Zitat des Tages von Mark Waid:
When you're a kid, regardless of the age you grew up, everything is high opera. With hormones raging, you have to fight external and internal battles that you've never had to deal with before. Unlike Tony Stark and Steve Rogers, who have seen it all and been through it all, everything heightens the drama.
Hulk fans are impossible to please.
I think there are things that digital can't do as well as print thus far. Even an iPad is only 80% the size of a standard comics page, so the images are going to be smaller. You don't get your big, whopping two-page spreads.
It's Marvel's toybox; I'm just glad I'm able to play with the toys and have some impact on what goes on. I didn't create Daredevil, so I'm not about to stand here and say that I'm the only one who gets to play with the toy.
If you're ruling the world, you can't trust anybody. Because even those who profess to be working in your interest - those are also villains in and of their own right.
What I need is for comics to not cheapen out and just do what they think a bunch of bloodthirsty 15 year old fans want.
I am just tired of writing about heroes that we're dragging down to our level, and I want to write about heroes that we want to be.
For me, it's infinitely more interesting to read or watch a character making decisions they think are right, but the audience knows differently, and seeing that disconnect. The only way characters can grow and learn is by making the wrong decisions and then learning from them.
I don't write stories about despair. I write stories about hope.
Especially in the digital age, people want everything now, now, now.
There are other ways to create tension and drama than to have somebody stabbed through the back with a sword.
I think comics are really - superhero comics are at their best and most primal when they're about joy and flying, and about escaping the gravity of the world. But, at the same time, that's not to say all stories should be happy.
Younger characters are just much more emotional.
I'm a big veteran of being able to, in one comic, explain to you everything that you need to know to get forward in the story without you having to refer back to years of continuity and a universe in these superhero comics.
The fun of writing established characters is that there's a rich mythology to draw from - you get to play with toys you loved as a kid.
What I've found over the years working on various projects is, you can have a clever book or clever tagline, but there has to be a story to go along with it that leads to something bigger. Something with a little more texture to it.
Teaching is good for me. It forces me to articulate ways of doing things or rules of thumb that I've sort of taken for granted.
It's always an amazing gift to be able to work with storytellers who 'get it' and who can not only draw anything but can draw it better and more dynamically than you'd ever envisioned.
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.
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.
I don't know if you'd do a Marvel story on Ferguson, because it trivializes what the real flesh-and-blood people on the ground are doing there. But you can make an allegory and deal with the bigger questions.
Heroism is heroism, regardless of the timeframe or the backdrop.
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.
I love writing comedy.
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.
You can do all of the world-building you want; at the end of the day, what's important is the heart and the drive of the story and the heart and the drive of the characters.
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!
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.
I respect people of faith, but I'm not one.
Find me anybody in comics who has a longer history of yanking defeat from the jaws of victory than Bruce Banner.
I just love rolling up my sleeves and doing research, and I especially love doing research on the origins of folklore and the origins of mythology.
I love the challenge of taking established, iconic comics characters and showing readers why they remain contemporary.
I think it's imperative of me to advance that theory that you can win your small victories against the dark.
When I first did 'Empire,' it was a severe break from everything I'd written up to that point, which is all very continuity-driven, super-heroic, and ethics and morals-infused. 'Empire' was a chance to break away from that.
There have been many days when I have had to work up to writing 'Irredeemable' because I just didn't feel like wallowing in that world, feeling those emotions... but that's the process.
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?
