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'Bloodshot,' for me, was unlike anything I'd ever done before, which was really the draw of it. In addition to trying to reconnect with my earlier work, I also wanted to try to do something that was completely new and different.
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I'm not a big fan of introducing a bunch of new mysteries into a story without really knowing where they're going because you just end up struggling at the end to make sense of them and make it all seem like you planned it all along.
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There's something so arrogant about us creating robots that are more and more human-looking or acting. It's like we're playing God. Let's create something that's a reflection of us, but it's inferior.
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My indie work is mostly reality-based, focused on real life and characters.
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'Plutona' is the story of five kids who find the body of the world's greatest superhero in the woods after school one day. It's about how this discovery, and the decisions they make, affect them as a group and individually.
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I think being an archer is much more integral to Green Arrow and his mythos than it is to Hawkeye.
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I draw on a lot of cinematic influences like Ingmar Bergman and Wim Wenders, artists who let a story take its time. Comics are a visual medium, and visuals should be allowed to tell some of that story.
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When I first seriously decided to become a cartoonist would have been '99/2000, right before 9/11. I've been writing and illustrating stories in the world post-9/11 since then, watching the world change around me.
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One of my favorite things about the DC Universe, growing up as a reader, was just how big it was and just how many characters and superheroes there were. And how many odd characters there were.
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There are so many versions of Batman that I love so much from different artists that I had to almost stop trying to draw those versions and get past that and just draw the Jeff Lemire version of Batman eventually.
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'Hawkeye' is much more intimate than any of the superhero works I've done before.
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I write and draw from the gut. I often don't know what my stories are about until they're done.
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The Green Arrow stuff that I've responded to from the past is the Mike Grell stuff. I've liked a lot of other stuff, but I think for me, the direction and the mood and the tone that I really want is something much darker and more aggressive and really fast-paced action.
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I've always had a good handle on drawing children.
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For me, Bloodshot was the least appealing character that Valiant had. He was so cold.
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I grew up in a pretty religious house. My family was Roman Catholic, and I couldn't wait to get away from that. But that doesn't mean I'm not a spiritual person.
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We want to take our time with 'Descender' and let the story unfold at its own pace. But we have carefully planned each world and worked to give each its own look and feel. And each of the 9 core worlds will play a role in the series.
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Self-publishing worked for me. Being able to put your work in print, even if it's a tiny print-on-demand print run of a dozen or so copies, shows publishers and editors a completed piece of work and that you can follow through on a project.
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I started off doing indie comics that I wrote and drew myself. I was doing those for ten years before I started to work for DC. The first book that I wrote for DC was for another artist. I did some backups in 'Adventure Comics' years ago starring The Atom. That's the first time that I ever wrote for another artist.
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There are so many books I love for different reasons. For superhero stuff, I always go back to Alan Moore's 'Watchmen' or his 'Swamp Thing' run. Those are my two favorites, and there are indie books that I really love, like Eddie Campbell's 'Alec' books and 'From Hell.'
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In the case of 'Sweet Tooth,' and in the case of a lot of stuff I do, it all starts with the image. It may be something I sketch in my sketchbooks - something that reoccurs in the sketchbooks. Eventually, a character or story line starts to grow out of that.
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It's my job to write the best book I can each month and hand my scripts in. Everything else is beyond my control.
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I think when science fiction is at its worst, it's just spaceships flying around shooting at each other. There has to be a lot more going on than that... science fiction is about exploring new worlds and new ideas, not about ray guns and action, necessarily.
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Letting a project sit and coming back to it is just as important as working on it all the time. You need to come back to it with fresh eyes.