Jim Lee Quotes
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Bob Harras' personal and creative integrity is respected and renowned throughout the comic book industry. As an editor, he provides invaluable insight into storytelling and character.
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As lifelong fans of comic books, Dan Didio and myself, we definitely have our own takes on what make for successful comics and the kind of comics that we want to publish.
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One of the most difficult things for any artist to do is create a world that looks both completely alien yet real and possible.
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The downside to becoming a doctor, I think, is it's a very long process; four years of medical school, three years of internship, two years of residency, umpteen years of specialization, and then finally you get to be what you have trained almost all your life for.
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No true fan wants to go to Comic-Con and get assaulted with a marketing blitz about just any old show.
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As an artist, as I design and lay out a page, the less-important things, things I want you to spend less time looking at, I draw them very small, maybe even silhouette them. The more-important pivotal scenes, I draw them larger, maybe even a double-page spread.
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I always figured Metropolis was north of New York, actually. Between New York and Boston, in my mind.
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'Watchmen' is a cornerstone of both DC Comics' publishing history and its future.
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Superman is the hardest character to draw. There are a couple of things that make him difficult. He's got a very simple costume and doesn't have the long cape like Batman. He's not a character that is necessarily always in shadow, and he doesn't have a mask.
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Part of running DC Comics is that it's much larger than Image Comics is, or was. There's a challenge to being one of the industry leaders in that everything you do is scrutinized and watched.
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Superheroes are modern mythological characters, so you're going to make them look impossible. Even my Krypto The Superdog is the idealisation of the canine form.
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Wonder Woman isn't even American; she's an Amazon princess.
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Even today, a lot of the CGI you see in movies is so clean and crisp that it just looks fake. It's weird: the more advanced they get, the faker it looks.
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I don't buy comics anymore, for the most part. I eat my lunch off of them.
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I like a lot of modern art. I like Chuck Close a lot. It doesn't necessarily directly influence the work I draw on the page.
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It's interesting - a lot of what you accomplish in your lifetime either as an individual or as a company is determined by other people. I mean, you can do interview after interview and defend a point of view, but more often than not, the collective kind of opinion will be the one viewed historically and taken as gospel.
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When I was a kid, I never felt that what I was drawing really represented me; it was just something I enjoyed.
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Any time you change something classic or iconic, you're going to have some part of the fan base up in arms.
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A-list stars go to Comic-Con to woo the nerd demographic.
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Superman tends to stand very upright, and he's very symmetrical, and those are actually the most difficult poses for me to draw.
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One of the reasons I never had a problem handing over my characters to other creators is that I knew that they would add their own influences and takes on the characters and make them better for it.
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Al Plastino helped redefine Superman in the 1950s. His work on 'Superman's Girlfriend,' 'Lois Lane,' 'Adventure Comics' and pretty much any title in the Superman family will be fondly remembered for years to come. He will be missed.
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Back in the '30s, '40s and '50s, you had clear-cut heroes, clear-cut supervillains. Today, you have more of a blend, more of a gray area between the two. You have the rise of the sympathetic villain and the rise of the antihero.
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People ask me, 'What happened in your life that might have pushed you as an artist to get to where you are today?' I always felt a little on the outside. And as such, you're always observing things. So, I'd be kind of re-creating these things in my mind, and I think drawing it was a way to deal with that.