Todd McFarlane Quotes

Marvel books also feed into the smaller publishers and the fact that this is happening in the same month we're launching Ultimate Fantastic Four is no coincidence.

When I started out in the eighties, the idea of creating serious comics for adults was pretty laughable to most folks, and for the longest time it was hard to even explain what alternative comics or graphic novels were. Nobody seemed to understand or care. Not so, any longer.

In the sixties and seventies you could probably name all the great comics. It was still special.

I grew up when comics were only sold in food markets and news stands, so the direct market is vital to me. The best way to make it stronger is if everybody buys my comics in multiple copies before they buy any others.

The '90s was a great period for the fans that were collecting at that time. Comics sold at an all-time high and reached the largest audience in our modern age, and the energy in our business was fantastic. Any bad feelings from fans of that era were a result of the poor delivery of the product we sold them.

Oh yeah, I was one of the first guys writing comic books, I wrote Captain America, with guys like Stan Lee, who became famous later on with Marvel Comics.

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.

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

At the end of the '60s, I was trying to enter the world of comics.

Looking at the Batman pages is like revisiting my youth. My first seven years in New York were the first seven years of Batman itself. While my time on Batman was important and exciting and notable considering the characters that came out of it, it was really just the start of my life.

I started working with Timely in 1946. Stan Lee hired me.

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

I've been a Marvel reader since I was just a kid, and I've dreamed of being a Marvel writer for almost as long, so being tapped to officially join the team is truly something.

I could go through a lot of my old emails from when I first started doing comics. Back then the lowest age of fans was like 15 or 16 up to people in their 20's and 30's.

I love meeting fans. The people who are fans of my books are really smart and dedicated, because some independent comics are hard to get. I will drive all the way to Pittsburgh or Detroit to put it in their hands.

I do still read comics since I started writing for DC, but nowhere near as much as I used to, and I'm finding now that it's becoming harder to read comics as a consumer, so I think I'll have to make the call there and stop reading them.

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'm very distanced from the comics industry. I love the comics medium, but I have no time for the industry.

Comics brought me to the dance. It'll always be my first loyalty.

I grew up on monthly comics. My closet is full of monthly comics. I've always wanted to do a monthly comic, and while I've had a couple of offers, the timing has never worked out. Most superhero comics come into the world as monthly series, so we wanted the same for 'The Shadow Hero.'

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 think it's good that we're not embarrassed that we're comic book creators anymore. It's good that people are able to make a good living at doing it, and not doing the traditional sort of mainstream fare.

Comics are really my life blood in a lot of respects.

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

Comics fans want new stuff that looks exactly like the old stuff. It is hard for the publishers, and even the audience, to change something.