Comic Strips Quotes

Along with all else, Sandman is a comic strip for intellectuals, and I say it's about time.

If you're going to draw a comic strip every day, you're going to have to draw on every experience in your life.

You can write a little and can draw a little, but there's necessarily a limitation on both in a comic strip, since it appears in such a tiny space.

I remember my comic strips being called "new wave." It bugged me.

Peellaert's comic strips were the literature of intelligence, imagination and romanticism.

I'm extremely surprised to learn that a story, which has become familiar to children through the medium of comic strips and many succeeding novels and adventure stories, should have had such an immediate and profound effect upon radio listeners.

Sometimes people try to read into my strip and find out what my state of mind is. And I can say if I'm in a good mood, generally the comic strip starts out in a good mood, but the punchline is very negative and sour.

I think in daily newspapers, the way comic strips are treated, it's as if newspaper publishers are going out of their way to kill the medium.

Gamma rays are the sort of radiation you should avoid. Want proof? Just remember how the comic strip character "The Hulk" became big, green, and ugly.

A stand-up comedian faces the audiences and gets their immediate feedback. I hide behind the comic strip, and unless people write to me, I dont know what they think.

"Real" drawing is about specifics. It's about describing an object as accurately as possible. In a comic strip you have to draw a picture of the idea of the object. You have to draw the word that you are picturing, then you have to mix in specifics with it for it to work as a story. But you are still working with drawn words.

Comic strip is almost like music on a page that you perform in your mind. It's not just pictures. There's a particular rhythm and structure to it that is unlike anything else. It literally is like music. You hear it in your mind as you read it.

While editors and newspaper owners currently fret over shrinking readership and lost profits, they do the one thing that insures cutting their own throats; they keep reducing space for the one feature that attracts new young readers in the first place; the comic strips.

I draw a weekly comic strip called Life in Hell, which is syndicated in about 250 newspapers. That's what I did before The Simpsons, and what I plan to do for the rest of my life.

I think nighttime is dark so you can imagine your fears with less distraction.

I suppose if we couldn't laugh at things that don't make sense, we couldn't react to a lot of life.

In comic strips, the person on the left always speaks first.

The world of a comic strip ought to be a special place with its own logic and life... I don't want the issue of Hobbes's reality settled by a doll manufacturer.

There were influences in my life that were more important than journalism, such as comic strips and radio.

To live in society today is like living in one enormous comic-strip.

We're having the first computer-generated comic strip in the United States.

You learn just by trying and experimenting. By the time I was 14, I had my own comic strip in the Kansas City paper.

For a long time I wanted to be a comic strip artist but when I started doing them in my teens they were getting really elaborate with tons of poses and a lot of information.

Imagine my surprise when, after a lifetime of teaching me to keep personal things to myself, Mom insisted my drawings were the start of a comic strip for millions of people to enjoy.

I never storyboard. I hate it. I don't understand why so many directors want to make comic strips of their films.

If you want to see a comic strip, you should see me in the shower.

I could draw Bloom County with my nose and pay my cleaning lady to write it, and I'd bet I wouldn't lose 10% of my papers over the next twenty years. Such is the nature of comic-strips. Once established, their half-life is usually more than nuclear waste.

In the dance, one finds the cinema, the comic strips, the Olympic hundred meters and swimming, and what's more, poetry, love and tenderness.

Cheating on a quiz show? That's sort of like plagiarizing a comic strip.

What is a body that casts no shadow? Nothing, a formlessness, two-dimensional, a comic-strip character. If I deny my own profound relationship with evil I deny my own reality. I cannot do, or make; I can only undo, unmake.

Amazingly, much of the best cartoon work was done early on in the medium's history. The early cartoonists, with no path before them, produced work of such sophistication, wit, and beauty that it increasingly seems to me that cartoon evolution is working backward. Comic strips are moving toward a primordial goo rather than away from it . . . Not only can comics be more than we're getting today. but the comics already have been more than we're getting today.

It's really a pity that there are observers who view political events like comic strips. There has to be a Zorro, there has to be a star. No, the problem of Upper Volta is more serious than that. It was a grave mistake to have looked for a man, a star, at all costs, to the point of creating one, that is, to the point of attributing the ownership of the event to captain Sankara, who must have been the brains, etc.

Happiness isn't good enough for me! I demand euphoria!

I say, if you believe what you read in the comic strips, then you believe that mice run around with little gold buttons on their red pants and drive cars.

It's a magical world, Hobbes, ol' buddy... Let's go exploring!

My parents read the comics to me, and I fell in love with comic strips. I've collected them all of my life. I have a complete collection of all the "Buck Rogers" Sunday funnies and daily paper strips, I have all of "Prince Valiant" put away, all of "Tarzan," which appeared in the Sunday funnies in 1932 right on up through high school. So I've learned a lot from reading comics as a child.

In Brazil we have a comic strip in the newspaper. That one also attracts a different kind of followers.

There are a lot of comic strips in Brazilian newspapers that have been around for 30, almost 40 years. They are very famous in Brazil.

I had been drawing my weekly comic strip, 'Life in Hell,' for about five years when I got a call from Jim Brooks, who was developing 'The Tracey Ullman Show' for the brand-new Fox network. He wanted me to come in and pitch an idea for doing little cartoons on that show.

I hope some historian will confirm that I was the first cartoonist to use the word 'booger' in a newspaper comic strip.

That's the difference between me and the rest of the world. Happiness isn't good enough for me! I demand euphoria!

The comic strip is what I looked at, and it's another reason I did it. The comic strip, where animals would comment on human behaviour, interested me.

I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter.

There's a rhythm to the words combined with the pictures [in a comic]. Whenever I'm working on a comic strip I re-read it, probably hundreds of times through to pay attention to how all of those things work. Sometimes even changing the angle of a character's eyebrow can really, seriously alter the effect and overall interpretation of a scene. And the insertion of a pause or a cough or a sniff, and all these things that we do in conversation, can bring it to life in a strange way.

It seems beyond the comprehension of people that someone can be born to draw comic strips, but I think I was. My ambition from earliest memory was to produce a daily comic strip.

Well, I'm always working on my comic strip and trying to, you know, keep cranking that out.

We like to think of industrialization as being despicable. I don't really know what to make of it. There’s something terribly brittle about it. I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter. There are certain things that are usable, forceful, and vital about commercial art. We're using those things – but we're not really advocating stupidity, international teenagerism, and terrorism.

Fortunately, I'm able to make a living from comics, so I'm privileged enough to be quite choosy, though most cartoonists can't afford to be. It's really an uncomfortable situation, since I'm not an illustrator, though I do get calls from morally indefensible businesses offering me money to decorate their ambitions. It's extremely rare, almost unheard of, in fact, that I am asked to do a comic strip. Do writers get calls to pen Toyota advertisements? Do composers get asked to write chamber pieces about exercise machines?

When I was very little, four or five, I did comic strip drawings, so my first novel had no words. I couldn't write and thought adult handwriting was a mysterious scribble. When I was 14, my grandmother gave me a typewriter and I started writing in a different way.

Calvin: Isn't it strange that evolution would give us a sense of humor? When you think about it, it's weird that we have a physiological response to absurdity. We laugh at nonsense. We like it. We think it's funny. Don't you think it's odd that we appreciate absurdity? Why would we develop that way? How does it benefit us? Hobbes: I suppose if we couldn't laugh at things that don't make sense, we couldn't react to a lot of life.