Comics

From Wikiquote
Jump to: navigation, search

Comics is a form of visual art consisting of images which are commonly combined with text, often in the form of speech balloons or image captions. Originally used to illustrate caricatures and to entertain through the use of amusing and trivial stories, it has by now evolved into a literary medium with many subgenres.

Quotes[edit]

  • Sad list, isn't it? Further proof of what I have always said: too many (male) writers seem able to think of only two things to do with female characters -- rape 'em or knock 'em up. The dead ones might be the lucky ones. At least I made Wonder Woman MORE powerful. That's one ...
  • ...all our theories about how comics are put together are invariably about time. The duration of a panel's action and the duration between one panel and the next. We haven't added very much to the Eisner-Steranko concept of "sequential art."
  • ...if the form is to say something important, rather than just involve itself in the kinetic thrill of drawn characters chasing each other, then we have to think harder.
  • I don't think that we should seek to define comics on a formal basis. I think that some of the best comics do not involve "sequential images" which is the basis of every formal definition of comics.
  • ...the concept of what comics is gets narrower as we go along. Each writer on the subject who defines comics wants to exclude something. McCloud excludes the single panel so Family Circus and Far Side are out. Blackbeard says there must be word balloons so Prince Valiant is out. Harvey says there has to be a visual-verbal balance. Somebody else says there must be no redundancy of information with words and pictures repeating each other. This is crap. Pictures have illustrated words and words have explained pictures since the beginning of time. Somebody reads a dull comic and extrapolates rules from it. Who do they think they are? There are all these people trying to be the rule-makers and the end result is bad for the art of Comics.
  • The form restricts itself at every turn. For instance, the artist sits before his blank page. If his first picture is a big square one all the way across then he has severely limited his second panel to having to fit in the letterbox space along the bottom. If he divides that in two then that third panel is looking like a sad and defeated cornered animal. That's about all i see when I look at comic books now. Obviously the artist doesn't do it that way; he plans the whole page simultaneously. But it tends to read like he planned it that way, and that's all that counts.
  • [t]he standards of comics include inventiveness, originality, and consistency. The best comics really are great artworks — great by the intrinsic standards of that art form.
    • David Carrier The Aesthetics of Comics p. 95
  • The syllogism that says "Comics are sequential art, Trajan's column is sequential art, therefore Trajan's column is comics" is such a glaring fallacy that I'm surprised it's gotten this far.
  • ...the whole small press movement...[is] the first real upheaval in this country of Comics as a genuine Art - Art being to me a thing which is a lively part of life while commenting on life - as opposed to comics as journalism-cartooning or comics as a collecting-hobby or comics as boys power fantasies.
    • Eddie Campbell Arkensword 17-18, 1986
  • Her husband had been willing to indulge her affection for the comics so long as it was just her, but now their children were growing up and starting to read and he was not convinced that people having adventures in skintight costumes were altogether appropriate. His feeling was that his wife would have to stop reading it, and she was heartbroken because she had an equally strong commitment to the fictional characters she had been enjoying all these years. When you come face to face with that kind of circumstance, it has to be treated with respect. It's like singing on stage and realizing you had an impact on your audience, and using that as an excuse to do your craft better than before.
  • You can go into slow motion or fast motion in a comic book in a way you can't in a movie without drawing attention to it. You can have six panels in a row where the actions are a half second apart, or you can skip years between panels and it just doesn't have the same egregious quality, where, in a movie, Peckinpah slows down the murder and it seems that the body collapse in slow motion; it seems like an entirely different thing when you do that on film and when you do that on the comics page.
    • Samuel R. Delany The Comics Journal 48
  • The viewer is a 'co-producer" of the comics text at a level of involvement and intensity just through the nature of the medium itself.
    • Samuel R. Delany The Comics Journal 48
  • ...in a visual medium, a comics format … the writer works for the artist, in the same that the writer in a movie works for the director.
