Quotes from works
"Sometimes I wish Roger Moore would come back
With an underwater car or some kind of jetpack
Or a hover-gondola and a Union Jack
Forget it, mate, it's not the eighties
He'd rather kick you in the face
We've got a new Bond for the noughties
Because the world's a TERRIBLE place!"
"My own adventure turned out to be quite different."
—Frodo Baggins, The Lord of the Rings
Tex Richman: The Moopets are a hard, cynical act for a hard, cynical world.
"Miss Poogy": You're relics, Muppets! The world has moved on, and no one cares about your goody-goody, hippy-dippy, Julie Andrews and Dom DeLuise hostin', singin'-and-dancin' act anymore! You're dead! And I just come to bury ya.
"I smolder with generic rage"
"We're here to make coffee metal. We will make everything metal, blacker than the blackest black, times infinity."
— Nathan Explosion, Metalocalypse
"The Incredible Squirrel that I created for my old TV show was a cute little guy who had fun stopping goofy bad-guys! This movie's too serious. It's not fun at all!"
Quotes on works
"The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain."
— Ursula K. Le Guin, "Those Who Walk Away From Omelas"
"The fact that [Gunnerkrigg Court is] listed as Kid Friendly was a big selling point for them because, let's face it, comics aren't exactly for kids anymore."
— Tom Siddell
"Sony, a multimedia corporate giant run by full-grown adults, paid $1 million for a screenplay called Winter's Knight, a gritty interpretation of the Santa Claus legend, because everyone in Hollywood has lost their fucking minds."
"Yes, in this version not only does Scrooge belittle Cratchit, he sends him to the soup line. Now Iíve not mentioned this yet, but this is, without question, the most depressing version of this show Iíve ever seen. I mean, itís nothing that will make you reach for the Kleenex, but it will have your mouth agape at just how dark the whole thing is."
"I can't believe that Rick Berman, who was often the stickler on the show for staying true to Gene's vision, now has his name on the script for an episode where the Captain of the Enterprise is beating the crap out of a weakling."
"The Twin Dilemma doesnít happen in a vacuum. Itís the spiritual successor of Davison era stories like Resurrection of the Daleks or Warriors of the Deep. It might not dabble as heavily in the showís tangled continuity as those installments, but thereís the underlying nastiness at play here. Thereís a grim nihilism at the heart of The Twin Dilemma that has been fermenting during Peter Davisonís era and which would really be pushed to the fore during Colin Bakerís tenure in the role...Given the episodeís harsh final line, and the Sixth Doctorís smug dismissal of his predecessor, itís clear that the show is trying to argue that this is a harsher Doctor for a harsher universe.
Thereís the familiar insecurity of this era at play here. The Eric Saward era of Doctor Who has an obvious discomfort with being 'optimistic' and 'cheerful.' Thereís a sense of resentment of these values as inherently 'immature' and 'childish.' Ever over-compensating, the suggestion is that only dark and cynical stories can really be truly 'adult.' Itís no coincidence that the next season opens with the gratuitous and gory Attack of the Cybermen."
"I remember being quite miffed after watching 90 minutes of generally badly judged television and wondering how Russell T Davies could have got it so wrong. You only have to check out the rest of his oeuvre to see how this man has written some of the most sophisticated and honest adult dramas to have hit the screens. His only New Adventure, Damaged Goods, was a cracking read...When I heard Davies was going to be penning a new, grown up (I would debate whether Doctor Who is childish in itís outlook but that is a debate for another time) I was salivating at the thought of him moulding a show that took all his creativity and mixed it with some developed characterisation and post-watershed themes. I thought it was going to be the greatest show on TV, mixing his penchant for childrenís and adult drama. The truth is the result was an awkward fusion of the two that can never settle on a tone of maturity and juvenilia (and with all the sex, swearing and violence the two are treated as exactly the same thing)."
"Sadly, Advent Children was a hit, racking up millions in DVD sales. If FFVII ever did get remade, chances are high it'll keep itself a lot closer to the look, feel, and aggravating sensibilities of Advent Children than Crisis Core, the FFVII pseudo-sequel on the forgotten PSP that served as a much better FFVII retread. FFVII isn't nothing but charmless, emotionless characters moping through a steampunk Disneyland, as Advent Children depicts...Take away whatever charm the original game provided, and you're left with a murky, unlovable mess.
Just like Advent Children!"
"Certainly it seems like half my professional existence is spent on some level trying to persuade people that games are becoming more mature all the time. But there are various interpretations of the word 'mature,' and it's a paradox I've noticed before that a lot of games that receive 'mature' certificates would only be of interest to twelve-year-olds."
