Historically, diversity has been a real issue for superhero comics - so we need to do something about it, crafting strong, modern heroes for a modern audience.
Adam Christopher
To be honest, writing comics is a dream come true - the form is unparalleled and is home to some of the most original and innovative storytelling around.
That's the most amazing thing about writing, whether it's in prose or comics: that you can create something from nothing, and suddenly they come to life, like they've always been there.
I discovered 'The Shield' back around 2010, when the Archie superheroes were licensed to DC Comics. From there, I went back into the archives and discovered this whole universe of characters, and I was hooked.
Comics are regularly asked to perform for impossible rooms. They're called 'hell gigs.'
Adam Conover
I was definitely more of a movie/cartoon guy than comics, but I really do like graphic novels - I don't have the time to sit down and read Stephen King like I used to, so I find picking up 'Saga' every now and then and just diving back into it is a great way to stay reading.
Adam F. Goldberg
I'm still awaiting the idea of drawing comics for a living being a reality. I feel like I've been dodging work for 20 years, and at some point, I'll have to get a real job.
Adam Hughes
I've always loved pinup art, and I've always enjoyed drawing women. I think it was a conscious decision that has resulted in me getting almost exclusive work on comics where the main character is female.
In the past, in the '60s and '70s, genres were much more segmented. You had action guys who were deadly serious about it, and I think you had comics that were comics.
Adam McKay
The best comics enlist you to take accountability for who you are, whether you like it or not.
Adrian Nicole LeBlanc
Most of my work - including everything from my own comics to the covers I've drawn for 'The New Yorker' - is the result of taking some personal experience or observation and then fictionalizing it to a degree.
Adrian Tomine
'Drawn & Quarterly' has always given me complete editorial control over my books and comics, so any decision about what to include or exclude from the book was my own.
I'm not the best person to analyze any kind of evolution in my work, but I do feel like it's been an ongoing struggle to basically teach myself how to tell the kinds of stories that interest me in comics form.
The comics work is very slow, and it basically involves working for sometimes years in isolation and not knowing how the work is going to be received.
The most impactful comics that I've read are the ones where the artists swung for the bleachers and tried to immerse you in their world.
New York is a brutally expensive place to live, and the kind of person who might have the dedication and esoteric taste to make the comics that I would really love is finding it more relaxing to live elsewhere.
My early comics are really reflective of being kind of a befuddled, single loser in the Bay Area, and I think having kids has been by far the most profound impact on me as a person and as an artist.
I think comics can be the basis for great films, but I think the focus of such a project should be on making the film as good as possible, not on painstakingly replicating the comic.
The type of cartooning that I think is generally referred to as 'alternative' or 'underground' is usually - the distinction is usually in terms of whether it's made by one person, the entire thing is done by one hand or more of a production line process, which is how the comics that we grew up reading were made.
My brother is a comic-book writer, and I was always in love with comics.
Adrianne Palicki
If you look at shows like 'Def Comedy Jam' in its heyday, there were so many really funny, talented black comics that never would have gotten on that show because they just weren't doing comedy that fit that mold.
Some people admire the aspirational rock star figures whose biopics make it to TV, the people they watched as kids and made them want to play football for England. For some comics, it is often the Doug Stanhopes and the Joan Rivers.
The method of producing comics in Japan is very hectic, but it's also rewarding because it's possible to do both the story and art all by yourself.
In spite of being so absorbed in comics when I was in primary school, for whatever reason, I stopped reading them that much once I started junior high. I think it's probably because I got caught up in movies and TV.
I wanted to change up the tempo and setting of my comics in the sense of giving them some variety, for one thing. So where, for 'Slump,' the art was very America-esque, in the case of 'Dragon Ball,' I made it as Chinese as could be.
I think comics are faster to draw with a pen and then fill and tone by computer. But my illustrations are all done via computer. I even draw the lines on a tablet.
I have memories of reading comics when I was in primary school, but that's about it.
I believe that comics are entirely for entertainment.
I think it's best to know about lots of different things besides comics. I don't think you can become a cartoonist if you look at nothing but cartoons.
I've always liked and appreciated storytellers like Garry Shandling and Bill Cosby - more long-form comedy. So starting in San Francisco, watching all these great comics - Patton Oswalt, Dave Chappelle - you get to see them a bunch, and you go, 'Wow, this is where I need to be.'
There are comics in L.A. doing impressions, and the first thing they do is hunch over and then start to do this bad Rick Moranis voice I do as well when I really get going. It's pretty horrible.
I'm excited about becoming a transmedia storyteller. The idea that we can tell the 'Agent Mom' story online with MTV Comics and build a fan base that we can take over to Paramount to discuss turning that story it into a movie is just awesome.
In comics the reader is in complete control of the experience. They can read it at their own pace, and if there's a piece of dialogue that seems to echo something a few pages back, they can flip back and check it out, whereas the audience for a film is being dragged through the experience at the speed of 24 frames per second.
Everything you've ever read of mine is first-draft. This is one of the peculiarities of the comics field. By the time you're working on chapter three of your masterwork, chapter one is already in print. You can't go back and suddenly decide to make this character a woman, or have this one fall out of a window.
I try to do things in comics that cannot be repeated by television, by movies, by interactive entertainment.
Certainly, my many years working in the comics industry, creating products that I do not own, has made me rather fierce on the subject of giving up rights.
I'm very distanced from the comics industry. I love the comics medium, but I have no time for the industry.
There's nothing that could get me interested in Hollywood again. And, increasingly, there's nothing that could get me interested in the American comics industry again.
When I was working upon the ABC books, I wanted to show different ways that mainstream comics could viably have gone, that they didn't have to follow 'Watchmen' and the other 1980s books down this relentlessly dark route. It was never my intention to start a trend for darkness. I'm not a particularly dark individual.
Right from the outset, the prevailing mindset in British comics fandom was a radical and progressive one. We were all proto-hippies, and we all thought that comics would be greatly improved if everything was a bit psychedelic like Jim Steranko.
There's a widespread cultural barrenness across art and political culture. But there are some pockets of resistance on the extreme margins, like the techno-savvy protest movements, small press, the creator-owned comics, that seem to be getting some signs of hope for the future.
When I started writing comics, 'comics writer' was the most obscure job in the world! If I wanted to be a celebrity, I would have become a moody English screen actor.
I had done about 60 television shows, from 'Ed Sullivan' to 'The Hollywood Palace,' before I ever went to 'Johnny Carson.' At the time, that was the showcase for comics. And I couldn't believe it.
I live making comics. Comics is an industrial art but less suffering, because comics are for young people who are more adventurous. I do that. I live off comics, and then I write books, but when you want movies, you cannot make movies without money.
All the pictures I could never do, I'll do it in comics. All the comics I do are the pictures I could never do.
To see where I've stolen all my ideas from, look no further than the comics at your local comic shop!
I met my first boyfriend when we were 13, playing 'Dungeons and Dragons' in the basement of my local comics shop. We were from the same small town in Maine but went to different schools.
Millennials give comics the kind of adulation past generations reserved for musicians. We respect Lady Gaga. But we'll travel hundreds of miles to touch the hem of Jon Stewart's robe.
A lot of those comics can't hold down relationships and they've got no other life apart from performing. They sleep in their Jags and a lot of them can't even talk. All they can do is tell gags.
Every male comedian of note who is over the age of 45 has a kid, and they talk about it and don't get grouped as 'dad comics.'
