaking too: sometimes it's really difficult to get your ideas across to your crew."

"As for some characters being dead and then alive again -- that happens to both genders in comics. Look at Wonder Man. The thing that, to my mind, separates the male and female characters are the sex crimes. Only the female characters are victims of sex crimes; male characters are never subjected to that. (There may be one or two exceptions when the male character was sexually abused as a child, but that's about it.) It is the number and frequency of THAT which troubles me. (...) A female soldier in battle may suffer wounds; that's different than a woman being stalked, kidnapped, and having violence done to her in civilian life. The former incurs the physical damage because of her occupation; the latter, strictly because of her gender. A female cop may be shot because she is a cop, not because she is a female. That, to me, is part of the difference."

"Anyone who reads comics can tell you, every main character has an origin story -- the fateful and usually expectations sequence of events that made them who they are."

"I am convinced that comics should not only make people laugh. For this in my stories found tears, anger, hatred, pain and end not always happy."

"The science fiction and manga readers had the same ... Most fiction writers then had had some experience in the comic and some of it had even been absorbed completely ... I can not understand why those who love science fiction also loves the manga and vice versa. There are two kinds characterized by a biting satire and at worst are called "extravagant". ... Both are aimed toward the future, and therefore contain romantic adventures for young people."

"The new readers have mentality, fashions, feelings completely different from those of previous readers. Should I draw comics following my first readers in their growth? Or should I stop doing the cartoonist? ... More or less every three years a cartoonist for children is cornered. I, too, every three years, living a crisis. So I decide and I get back to work for my new readers as if they were the first. ... This is why I am certain that the good work that will draw able to make happy readers of all time."

"The children face problems such as violence, abuse, suicide etc. that medicine can not heal. It will never help these children psychologically and be his support ...? Even when they are in difficulty, in principle they do not speak with adults, or confide about their true intentions. However, expect some serious messages from adults. I will continue to send messages through manga. Children avoid them what force or what they want to impose anything. That is why I will continue to look for those things that [...] inspire their hearts."

"Comics are an international language, they can cross boundaries and generations. Comics are a bridge between all cultures."

"Before being able to comment on the tragedies which have befallen only female comic characters as any kind of a trend, I would need to see a similar list of the kinds of tragedies which have befallen MALE characters in direct proportion to the number of female characters vs. male which exist throughout the entire industry. (...) As a writer with at least over 500 story credits (I stopped counting. Math isn't my strong suit), I will say that professionally speaking, I believe in treating ALL my characters, male, female, black, white or Kryptonian with equal measure respect and abuse. Basically, you have to respect them enough to abuse them in order to see how they will handle the adversity. Remember, monthly comics publishing is akin to a soap opera with more punches thrown. Characters HAVE to be made to endure both physical and emotional adversity in order for the lifeblood of the genre -- i.e. MONTHLY serial stories -- to work. When you've done more work on the subject, I'd be glad to discuss your results."

"We love our superheroes because they refuse to give up on us. We can analyze them out of existence, kill them, ban them, mock them, and still they return, patiently reminding us of who we are and what we wish we could be."

"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."

"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."

"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."

"The British novel has become so thin-blooded and out of touch with anything. And television drama's been pretty much emasculated. Comics is one place where no one's looking. And you get this work out, which would once have been some bizarre film by Lindsay Anderson, but now there'd be no possible way of getting that funded. Comics' marginalisation allows you to do a lot that you wouldn't be able to do otherwise."

"I stopped reading the comics page a long time ago. It seems that whoever is in charge of what to put on that page is given an edict that states: “For God’s sake, try to be as bland as possible and by no means offend any one!” Thus, whenever something like Doonesbury would come along, it would be continually censored and, if lucky, eventually banished to the editorial pages. The message was clear: Keep it simple, keep it cute, and don’t be challenging, outrageous or political. And keep it white! It’s odd that considering all the black ink that goes into making the comics section (and color on Sundays) that you rarely see any black faces on that page. Well, maybe it’s not so odd after all, considering the makeup of most newsrooms in our country. It is even more stunning when you consider that in many of our large cities like New York, Los Angeles, or Chicago where the white population is barely a third of the overall citizenry, the comics pages seem to be one of the last vestiges of the belief that white faces are just…well, you know…so much more happy and friendly and funny! Of course, the real funnies are on the front pages of most papers these days."

"My main point about films is that I don't like the adaptation process, and I particularly don't like the modern way of comic book film adaptations, where, essentially, the central characters are just franchises that can be worked endlessly to no apparent point. In most cases, the original comic books were far superior to the film."

"I think it’s a rather alarming sign if we’ve got audiences of adults going to see the Avengers movie and delighting in concepts and characters meant to entertain the 12-year-old boys of the 1950s."

"I haven’t read any superhero comics since I finished with Watchmen. I hate superheroes. I think they’re abominations. They don’t mean what they used to mean. They were originally in the hands of writers who would actively expand the imagination of their nine- to 13-year-old audience. That was completely what they were meant to do and they were doing it excellently. These days, superhero comics think the audience is certainly not nine to 13, it’s nothing to do with them. It’s an audience largely of 30-, 40-, 50-, 60-year old men, usually men."

"Why should murder be so over-represented in our popular fiction, and crimes of a sexual nature so under-represented? Surely it cannot be because rape is worse than murder, and is thus deserving of a special unmentionable status. Surely, the last people to suggest that rape was worse than murder were the sensitively reared classes of the Victorian era … And yet, while it is perfectly acceptable (not to say almost mandatory) to depict violent and lethal incidents in lurid and gloating high-definition detail, this is somehow regarded as healthy and perfectly normal, and it is the considered depiction of sexual crimes that will inevitably attract uproars of the current variety."