"'Ooh, you're just like me, Spider-Man!', [Carnage] burbles, 'Secretly, you also want to murder all those criminals you catch!' But instead of saying the obvious thing, 'No, I don't, you fucking weirdo', Spider-Man weakly concedes that he may have a point.
You what? Can't say I've ever gotten that particular vibe from Spider-Man: that all his joking around and rescuing people is merely an outlet for his repressed psychotic murder fantasies!"
"(Tim) Burton and (Anton) Furstís vision of Gotham City was less about recreating New York and more about building something that fit the characters, and moving away from the campiness of the í60s show and its pastel colors and pop-art sets. Looking back, they ended up with something that was exactly as campy, just in a slightly different way."
David: Booster declares that heís not just there to be a hero, he actually wants to replace Superman in history, which is the defining point that turns Smallville Booster Gold from the somewhat lovable and kind of selfish but ultimately good-hearted and heroic Booster of the comics to a complete asshole...So in one episode, they managed to turn Jaime Reyes into a complete wuss, Ted Kord into Dick Cheney, and Dan Garrett into a random soldier who ended up going rabid. And Booster Gold into a gloryhound who actually wants to take away from other peoplesí success. Well done, Geoff Johns.
Chris: Hey, at least it had the names you recognize from stuff you like!
"Nine years of learning to be a hero and we're rewarded with a Superman who blows up buildings? #@$*ing really?
... Batman shot Darkseid with a gun. I can look at that and say, 'Well, that's just Grant Morrison being an imbecile.'
Superman can execute villains and I can say, 'Well, bad story choice, but they were at least trying to explore the morality of something.'
Chuck Austen can have Superman threaten to pop the head of the Silver Banshee and I can wait a few months until his replacement comes along.
I am not thrown from the saddle easily, as I have proven with this show time and again, and I am the ultimate example of the kind of fan this show and comics in general want. I want to finish a thing just because I started it."
—Neal Bailey on Smallville ("Persuasion")
"Beneath all the incoherence, this is quickly becoming a story based on the same overused 'high' concept that every armchair quarterback Batman fan probably imagines as his magnum opus: 'Batman doesnít kill. But what if heÖ KILLED?' DUN DUN DUN. Seeing Bruce sit here and have this endless monologue as though this is the first time the idea occurred to him is pretty tiresome."
"The success of books like Spawn lead publishers to believe that kids wanted dark anti-heroes. This lead to the creation of some of the worst comic book characters in the history of the world. Not only that but existing characters were retooled to be darker and more mysterious. For God's sake, they gave Superman a black suit and I think for a few years Captain America's shield drank human blood."
"Identity Crisis didnít invent this game, but it plays it to such an extreme that it now owns it like Tiger Woods owns golf. It served as a battle cry, a signal to open the floodgates and let loose such other great moments of the decade as Wonder Dog Eats Marvin And Hunts Wendy, and Mr. Mind As Very Serious Spider-Bat Thing....Identity Crisis opens with a caption that reads, 'Thirty Minutes Till Now.' It is a declaration: you are in the past. I will bring you to the now. And it does. Among the images that are captioned as 'Now' are a tombstone, an old hand clutching a newspaper, and the burned and disfigured corpse of a pregnant woman. Identity Crisis is the embodiment of all of the worst aspects of current super-hero comics. Welcome to the now."
"You have an amazing art form, a medium thatís able to produce things like Fun Home and Maus, and yet when people look at it they mostly see endless variations on these same ideas, and to do something 'new' with his 50th superhero deconstruction, the only think (Mark) Millar can think of is to add more shock value. So we have the same story that was used to sell kids cereal and action figures 50 years ago, only now with more rape! Ask yourself if thatís progress. The fans are part of the problem, as well... Itís like if somebody went around calling themselves a serious cineaste, and the only films they had ever seen in their life were Ninja Turtles movies. I use that as an example because I actually *like* Ninja Turtles, but I can recognize that thereís a difference between The Secret of the Ooze and Citizen Kane."
"It all started in the Seventies with the appearance of 'heroes' like The Punisher and Wolverine. Instead of being hurled into a swirling dimensional vortex to seeming oblivion, a super-villain was now more likely to take a bullet to the brain, or a claw through the heart! Committing crimes and fighting superheroes became dangerous!
No wonder the bad guys started behaving a little rowdier — can you blame 'em? Suddenly, villains like Doctor Doom — who'd up till now pranced around with an air of menace but never actually DID anything to anybody — started bumping off people left and right... some of 'em just for snoring too loudly!
— Marvel Year in Review 1993