Graphic Novels Quotes

The graphic novel? I love comics and so, yes. I don't think we talked about that. We weren't influenced necessarily by graphic novels but we certainly, once the screenplay was done, we talked about the idea that you could continue, you could tell back story, you could do things in sort of a graphic novel world just because we kind of like that world.

It really does feel, partly because of graphic novels kids read, like there's a lot of freedom with how you can use both images and words, because we think in both of those ways.

The ability to get inside your character's head in a graphic novel is really fun and useful because one, you can really define the character's voice and two, it's a way easier way to convey what the character's thinking by actually laying out what he's thinking.

I think graphic novels are closer to prose than film, which is a really different form.

I certainly think we're going to see more and more graphic novels and more illustrated novels.

Graphic novels are not traditional literature, but that does not mean they are second-rate. Images are a way of writing. When you have the talent to be able to write and to draw, it seems a shame to choose one. I think it's better to do both.

The 'Barnaby' books were always intended to be graphic novels.

I don't think anyone has written a great graphic novel.

If I had to rank my skills, I have a long way to go before I can write a good graphic novel.

When I put together a graphic novel, I don't think about literary prose. I think about storytelling.

Personally, I'd never seen a graphic novel. I knew they existed because friends of mine like Jonathan Ross collect them and some very literate and intelligent people really rate the graphic novel as a form.

When I get interested in a new topic I teach a class on it. There's a graduate seminar I teach in which the students and I try to expand the terminology we use to talk about poetry as well as expand our notion of what makes a poem - we read source texts on architecture, dance, photography, film and the graphic novel.

I think reading has got so many more enemies now that graphic novels have kind of flipped over to that side.

When you work on a graphic novel or a film with people you've been together through a lot and you've exposed your secrets and weaker sides to each other.

Just in terms of being able to be a professional artist, but also it's nice to not have to dread introductions. "What you do for a living?" It used to be easier just to tell people that I was a magazine illustrator than try to explain that I did comics, but not the kind of comics that they were used to, and no, it's not pornography, etc. And now people even of our parents' generation are familiar with the term "graphic novel," which is kind of amazing.

I would love to collaborate on a graphic novel with an artist - I'm terrible at drawing but I really love that genre.

That pompous phrase (graphic novel) was thought up by some idiot in the marketing department of DC. I prefer to call them Big Expensive Comics.

I lose patience with long stories. I get people who go, "Crumb, do some long stories, do a graphic novel." Novel-schmovel.

I respond very well to rules. If there are certain parameters it's much easier to do something really good. Especially when readers know what those are. They know what to expect and then you have to wrong-foot them. That is the trick of crime fiction. And readers come to crime and graphic novels wanting to be entertained, or disgusted.

Comic books, graphic novels, involve constant toggling and it's hard work. You get tired reading comic books, but you never get tired looking at pictures or reading words.

I think that people are really hungry for original content. I think there's a sense of reboots and remakes, and we're lacking in any sense of originality in media. So, I think the people who want something like this which has a graphic novel feel or comic book feel but that is designed and created for the medium of television, I think that is something is very appealing to a lot of people.

You start to get nervous when the value of a comic book or graphic novel is relative to the achievements of some other medium.

I have to read comic books all first, because now when you get into graphic novels, they are definitely in deep graphic.

I always loved comic books and I'm still a great fan of the graphic novel.

I've no objection to the term 'graphic novel,' as long as what it is talking about is actually some sort of graphic work that could conceivably be described as a novel. My main objection to the term is that usually it means a collection of six issues of Spider-Man, or something that does not have the structure or any of the qualities of a novel, but is perhaps roughly the same size.

I've been drawing since I could hold a pencil. I've got many ideas that are still to be drawn out, but the couple collaborations in development are with other actor/writers for graphic novel/comic that could potentially become a film project.

There were [in Wilson] a lot of clues in it that you don't normally get, you know, normally you use your imagination or whatever, you get some clues in the script, of course, but yeah, it was really helpful, and I really like the graphic novel. There's stuff in there, there's a couple things in there I really wanted to use that they couldn't get in the movie, but it's definitely, he's a unique guy, you know, I never read a character like this before.

Considering my specialization in architecture, I'm not surprised that the first graphic novel to thoroughly engage, not to say captivate, me is Chip Kidd and Dave Taylor's 'Batman: Death by Design.'

In many ways, my entire graphic novel career was a long diversion. Originally, all I wanted to do was to be an underground cartoonist and maybe bring out a groovy underground mag.