"Celestin, Please don't. You can't!"

"Belldandy:(Sobs) Ah, not this! I can't do anything to do to stop this! -- OVA #4: Evergreen Holy Night"

"Belldandy: My name is Belldandy, from the Goddess Relief Office. I have come to fulfill a wish of yours. However, I can only do one. Um... If you don't mind me asking, what is Skuld doing in Morisato-san's house? And Urd too..."

"You're mistaken! Why... why have you become like this? You were the one who taught me that all life was precious, Celestin! I want to continue growing old with the living beings on Earth. Therefore... I will protect this world!"

"Ahh this sucks! I can't leave such an ugly blueprint as it is! Such lovely equations! -- OVA #3: Burning Hearts On The Road"

"Oh, what an elegant design -- and sooo efficient, my sweet Mister Bug-zapper!"

"Because, dear sister Urd, I can't stand your arrogant, selfish, violent, pushy, impulsive, and stupid behavior! And, because, unlike you, Belldandy is honest, selfless, gentle, and pure! That's why!"

"I'm not a child! Nyahh! (Sticks tongue out at Keiichi)"

"Get me a popsicle while you are out!"

"You... you dare to show yourself in front of us? (to Celestin)"

"Oh spirit of thunder,swift in the sky, you who makes the earth and air tremble with your voice! I, your servant call upon your awesome power! Power that smashes, i call upon you now! Become Thunderbolts in my hand! Destructive Thunder!"

"You who are of the highest rank on Heaven's Supreme Council... to think that you would rebel against Yggdrasil and then to lead the Guardian of Time to destory herself... Your crimes cannot be forgiven. Celestin, your flesh will be frozen and your soul will be sealed in a Level 17 life form and banished to the moon!"

"Truth is we cannot afford to lose such a promising goddess as Belldandy. He was important to her; she might not be able to let go of him."

"The gods have, since ancient times, created methods to test humans. The system God has created... it opposes all living creatures and splits the world. It condemns people to roles. Heaven pretends they can't see the suffering of the people. Only the lucky few find the way. The pain of those beings reaches deep into my heart. I want to counter this discrimination and extend a helping hand. In order to do that, the only thing that can be done is to create a new system! See... this is what God has wrought... I cannot allow such a system to continue! This is the will of my quarrel with Heaven. I would like you to come with me. If I had your help, even the weak-of-heart could have their wishes fulfilled. So that everyone can be equal and happy, I wish to reach out."

"The gods only think of themselves. Don't steal any more of my hopes!"

"Heidegger, who took Kierkegaard's philosophy further, comes even closer to describing the Punisher: 'Since we can never hope to understand why we're here, if there's even anything to understand, the individual should choose a goal and pursue it wholeheartedly, despite the certainty of death and the meaninglessness of action.' That's sure the Punisher as I conceived him: a man who knows he's going to die and who knows in the big picture his actions will count for nothing, but who pursues his course because this is what he has chosen to do."

"To me, it's disturbing whenever I see authority figures embracing Punisher iconography because the Punisher represents a failure of the Justice system. ... The vigilante anti-hero is fundamentally a critique of the justice system, an example of social failure, so when cops put Punisher skulls on their cars or members of the military wear Punisher skull patches, they're basically sided with an enemy of the system."

"I was fascinated by the Don Pendleton Executioner character, which was fairly popular at the time, and I wanted to do something that was inspired by that, although not to my mind a copy of it. And while I was doing the Jackal storyline, the opportunity came for a character who would be used by the Jackal to make Spider-Man's life miserable. The Punisher seemed to fit."

"I'll say this once, we're not the same. You took an oath to uphold the law. You help people. I gave that up a long time ago. You don't do what I do. Nobody does. You boys need a role model? His name's Captain America, and he'd be happy to have you.... If I find out you are trying to do what I do, I'll come for you next."

"Like Batman, he's motivated by direct personal tragedy, but unlike Batman (most of the time), the men that destroyed his family are alive, known and active criminals. Like Daredevil, Frank Castle looking to clean up the streets of Hell's Kitchen. But unlike Matt Murdock, Bruce Wayne or Clark Kent, Frank doesn't have the skills, influence or education needed to interact with the legal system in any substantive way. Instead, he's just very, very good at killing people, and very, very motivated to do so."

"Gerry Conway was writing a script and he wanted a character that would turn out to be a hero later on, and he came up with the name the Assassin. And I mentioned that I didn't think we could ever have a comic book where the hero would be called the Assassin, because there's just too much of a negative connotation to that word. And I remembered that, some time ago, I had had a relatively unimportant character ... [who] was one of [the cosmic antagonist] Galactus' robots, and I had called him the Punisher, and it seemed to me that that was a good name for the character Gerry wanted to write—so I said, 'Why not call him the Punisher?' And, since I was the editor [sic; Lee had been named publisher in 1972], Gerry said, 'Okay.'"

"Frank Castle has spent years exacting vengeance for the deaths of his family by punishing criminals everywhere. His skull insignia inspires fear throughout the underworld. But Punisher's appeal rests on more than his ability to do what the rest of Marvel's heroes won't. He's a tragic figure – even a profoundly selfish one in some ways. The sad truth is that Frank Castle can't survive without killing, and his new job fulfills him in ways his family never could."

"What Do You NEED?"

"I Eat Food"