To paint comic books as childish and illiterate is lazy. A lot of comic books are very literate - unlike most films.

War is a perversion of sex.

To paint comic books as childish and illiterate is lazy. A lot of comic books are very literate - unlike most films.

Most of the people who get sent to die in wars are young men who've got a lot of energy and would probably rather, in a better world, be putting that energy into copulation rather than going over there and blowing some other young man's guts out.

Language comes first. It's not that language grows out of consciousness, if you haven't got language, you can't be conscious.

To some degree Satanism is purely a kind of disease of Christianity. You've got to really be Christian to believe in Satan.

Don't leave home without your sword - your intellect.

Because our entire universe is made up of consciousness, we never really experience the universe directly we just experience our consciousness of the universe, our perception of it, so right, our only universe is perception.

Of course, Marxism is an example of what Carl Popper would have called a 'World Three' structure, in that it's got immense power as an idea, but you couldn't actually hold up anything in the world and say: 'this is Marxism'.

A lot of people have found the idea of living your life over and over again absolutely terrifying; there's some people that find it very comforting. There are others that are appalled by it.

A lot of the critique of our growing mechanization was actually at its strongest, and arguably at its most perceptive, during the late '60s.

Art makes us feel less alone. It makes us think: somebody else has thought this, somebody else has had these feelings.

As far as I can see, it's not important that we have free will, just as long as we have the illusion of free will to stop us going mad.

As people get more desperate, history suggests that they're not going to rise in a mighty proletarian tidal wave and wash away their oppressors. They're gonna turn on each other.

Certainly, my many years working in the comics industry, creating products that I do not own, has made me rather fierce on the subject of giving up rights.

Culture is just a shambling zombie that repeats what it did in life; bits of it drop off, and it doesn't appear to notice.

Do I believe, for example, that by using magic I could fly? No. How would you get around gravity? Impossible. Do I believe that I might be able to project my consciousness into a very, very vivid simulation of flying? Yeah. Yes, I've done that. Yes, that works.

Every film is a remake of a previous film, or a remake of a television series that everyone loved in the 1960s, or a remake of a television series that everyone hated in the 1960s. Or it's a theme park ride; it will soon come to breakfast cereal mascots.

Famously, there's not really anywhere to go after nihilism. It's not progressing toward anything, it's a statement of outrage, however brilliant.

For me, there is very little difference between magic and art. To me, the ultimate act of magic is to create something from nothing: It's like when the stage magician pulls the rabbit from the hat.

Here's the thing: If you're monitoring every single thing that goes on in a given culture, if you have all the information that is there to be had, then that is the equivalent of having none of it. How are you going to process that amount of information?

I don't really think that very much is interesting about the superhero as an archetype.

I don't think any of us grew up into the world we were hoping for or expecting.

I don't think you can separate a place from its history. I think a place is much more than the bricks and mortar that go into its construction. I think it's more than the accidental topography of the ground it stands on.

I find that if I'm watching somebody upon television or in a movie that is on a window ledge or in some high precarious position my hand starts sweating and I get that crawling feeling in the soles of my feet.

I increasingly fear that nothing good can come of almost any adaptation, and obviously that's sweeping. There are a couple of adaptations that are perhaps as good or better than the original work. But the vast majority of them are pointless.

I love films that are made with almost no budget.

I love the smell of paper in the morning; it smells like victory.

I suppose all fictional characters, especially in adventure or heroic fiction, at the end of the day are our dreams about ourselves. And sometimes they can be really revealing.

I suppose when I was writing 'V for Vendetta' I would in my secret heart of hearts have thought: 'Wouldn't it be great if these ideas actually made an impact?' So when you start to see that idle fantasy intrude on the regular world... It's peculiar.

I think that in an increasingly virtual world, lovingly produced artefacts are at a premium.

I think that the Occupy movement is, in one sense, the public saying that they should be the ones to decide who's too big to fail.

I think that we need mythology. We need a bedrock of story and legend in order to live our lives coherently.

I try to do things in comics that cannot be repeated by television, by movies, by interactive entertainment.

I was kind of a selfish child, who always wanted things his way, and I've kind of taken that over into my relationship with the world.

I'm dependent on writing for a living, so really it's to my advantage to understand how the creative process works. One of the problems is, when you start to do that, in effect you're going to have to step off the edge of science and rationality.

I'm not a particularly dark individual. I have my moments, it's true, but I do have a sense of humor.

I'm not personally connected to the Internet, although nearly everyone that I know is, and many of them have a great time and no problems with it. And on the surface you can see that the Internet could go an awful long way to educating, enlightening, informing and connecting the world.

I've developed a theory that there's an inverse relationship between money and imagination. That if you've got lots of imagination then you don't really need much money, and if you've got lots of money then you won't bother with much imagination.

I've got nothing against America, but I went over there a couple of times and didn't really like it. I mean, not that I like England that much, but it's somewhere to live.

I've never studied anything formally. I was excluded from school at the age of 17, so I am an autodidact, which is a word that I have taught myself.

I've never watched any of the adaptations of my books. I've never wanted to, and there's absolutely no chance of me doing so in the future.

If the audience knew what they wanted then they wouldn't be the audience, they would be the artist.

If you give me a typewriter and I'm having a good day, I can write a scene that will astonish its readers. That will perhaps make them laugh, perhaps make them cry - that will have some emotional clout to it. It doesn't cost much to do that.

If you look at that incredible burst of fantastic characters that emerged in the late 19th century/early 20th century, you can see so many of the fears and hopes of those times embedded in those characters. Even in throwaway bits of contemporary culture you can often find some penetrating insights into the real world around us.

If you're functional, it doesn't matter if you're mad.

If you're going to have any kind of political opposition in the 21st century, then it has to be as fundamentally liquid as the rapidly changing society we're living in.

In comics the reader is in complete control of the experience. They can read it at their own pace, and if there's a piece of dialogue that seems to echo something a few pages back, they can flip back and check it out, whereas the audience for a film is being dragged through the experience at the speed of 24 frames per second.

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.