You work for so long on a graphic novel that it's easy to question your ideas or to burn out on drawing. But you plug away at it and trust in the story you want to tell. It's a marathon, but the finished product is really satisfying.

In my head, the 5 issues of A Spoon Too Short comprise one novel: a 100 page graphic novel sequel to Douglas' two Dirk books, taking some of the ideas he was working on before he died, and a whole bunch of new stuff from me and a little from Max Landis (who is the Executive Producer on the book as well as writing the forthcoming TV series).

I like the idea of making big budget films with a heart. I like graphic novels more than comic books.

Whenever summer rolls around I begin to realize that I'm a complete and utter book snob. In relation to reading, I have absolutely no guilty pleasures at all. No graphic novels. No murder mysteries. My summer read is really no different from my winter read. I know many bookshops and magazines would have me believe that our summer forays are different, but literature is literature, and unfortunately snobbery is snobbery.

My reading preferences are kind of all over the board - I read nonfiction, I read graphic novels.

Anyone who sets foot into the Watchmen universe and isn't just a little nervous should be given a few days of electroshock therapy. I've always considered Watchmen to be one of the best graphic novels ever written, and when it came out back in 1986 I was as blown away as everyone else. Just masterful.

People are so afraid to say the word "comic". It makes you think of a grown man with pimples, a ponytail and a big belly. Change it to "graphic novel" and that disappears.

I read a lot of graphic novels - some of my favorites graphic novelists or artists are Rebecca Kraatz, Gabrielle Bell, Graham Roumieu, Tom Gauld, and Renee French.

I have a suspicion - I have to be careful what I say - that you might actually find the best comics actually written by people who are comics writers and who aren't setting out to do graphic novels.

If you look at the whole world now it's just computer games, graphic novels, film, TV spinoffs, spinoffs of spinoffs like Deadpool spinning off of Wolverine. So I think that any kind of smart producer looks at all of those bases. Once it comes down to the integrity of it audiences are very smart, they smell that they're just kind of being played.

Maybe I'd be a storyboard artist. Graphic novel/comic book artist. Backup dancer. Singer. It would be cool to focus on one of these full time. But I like seeing them all intertwine.

My platform has been to reach reluctant readers. And one of the best ways I found to motivate them is to connect them with reading that interests them, to expand the definition of reading to include humor, science fiction/fantasy, nonfiction, graphic novels, wordless books, audio books and comic books.

Graphic novels might really speak to one child who's struggling with the other kinds of reading and might help them discover that storytelling is joyful and personal and illuminating. They might find your way in auditorily by listening to audio books in the car instead of playing Game Boys or watching DVDs.

I felt there was a certain amount of violence in the graphic and that it could still be cheated on screen so you could still have a hard PG-13 and open up your audience. Anybody can read the graphic novel. If you're 14, you can go out and buy it, and I felt that if you're 14 you should be able to see this movie [The Loosers].

That partially due to the world of media and commerce, the idea of a comic book has been lost in the ghetto, whereas the graphic novel is now being held up as something to aspire to and as something that's respectable for adults to read.

To me any given story has its appropriate form. There might be some story I get involved with that's begging to be a graphic novel, so that will have to be that way.

Today, although as a whole, the industry is still male-dominated, more women are drawing comics than ever before, and there are more venues for them to see their work in print. In the 1950s, when the comic industry hit an all-time low, there was no place for women to go. Today, because of graphic novels, there's no place for aspiring women cartoonists to go but forward.

Expand the definition of 'reading' to include non-fiction, humor, graphic novels, magazines, action adventure, and, yes, even websites. It's the pleasure of reading that counts; the focus will naturally broaden. A boy won't read shark books forever.

Tightly-plotted, well-researched and beautifully drawn, this book is a real delight. Garen Ewing's mix of engaging characters, exciting old-school adventure, attractive ligne claire artwork and fluid storytelling makes The Rainbow Orchid easily one of the best graphic novels of the year.

I was a serious comic collector and fanboy as a kid. I wanted very badly to draw comic books for a lot of my childhood and early adolescence. So when you have an unfulfilled dream like that, when years later you find yourself in a position to make a graphic novel - hell yeah, I'm going to do that.

Julio's Day is a story of one man's life, but it's a great more than that as well. It's the story of the life of a century, also told as if a day. Beginning with Julio's birth in 1900 and ending with his death in 2000, the graphic novel touches on most of the major events that shaped the 20th century.