    • Samuel R. Delany The Comics Journal 48
  • In movies, television, and comics, the operative factor is what some film semiologists have taken to calling 'the gaze.' The gaze is a combination of the gaze of the viewer at the comics page, or television tube, or film screen, modulated and directed by the looks that the characters give to each other and by various objects. I look at character X who looks at situation Y (and character X) in a way that I wouldn't have before. The point, of course, is that the movie gaze, the TV gaze, and the comics gaze are three very different processes. What makes the comic book gaze the priveleged one in my estimation is that the viewer has the greatest control over the comic book gaze, greater than any of the other two. Viewers can control how far way or close to hold the page, whether to go backwards and re-gaze -- and going back in a comic book is a very different process from going back in a novel to re-read a previous paragraph or chapter.
    • Samuel R. Delany The Comics Journal 48
  • You know, I distrust people who 'read' comics … you don't read a comic book. You look at a comic book. While you're looking at a comic, sure, you read the words; as well, you learn to look at the panels in a certain order, in a certain way … if you start out to 'read' a comic book, you're starting out with the wrong mind-set.
    • Samuel R. Delany The Comics Journal 48
  • ...'comic' simply means funny, so the word is inadequate. To tack on the word 'adult' has resulted in a style of magazine suitable for only some adults, glossy comics barely containing their airbrushed breasts, leaving little room for genuine content.
    • Paul Gravett Escape Magazine 1
  • ...the history of comics is mostly just a history of crap.
  • I reserve the right to refuse to like a comic just because there is a girl/woman in it, or someone's decided to take a limp stab at marketing it to girls/women. (...) Push past those posters of giant titties and that one of the impossible pose where some gal is displaying her butt, crotch AND breasts, and that one where the girl looks like she's been oiled up and spanked. Push past all that, my sisters! (...) There, my sisters, under all those eye lemons and tree-killers are comics you will like. Don't hold it against your retailer if he or she is keeping the store going with chromium multi-variant oops-my-tittie-fell-out 1-to-4 short-packed speculator specials — get in there and grab that Previews and you will find something for you, and by God order it and get all your girlfriends to do the same and your store will still be in business after the superhero readers turn 18 and start reading the Mangerotica books and the speculators have left to sell their Beanie Babies to pay the rent! (...) Of course, always give your business to the store that makes it easy to get what you want, and doesn't offended your eyeballs with faux-core (as opposed to soft core) porn. Thank you.
  • By mid-1942 nearly all comic book heroes had changed into patriotic citizens that were willing...to accept their new societal roles.
    • Jeffrey K. Johnson, SuperHistory: Comic Book Heroes and American Society. Jefferson, NC; as quoted by Donna B. Knaff, "A Most Thrilling Struggle Wonder Woman as Wartime and Post-War Feminist" in The Ages of Wonder Woman: Essays on the Amazon Princess in Changing Times, edited by Joeph J Darowski, p.24.
  • As regards the female characters thing, I'm afraid I think it's giving male creators a bum deal. The list does read pretty shocking at first until you think of everything the male heroes have gone through, too, in terms of deaths/mutilations/etc. Granted, the female stuff has more of a sexual violence theme and this is something people should probably watch out for, but rape is a rare thing in comics and is seldom done in an exploitative way.
  • 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.
    • William Moulton Marston as quoted in Olive Richard Bryne's, "Our Women Are Our Future" Family Circle, August 14th, 1942.
  • Comics speak, without qualm or sophistication, to the innermost ears of the wishful self. The response is like that of a thirsty traveler who suddenly finds water in the desert - he drinks to satiation.
    • William Moulton Marston The American Scholar Winter 1943/4 issue, pp.35-44
  • 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.
    • William Moulton Marston, as quoted in Olive Richard Bryne's, "Don't laugh at the comics" Family Circle, Oct 25, 1940.
  • 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 over Wonder Woman, it means they’re longing for a beautiful, exciting girl who is 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.
  • 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?
    • William Moulton Marston, Why 100,000,000 Americans Read Comics p. 35-44
