George Perez Quotes

The comic book world is a tough business.

We can't really make a living doing comic books, despite the fact that would be an awfully fun way to make a living.

I thought I had a great opportunity when I started doing my comic book in 1972. I thought there was so much territory to work in.

I created lots of characters in high school and college, and the first character I created in pro comics was Liana, Green Lantern of M'Elu, for a backup story in 'Green Lantern #162,' my first professional sale.

At any comic book convention in America, you'll find aspiring cartoonists with dozens of complex plot ideas and armloads of character sketches. Only a small percentage ever move from those ideas and sketches to a finished book.

As lifelong fans of comic books, Dan Didio and myself, we definitely have our own takes on what make for successful comics and the kind of comics that we want to publish.

I love creator-owned comics. Most of my favorite books these days are creator-owned, from stuff DC publishes, like 'Fables,' to books like 'Saga,' 'Fatale,' 'Hellboy,' and 'Courtney Crumrin.'

I tried to get into comics initially after I graduated Clemson in 1994. I spent a year trying to get in, and I quit reading books because not getting in made me sad.

That and the fact that I knew that nobody was going to publish my work at Dark Horse or DC or anywhere.

I love the medium and I love individual comics, but the business is nothing I would be proud of.

The first time I shopped at a comic shop, it was because I had been published in a comic book. As I became more involved in comics, I started going more and more, usually to support my friends or lady-friendly comics.

The first work I ever did in comics was for Archie Comics, and I didn't do that very long because I did other stuff.

To me, I was always just standing on the sidelines because up until issue 50, we were just doing Spawn. I wasn't recruiting anybody because I didn't have any books for people to work on.

Then he took me off Jeannie and he gave me Millie the Model. That was a big break for me. It wasn't doing to well and somehow when I got on it became quite successful.

My wife, Caroline Spector, and I pitched some comic ideas to various publishers back in the '80s, but nothing ever came of it.

I still do some inking here and there and I've actually got a book that I'm going to ink entirely.

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 feel like there are comic book artists who are comic book artists, and then there's comic book artists who are cartoonists.

Let me tell you, writing comics is as hard as anything I've ever done - for me, at least. I'm now officially in awe of guys who can crank out multiple books a month and maintain a high level of quality. Comics are completely different than any other medium I've dabbled in.

Especially with Elektra, because I'm doing a lot of the covers for the new version of Elektra.

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.

At this very moment I'm behind on a compilation that Slave Labor is doing for Free Comic Book Day.

Jerry often says that Slam Bradley was really the forerunner of Superman, because we turned it out with no restrictions, complete freedom to do what we wanted; the only problem was that we had a deadline.

Listen, people like Brian Bendis did great things for comic readers, great things for comic readers.

That's what I really wanted to do when I was 16, be in comics!