Comics Industry

Pieces of shit act like pieces of shit. That’s what they’re supposed to do, it’s why they’re put on the planet. You don’t get to be mad at Drawn & Quarterly for acting like Drawn & Quarterly, or at DC Comics for acting like DC Comics. It’s the same rule for us as it is for creators: comics fucked Kirby, and it’ll fuck you, too.

I don’t care about anything but the art form itself. As much as I love comics, that’s also the amount of hate I have for the industry that makes them.

— Tucker Stone.

Comics continuum

I’m in Glasgow with Scots comics writer Grant Morrison, who’s just scored some brown acid off Bryan Talbot and is explaining to me how time works in comics. He explains to me his discovery that any comic is in fact its own continuum, an infinitely malleable miniature universe from Big Bang to heat death, and that in reading it you can make time go backwards, skip entire eons, strobe time itself, re-run geologic-scale periods in loops… reading a comic is in fact controlling time from a godlike perspective.

He was, of course, very full of hallucinogens at the time. This is why people were warned about the brown acid at Woodstock.

— Warren Ellis.

Visual narrative

I love visual narrative, and comics are the purest form of visual narrative.

I’ve worked in television, and there are a hundred people between you and the audience. I’ve worked in film, and there are a thousand people between you and the audience. In comics, there’s me and an artist, presenting our stories to you without filters or significant hurdles, in a cheap, simple, portable form. Comics are a mature technology. Their control of time — provided you’re not intent on reversing universes (or even if you are) — makes them the best educational tool in the world. Hell, intelligence agencies have used comics to teach people how to dissent and perform sabotage.

When done right, comics are a cognitive whetstone, providing two or three or more different but entangled streams of information in a single panel. Processing what you’re being shown, along with what’s being said, along with what you’re being told, in conjunction with the shifting multiple velocities of imaginary time, and the action of the space between panels that Scott McCloud defines as closure… Comics require a little more of your brain than other visual media. They should just hand them out to being to stave off Alzheimer’s.

— Warren Ellis.