  • If you do [one] black character or a female character or an Asian character, then they aren’t just that character. They represent that race or that sex, and they can’t be interesting because everything they do has to represent an entire block of people.
  • To my mind, this embracing of what were unambiguously children's characters at their mid-20th century inception seems to indicate a retreat from the admittedly overwhelming complexities of modern existence. It looks to me very much like a significant section of the public, having given up on attempting to understand the reality they are actually living in, have instead reasoned that they might at least be able to comprehend the sprawling, meaningless, but at-least-still-finite 'universes' presented by DC or Marvel Comics. I would also observe that it is, potentially, culturally catastrophic to have the ephemera of a previous century squatting possessively on the cultural stage and refusing to allow this surely unprecedented era to develop a culture of its own, relevant and sufficient to its times.
  • 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.
  • 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.
    • Alan Moore [www.theguardian.com/books/2013/nov/22/alan-moore-comic-boks-interview Alan Moore: Why shouldn't you have a bit of fun while dealing with the deepest issues of the mind?"] Stuart Kelly, The Guardian (Nov/22/2013).
  • 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.
    • Grant Morrison The Comics Journal 176 p. 82 (1995)
  • 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 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.
  • 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.
  • 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.
  • 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.
    • Osamu Tezuka from the intervention to the fifteenth national conference on school health and safety in schools, 1987; quoted in AA.VV., Osamu Tezuka: A Manga Biography , vol. 2, translated by Marta Fogato, Coconino Press, Bologna, 2001, p. 79. ISBN 8888063072
  • 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.
    • Osamu Tezuka, Since I cartoonist; quoted in AA.VV., Osamu Tezuka: A Manga Biography , vol. 3, translated by Marta Fogato, Coconino Press, Bologna, 2001, p. 73. ISBN 8888063102
Anyone who reads comics can tell you, every main character has an origin story -- the fateful and usually unexpectations sequence of events that made them who they are.
  • 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.
  • 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.
  • 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)...
  • 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.
    • Joe Quesada, (editor in chief of Marvel Comics, co-creator of Ultimate Marvel)[1]
  • I'd chalk most of what's on your list up to lame writing. In desperate search of drama, and unable to obtain it any other way, some writers will resort to obvious emotional triggers/easy pickin's. You can always get a bang by killing Aunt May, or for that matter, Superman. The biggest crime is that many of these stories are unfolded badly, baldly and pathetically, by writers who don't have a clue. People looking for Freudian motives, i.e., hatred of Mother, etc., are wasting their time. Most of these writers sweated cannonballs trying to think of something SO SHOCKING that it would evoke a response from readers, and violence to women was the most horrifying thing they could come up with. Usually, the response to these badly told tales is boredom. Sometimes, they succeed in mobilizing folks like you, who wonder if these writers are sick. Nah. They just suck.
  • I think it generally means killing female heroes is supposed to elicit more emotions from readers than killing male readers. (...) I think the wholesale slaughter is because there's a lot of writers who think all major character motivation is made by killing folk and women characters are easier to kill than male characters since so few of them are major heroes on their own. (...) I fear, that most boys want to read stories about big muscled guy heroes showing off than gal heroes. They want the girl heroes there in the background, and even important to books, but they rarely if ever buy a book starring a female. Younger boys I think are frightened to some degree by the overly muscled women even while they may find a sexual delight in them.
  • Having always created lots of female characters, and doing some good work on them, I think, by making them all individuals (whether someone liked the Titans or not, Starfire, Wonder Girl and Raven were not in any way the same person in different latex costumes), I find most female heroes that other writers do are simply cookie-cut outs. Since a very few of these are anything special, it's easy to knock them off. Acknowledging that does not condone it. It merely explains it.

References[edit]

See also[edit]

External links[edit]

Wikipedia
Wikipedia has an article about: