Comic Quotes
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Being a stand-up comic, this isn't a stepping-stone for me; it's what I do, and this is what I'm always going to do. And even if I do a TV show, the only reasons to do a TV show is to get more people to know me to come out to my stand-up shows.
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My thumbprint is on every single thing that happens with Hellboy. It was the hardest thing I ever had to do professionally, letting someone else draw the main Hellboy comic. He's so much mine. But I still have no intention of ever handing over the writing of the main Hellboy comic to someone else. That character is my baby.
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Comic strips introduced me to metaphors. They are pure metaphor, so you learn how to tell a story with symbols, which is a very valuable thing to learn. And I learned that from motion pictures, too, and from poetry. Poetry is mainly metaphor. If it doesn't have a metaphor, it doesn't work.
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It's always been a dream for me to play a comic book character.
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I take the good with the bad. I always wanted to be a comic, and part of that, for me, was that I wanted to be on the road. It's a lonely existence, but it is what it is.
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I started a funny book from the 1930s called The Code of the Woosters by P. G. Wodehouse. Wodehouse is a comic genius.
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Life is deeply tragic and also very comic at the same time. It's everything at once.
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It's not like every male comic you meet is funny. Like, a lot of them are not funny.
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You learn just by trying and experimenting. By the time I was 14, I had my own comic strip in the Kansas City paper.
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We're comic. We're all comics. We live in a comic time. And the worse it gets the more comic we are.
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'Watchmen' is not only the greatest comic ever written, it's a really important work of fiction.
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Much of hip-hop, like comic books, is fantastical by nature, too.
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My brother had boxes of comic books. He was really the collector.
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The comic, more than the tragic, because it ignites hope, leads to more, not less, participation in the struggle for a just world.
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If I have to write by a certain time, I can pull through, but usually I just let stuff happen, hanging out with comic friends - or bringing a basic idea on stage and seeing if it goes anywhere.
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It felt like a huge risk when I first started putting my comic online. It was very scary to put myself out there that way and to open up something that I cared about very dearly - and to be the only creator involved with it.
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I didn't want to be known as a gay comic, but as a comic who happens to be gay.
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Hellboy was entirely the comic I wish someone much more talented than I was doing, because I would have been a huge fan of that comic. But nobody was doing it, so it fell to me to do it.
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I'm sort of killing two birds with one stone here, getting to write for "True Blood" and being able to put myself in a comic at the same time.
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I'm a frustrated stand-up comic. If you hand me a microphone and I get one laugh, then I'll go on for 20 minutes.
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I've been getting in trouble my whole life and I really don't care what anybody thinks of what I do on stage as a comic.
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I make people laugh hard; I'm a comic, that's just the way it is. And I make them laugh because I'm funny, not because I'm filthy. The subject matter is dirty, but the pictures I paint are really funny. A lot of comics don't understand that that's what it's about. It's just, "I'll be dirty and they'll laugh." Nobody's becoming a superstar that way.
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The American cinema in general always made stories about working-class people; the British rarely did. Any person with my working-class background would be a villain or a comic cipher, usually badly played, and with a rotten accent. There weren't a lot of guys in England for me to look up to.
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Authenticity, for me, was important, because it made the reader feel ‘This is real This is not just a comic book
