When I was a kid, I always thought that I'd be a comic book artist. It took a long time to start thinking that I could be a musician.
I'm a comic book fan.
I'm not the biggest comic book fan.
I read 'Scarlett' recently, and that was a killer comic book. The 'Black Widow' was pretty rockin'. There is a big list of killer chicks that are just rockin'.
I'm a total nerd. I love comic books and video games and most of all zombies!
My brother is a comic-book writer, and I was always in love with comics.
I'm consciously aware, specifically with the comic book world, where there's a built-in fanbase. But, there's a little bit of leniency because there are a couple different universes.
I was a big comic book fan from 13 on.
I wouldn't ever presume to say that I am a comic book fan.
I was not a giant comic book fan as a kid, but to the extent that I did read comics, Spider-Man was always my favorite guy.
I don't watch many comic-book movies. But I loved 'Sin City.'
He's this amazing ambassador for all superheroes. What we've made as a film not only examines that but is also an amazing adventure story. It's been an honor to work on. As a comic book fan, Superman is like the Rosetta Stone of all superheroes.
I'm in a comic book now. That was cool. That's something that I'm still sorta reeling about, 'cause I read comics as a kid. Someone drew me, and actually did a pretty good job!
I wouldn't say design has become strictly functional. A lot of cars these days look downright comic book to me, and the info-gadgets with which late industrial people spend the most time - phones, music players, etc. - are blobjects.
Unlike novel characters, comic book characters last an eternity. When a character is changed beyond recognition, there's no longer the merchandising aspect.
Write comic books if you love comic books so much that you want to write them. Don't write them like movies. Comics can do a lot of things that movies can't do, and vice versa.
Some people are worried about the future of comics and some people are busy building it. That latter group are my heroes.
In the long run, the quality of your work is all that matters. That is your only resumé. Be professional. Make sure your editor or publisher can always reach you. Do what's asked of you if your conscience can bear it.
I've become really aware of all the subtle things you can communicate through the art and how you're presenting a character, particularly someone like Wonder Woman, who means so much to so many people.
When coming up with Wonder Woman cover designs, sometimes people will pitch ideas to me, either the writer or the editor. And it's interesting, because I know they're not trying to, but they end up pitching things that end up feeling like damsel-in-distress covers, where the tension comes from her needing to be rescued somehow. And it's something I immediately push back against.
I realize that this is not what you want to put on a cover with Wonder Woman emblazoned on it. She could be in trouble, but she doesn't need to be completely out of control. So whenever I'm doing these covers, I try to make sure that there's an element where, even if there is danger, it's not something where agency is taken away from her.
I want her to be powerful on these covers, and sometimes that's a quiet power and other times it's a more bombastic power. But when you're going to have a book out there that's called Wonder Woman and she's on it, you have a responsibility to put out a certain kind of image.
I regret that he didn't do anything about it, even though he was at least a head taller than me. I wouldn't have minded bleeding at all for one more opportunity to give the kind of Bat Lesson that Finger, Robinson, Sprang and others only dreamed of.
No other serial publications carry a number on them that is of any weight to their readership. The number is there to serve a function, but it has no intrinsic value in and of itself. It's comfort food and nostalgia at best. On this, we follow what you and your fellow readers do more than what you say. We hear complaints about renumbering every time we do it, but every time we do it it results in higher sales, which is the whole ballgame - so if it were your time and your effort, what would you do?
It starts with the writing. We have to think of all these characters - we have to treat them all equally. We have to think of them as having an interior life and having motivations. When I'm drawing female characters, I'm looking for that. I'm looking for subtext. I'm looking for ways to make the reader relate to them in a way that goes beyond the pure aesthetic value. You know, just drawing an attractive woman really gets kind of boring after a while.
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