Jim Lee Quotes

When you have a Green Lantern mixing with a foil like Batman, you get scenes that are comic-book history. There's the epicness of it all.

The video game market is huge, and the ability to tell stories, and tell different kinds of stories in the gaming space is quickly evolving and changing for the better.

Any time you change something classic or iconic, you're going to have some part of the fan base up in arms.

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.

I have a tendency to do the epic kind of long shot and put in everything that you need to know. And that's by design; that's the kind of approach I take to it.

I don't buy comics anymore, for the most part. I eat my lunch off of them.

I have to say, self-servingly, I downloaded my own comics. I downloaded 'Batman: Hush.'

As a gamer, I like to go up and look at people's faces and see how good of a job they did.

I like having pairs of characters to play off each other. I love drawing Batman, but he's more fun with Robin. Batman charges ahead, Robin jumps off the walls. It's fun showing that contrast.

So much of comics are dictated by characters talking to one another - or in focused spaces where 'the camera' has to stay in pretty close on what's going on.

The first time I drew a Superman story was 'For Tomorrow' with Brian Azzarello in 2004. It didn't really hit me how important it was until I drew a scene early-on in the book that featured Superman crossing paths with a giant, intergalactic space armada.

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.

Wonder Woman isn't even American; she's an Amazon princess.

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.

I'm really trying to focus on the storytelling, more so than ever before I think, partly because it makes for easier pages.

There was something special and unique about the love triangle that existed between Clark Kent, Superman and Lois Lane.

I paint in acrylic and sometimes in oil. Sometimes I'll paint my kids. And I'll occasionally do some photography.

I tend not to look at my work after I've done it. In fact, the only time I typically get to review it is when the fans bring up comics at shows, and I kind of flip through it and be like, 'Oh, I remember doing this!'

I always figured Metropolis was north of New York, actually. Between New York and Boston, in my mind.

I think sometimes with new characters, you can kind of hit a creative valley, and it's important to recognize when you're in that valley so you can get back out and get back to that peak.

There is the intent of the writer and the interpretation by the artist. What the writer intended and what the artist interprets is not a 1-to-1 translation. It's a crossing of ideas that generates the stories that you see in print.

There's an obvious marketing component to doing something digitally where you're reaching out to new readers that you can't do in the existing print marketplace, or that it's difficult to do in the existing print marketplace.

There's also a lot of punch you get from doing an extreme closeup and have it just be that image with nothing around it. There's a clarity and precision and impact there that you sometimes lose if you put everything else in that background.

What I love about WonderCon is that, while the focus is on the comics, it's also a celebration of games and movies and all the ancillary media.

I rarely draw myself, in general, and if I do, I tend to do little cute manga-esque, almost bite-sized drawings of myself.

If you look at the great superheroes in any universe, you will always find that they have the very best super villains opposing them. It's because they are foils; they are people that the heroes play off of.

One of the key characteristics of the comic book medium is that it is not brought to life by just one voice.

I've been trying to make this argument that digital comics and print comics are both art, but there are subtle differences.

Creating and producing creative work, to me, those are all happy accidents.

The great thing about having digital comics is that it is like having a comic-book shop on your digital device. It has turned comics from a destination buy to an impulse buy.

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.

People who liked the 'Arkham Asylum' video game can Google comics to download.

Jerry Robinson illustrated some of the defining images of pop culture's greatest icons. As an artist myself, it's impossible not to feel humbled by his body of work. Everyone who loves comics owes Jerry a debt of gratitude for the rich legacy that he leaves behind.

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.

I try to do a lot of asymmetrical, triangular compositions - I find those work really well for comic book covers in that portrait mode, and I don't always see that in other artists.

In the '50s, a lot of stories were built around radiation and the proliferation of new technology. In the '70s, there were a lot of stories that dealt with the Vietnam War. So comic books have always been a reflection of the times we live in.

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 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.

I think there's a responsibility of the publisher, of the company, to make sure the staple books that have been around for decades come out in a timely manner.

There was a real sophistication and elegance to (Batman: The Animated Series). It certainly appealed to kids but had a depth that really made it fascinating and interesting to watch for adult fans. I think visually, it was stylistically stunning.

Outside of my work as a comic book creator and co-publisher, I'm an avid gamer.

Gene Colan was like no other artist of his generation. His ability to create dramatic, multi-valued tonal illustrations using straight India ink and board was unparalleled.

When I was a kid, I never felt that what I was drawing really represented me; it was just something I enjoyed.

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.

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.

No true fan wants to go to Comic-Con and get assaulted with a marketing blitz about just any old show.

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.

The thing that weighs the most on how your final artwork turns out is the amount of time you have and the speed at which you can move.

I think the very simplest way to show Superman's power is to have him punch someone that's powerful.

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.

'Watchmen' is a cornerstone of both DC Comics' publishing history and its future.

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.

I don't think you can be a comic book fan and not hate change.

Lois pursues the truth no matter what sort of adversity faces her. I think Superman sees that, and it's the same moral compass that he has from the Kents.

I love the fact that I get something new to do almost every day and have new challenges.

Prior to 'Action' and 'Justice League 1,' there was no label 'superhero' for a superpowered being. It's really the emergence of Superman and the Justice League that gets the public comfortable with the idea of people amongst us who have extraordinary power and that they've agreed to be our champions.

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.

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.

[Superman and Lois are] kindred spirits, and they always choose to do the right thing.

I think when you're knee-deep in coming up with editorial plans, the desire to sit down and pencil something is pretty strong.

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.