I played a little bit of 'City of Heroes' - they have a really great character generation system. I was pretty impressed with that. I played 'World of Warcraft' with my kids. That's a lot of fun.

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.

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

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

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

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

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

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

One of the most difficult things for any artist to do is create a world that looks both completely alien yet real and possible.

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

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.

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.

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.

At DC Comics, it has been a top priority that DC forges a meaningful, forward-looking digital strategy.

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.

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.

From an artist's point of view, I always want to work with the writers I admire.

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.

A-list stars go to Comic-Con to woo the nerd demographic.

Many in the creative professions were nerds in their pasts because they spent so long reading comics and using their imaginations when they were growing up.

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

When you try to do something bigger and more grandiose, a lot of times it's more apt to fall apart. It's a lot easier to lay down a bunch of singles than it is to get a home run.

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.

I don't think you can measure your love or your passion for whatever you're working on.

I want all my stuff to be converted into digital format so I can have my reference library to carry with me wherever I go.

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

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.

More often than not, the fans really gravitate towards who's on the cover as opposed to how it's drawn or how it's composed, and so, a lot of the time, what an artist likes will be very different from what a fan likes.

Superman tends to stand very upright, and he's very symmetrical, and those are actually the most difficult poses for me to draw.

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.

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.

There are a lot of global decisions that you can make as a co-publisher, and only publishers can make those kind of decisions. At the same time, there are some things you can do only as a penciler or creator. I want to keep my hands in both pots, so to speak.