Today, comics is one of the very few forms of mass communication in which individual voices still have a chance to be heard.
A car hit a pole. I believe it was on Gregg Street. It affected 1,500 customers.
The idea that comics stores, distributors and publishers simply 'give the customers what they want' is nonsense. What the customers wanted they didn't get - and they left.
My dad was an inventor, and I think I've always had a rosy view of technology, or at least its potential.
Creator and reader are partners in the invisible creating something out of nothing, time and time again.
There's a very big part of me that just wants to take all of comics history and toss it on the bonfire. I'd sort of like to get on to the future.
The notion of getting under the hood and explaining how something works, that's fairly familiar territory to me.
When you're free of editorial control, you owe it to yourself to obtain feedback from friends and readers. Some take those criticisms to heart and incorporate it into their work, and some ignore them.
I've always been very forward-looking, and it was actually kind of difficult to turn my gaze backwards to look at comics history.
Comics offers tremendous resources to all writers and artists: faithfulness, control, a chance to be heard far and wide without fear of compromise.
Right now, we only have three customers without power ï¿½ and that's across three states. So we're not being affected by snow or ice at all.
They've all had a chance to rest and be in their home base.
Space does for comics what time does for film!
Sometimes, that can knock some old tree over that's been sitting all summer,
All through my comics career, I was always trying to reinvent the form.
You've got to have extreme temperatures over your entire service area (for peak demand to occur). You've got to keep it at 100 or above for several days.
Art, as I see it, is any human activity which doesnâ€™t grow out of either of our speciesâ€™ two basic instincts: survival and reproduction.
And what better way to reinvent the form than to toss virtually 99% of everything that's been done with it and start with a brand-new canvas, reinvent it from the ground up? Digital comics gave me the opportunity to do that, and producing things digitally gave me the opportunity to do that.
It would take a lifetime to read all the webcomics published in one year.
Comic book readers are just as abandoned by the corporate system as the creators, despite the importance supposedly given their hard-earned dollars. The average comics shop can offer only a tiny fraction of an industrywide selection that is itself extremely limited in scope. And even when readers kn
We're down to 60 (customers without power) right now.
Typically, you're going to set your peak in August,
It wasn't until I discovered comics that I actually began to approach drawing as a possible career.
Form and content must never apologize for each other.
My first influences were superhero artists.
Hollywood has a love affair with heroes' stories right now. It depends on people being motivated to make the movies, because first and foremost they have to make a good movie.
A medium is a bridge between two minds.
As I see it, mainstream comics now speak only to the hardcore few who stayed; conversing in a weird, garbled, visual pig latin only they can understand - rendering the term 'mainstream' a hollow joke - while the true mainstream, the other 99.9% of the populace, find enjoyment elsewhere.
I had a lot of ideas on how comics worked and pretty early on I had this idea that it would be fun to explain them in comics form.
[The digital revolution, he argued, would bring comics closer to their roots: cave paintings. Yes, cave paintings.] The ancestors of printed comics drew, painted and carved their time-paths from beginning to end, without interruption, ... the infinite canvas.