Mark Waid Quotes
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I think there's a moral imperative when you're writing fictional heroes to give characters who somehow give us something to aspire to as opposed to dragging them down to our level.
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I'd still love to work with John Romita Sr. at some point. That's the dream.
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Dialogue is one of the easiest ways to get character conflict across immediately in comics.
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Anyone can write a detective story about a detective who fails, for Pete's sake. That's pretty unambitious.
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I knew I really wanted to work in comics in 1979.
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Maybe this is because I'm a comics historian as much as anything else, but I really have a deep-seated respect for the characters that have been around since before I was born and are probably going to outlive me.
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We want the reading experience of digital comics to be as simple as tapping a tablet or an arrow key or mouse button to move forward or back.
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Know what your characters want, know what they need most, know what they fear most, and don't be fearful of facing it, no matter how unpleasant it may be.
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Certainly, your characters - whether they are superheroes are not - should have foibles. They should have problems; they should have things that their powers can't solve. That's what makes them nuanced, interesting characters. They can have intense motivations. They should have intense motivations to do what they do.
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There are other ways to create tension and drama than to have somebody stabbed through the back with a sword.
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Real science is the greatest, most exciting springboard I have available to me as a writer, and I don't feel the least bit constrained by it.
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Juggling a huge cast is a bear.
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Hulk fans are impossible to please.
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Years ago, I was asked to come up to do a store signing in Vermont. The short version is the two younger guys who own the store pick me up at the airport and start driving me around Vermont, showing me the sights and the textile mills and the restaurants, and the punchline is there's no store. There is no store!
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When they first asked me to do 'Hulk,' my first instinct was to say no because I didn't think I had anything to say with the character, especially when they said, 'Please do what you did with 'Daredevil,' whatever that was.'
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When I was a kid, what captivated me about detective fiction were the puzzles more than the detectives or their enemies. And as I've gotten older, I see a lot of merit in setting your investigative sights higher than figuring out how someone stole Encyclopedia Brown's bicycle.
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The problem with most digital comics is that you're simply taking print material and adapting it. It's like reading through a cardboard tube.
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I'm a great salesman when I believe in a product that somebody else is producing, but I always feel very awkward and clumsy asking for money for my work.
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I love what Max Landis is doing with 'Superman: American Alien.' That's a really good book.
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I genuinely enjoy the puzzle put before me with a crossover - how do I use this bigger piece of the Marvel Universe to tell a character-based tale I wouldn't normally think to tell?
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Each time I think I've made a connection with someone... once they find out what I can do, whether it's hours or days later, everything changes. Invariably they freak. They get retroactively paranoid, wondering what else Clark Kent is hiding from them.
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The nice thing about working with BOOM! on 'Irredeemable' and 'Incorruptible,' man, was they let me have my head. No one said boo about anything.
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Captain America is an interesting character because it makes you ask those questions in yourself as a writer. What do we want as a nation, what do we mean as a nation, what is our role in the world as a nation? What are our strengths and weaknesses as a country?
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Everyone knows what it's like to make the wrong decision for the right reasons. For me, wrong decisions are the heart of drama - a character who's always making the right decisions is boring.