I always figured Metropolis was north of New York, actually. Between New York and Boston, in my mind.
When I was a kid, I never felt that what I was drawing really represented me; it was just something I enjoyed.
Once I started down the path of co-founding Image Comics, and even co-publisher, it just seems a lot more like a career path that isn't that atypical for someone with a college degree. Whereas, someone who draws comic books as a freelancer and lives from job to job is a more unusual story.
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.
Most video games, you build up toward the big, bad boss. And it's just a bigger, more powerful version of what you've been fighting all along in the game.
Whether it be in comics, games or film, you can trace the art direction and influences back to some earlier, real-life historic period or artistic movement.
Creating and producing creative work, to me, those are all happy accidents.
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.
Nick Cardy's work helped define some of the things we see in comics today and take for granted. He broke out of the mold in terms of covers and layout and created a truly interactive experience for the reader that directly points back to his time with the Eisner studio.
As a kid, I loved the whimsical Superman and Batman stuff, and as a teenager, Marvel was more angsty, and that appealed to me. Marvel dealt with more stuff I could relate to as a teenager.
No true fan wants to go to Comic-Con and get assaulted with a marketing blitz about just any old show.
I rarely draw myself, in general, and if I do, I tend to do little cute manga-esque, almost bite-sized drawings of myself.
The way you challenge Superman is by having things happen very, very quickly in different places and then asking, 'Who does he save first? What powers must he use to save each person or stop each disaster?' That's one of the ways you make him interesting beyond the thematic and moral issues that make Superman.
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.
One of the strengths of the DC Universe has been the strength of the rogues' gallery. Often times they're as famous - if not more infamous - than our heroes.
One of DC's strengths is our archive of storylines ranging from 'Watchmen' to 'Arkham Asylum' to 'Sandman.'
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.
There was something special and unique about the love triangle that existed between Clark Kent, Superman and Lois Lane.
When a character has as wide an audience and as rich a history as Batman, it's truly exciting to see him introduced into an all-new storytelling medium. BATMAN LIVE will bring a completely new experience to fans of the character - it's great to be able to give them something they haven't seen before.
I certainly wouldn't buy a DVD series of a hit show and start at Season 7. I would want to go back and start from the beginning.
