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  1. Mighty cultures never — are almost never conquered. They crumble from within. And frankly, I think that a lot of Americans are acting like spoiled brats because everything isn’t working out perfectly every time.
  2. I realized that I was about to turn 30, and Batman was permanently 29. And I was going to be damned if I was older than Batman.
  3. The noir hero is a knight in blood caked armor. He’s dirty and he does his best to deny the fact that he’s a hero the whole time.
  4. In the comic-book world, there tends to be an overblown sense of tradition. Bad habits die hard. There are ways I think the form could work more effectively if we lost the bad habits that were created before we were born.
  5. In a way, ‘Sin City’s designed to be paced somewhere between an American comic book and Japanese manga. Working in black and white, I realized that the eye is less patient, and you have to make your point, and sometimes repeat it. Slowing things down is harder in black and white, because there isn’t as much for the eye to enjoy.
  6. When you think of what Americans accomplished, building these amazing cities and all the good it’s done in the world, it’s kind of disheartening to hear so much hatred of America, not just from abroad, but internally.
  7. Sometimes the solitary voice can be the best one.
  8. The Spartans were a paradoxical people. They were the biggest slave owners in Greece. But at the same time, Spartan women had an unusual level of rights. It’s a paradox that they were a bunch of people who in many ways were fascist, but they were the bulwark against the fall of democracy.
  9. It is more raw and unfettered and I’m more likely going into something you could call extreme cartooning. There’s a lot of that in the course of ‘Holy Terror.’ There are interludes where there are pictures — cartoon pictures — of modern figures and they are all wordless. It’s up to readers to put the words in.
  10. I’m a comic book artist. So I think to myself, what do I like to draw? I like to draw hot chicks, fast cars and cool guys in trench coats. So that’s what I write about.
  11. 3,000 of my neighbors were murdered. My country was, utterly unprovoked, savagely attacked. I wish all those responsible for the atrocity of 9/11 to burn in Hell.
  12. It was said Daredevil grew up in Hell’s Kitchen, an amazing name for a neighbourhood. But that opened a Pandora’s box of all the crime stuff I wanted to do. I borrowed liberally from Will Eisner’s ‘The Spirit’ and turned ‘Daredevil’ into a crime comic.
  13. Think of me as the weathered sheriff coming back into Dodge ’cause the youngsters are shooting up the church and scaring the horses and not doing right by the women.
  14. Comics are so full of amazing work. And I can’t look at a drawing of a woman without thinking of, for instance, Wallace Wood and his amazing way of capturing beauty.
  15. ‘Occupy’ is nothing but a pack of louts, thieves, and rapists, an unruly mob, fed by Woodstock-era nostalgia and putrid false righteousness. These clowns can do nothing but harm America.
  16. When you have a brush in your hand, inking a beautiful woman is a lot like running your hands over her.
  17. I grew up on the crime stuff. Spillane, Chandler, Jim Thompson, and noir movies like Fuller, Orson Welles, Fritz Lang. When I first showed up in New York to write comics back in the late 1970s, I came with a bunch of crime stories but everybody just wanted men in tights.
  18. You can’t have virtue without sin. What I’m after is having my characters’ virtues defined by how they operate in a very sinful environment. That’s how you test people.
  19. Where I would fault President Bush the most was that, in the wake of 9/11, he motivated our military, but he didn’t call the nation into a state of war. And he didn’t explain that this would take though a communal effort against common foe.
  20. Comic-book pages are vertical, and movie screens are relentlessly horizontal. But it’s all the same form. We use different tools, but we get the job done. I’m completely in love with CGI. It’s great for conveying a cartoonist’s sense of reality.

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