The work we do is as demanding as any of the great painters because nothing that happens on the page of a comic is accidental. It has to be imagined first in your mind before you do it. Those of us who know something about the art of painting know that working on a canvas, very often a lot of serendipitous things happen that work to the advantage of the painter ultimately.
I did not have the dreams that the other artists working with me had, of 'moving uptown,' becoming an illustrator or a gallery painter, or those others who said, 'I'm going to go uptown and be a writer, I'm going to work for The New Yorker one day and escape this ghetto.' For me, there was no escape.
The term comics long ago became obsolete and inaccurate. It merely defined the content of the early joke-based comical strips. Sequential Art is a more accurate description of the form. I first suggested it because I believed something needed to be done to correct the feeling of inferiority by artists and writers in this field.
Superheroes are mostly aimed at young teen-age males concerned with their manhood. The medium will have to address itself more to content. . . . I see 22 year olds draw massive Schwarzenegger types, outfitted with metal studs, pressing a mostly naked woman to their breastplates. And I think Poor girl, that's got to be cold.
Comics deal with two fundamental communicating devices: words and images. Admittedly this is an arbitrary separation. But, since in the modern world of communication they are treated as independent disciplines, it seems valid. Actually, the are derivatives of a single origin and in the skillful employment of words and images lies the expressive potential of the medium.
Still,[...] in all forms of comics the sequential artist relies upon the tacit cooperation of the reader. This cooperation is based upon the convention of reading and the common cognitive disciplines. Indeed, it is this very voluntary cooperation, so unique to comics, that underlies the contract between artist and audience.