I do like Hank Pym.

Know what your characters want, know what they need most, know what they fear most, and don't be fearful of facing it, no matter how unpleasant it may be.

Captain America is an interesting character because it makes you ask those questions in yourself as a writer. What do we want as a nation, what do we mean as a nation, what is our role in the world as a nation? What are our strengths and weaknesses as a country?

I'm a big fan of when you model a character as someone with a biological origin, doing deep dives and a lot of research.

Flash is about freedom; Flash is about expression. Flash is about just the joy of exuberant running and of freedom, and the moment you weight him down with too much Batman-like baggage... that's not the Flash anymore.

I'm a great salesman when I believe in a product that somebody else is producing, but I always feel very awkward and clumsy asking for money for my work.

Dialogue is one of the easiest ways to get character conflict across immediately in comics.

You don't want to hit readers over the head like they're completely incapable of picking up on subtlety.

Find me anybody in comics who has a longer history of yanking defeat from the jaws of victory than Bruce Banner.

There's a reason Archie didn't go the way of Betty Boop or Davy Crockett or Woody Woodpecker, forgotten relics of a bygone era, and it's because when 'Archie' stories are at their best, anyone of any age can see a little bit of themselves in them.

There is a reductive nature to the Internet, and it's not limited to comic book news sites and stuff: it's everybody. There is a reductive nature of it, by which anything that's said very quickly gets reduced down to the next. Reduced, reduced, reduced to the point where rumors with some sense of nuance to them just become fact.

The beauty of Captain America is that you didn't have to come from a distant planet, like Superman, or he didn't have to be born into a family of billionaires like Bruce Wayne. He happened to be in the right place at the right time, and someone gave him a magic potion, and he grew muscles and became a superhero.

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.

Indestructible does not mean utterly invincible.

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!

I like being able to have a conversation. I like being able to do a vocal interview.

Anyone can write a detective story about a detective who fails, for Pete's sake. That's pretty unambitious.

I love what Max Landis is doing with 'Superman: American Alien.' That's a really good book.

A superhero is someone who, at some point or in some way, inspires hope or is the enemy of cynicism.

I was the last guy I imagined anyone would ever associate with 'Daredevil,' but once I gave the character some thought, much like with the 'Fantastic Four,' I found my hooks and, I think, some angles on the series that have never been explored.

The first rule of new media is nobody gets rich, but everybody gets paid, in a perfect world. Maybe you don't get fabulously wealthy doing your webcomic, but as long as you can make a decent living.

What's interesting is that younger characters just have a more vibrant, exciting point of view on the world. They are more emotional, they are more dramatic, and they are just electric.

I love the challenge of taking established, iconic comics characters and showing readers why they remain contemporary.

Juggling a huge cast is a bear.

I got taught a lot of great lessons by superhero comics as a kid about virtue and self-sacrifice and responsibility. And those were an important part of imprinting my DNA with ethical and moral values.

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.

If you go back and look at the first issue of 'Indestructible Hulk,' if you have a sharp eye, you'll catch something that I totally forgot to put in there. In my horror, I only realized after the fact that I took totally for granted that everyone in the world knows what triggers the transformation.

Serial fiction is a conceit of comic books and soap operas. As one goes, so goes the other in terms of public consciousness.

I'm a big believer that if you buy a comic, you ought to own it.

I'm not a big fan of the George Lucas school of meddling and tinkering. That's a slippery slope.

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.

I respect people of faith, but I'm not one.

Real science is the greatest, most exciting springboard I have available to me as a writer, and I don't feel the least bit constrained by it.

I'm not as good a prose writer as I'd like to be, but I never aspired to that.

Hulk fans are impossible to please.

What sets 'Archie' apart from the many, many times I've reworked and rebooted long-standing characters is that this time, it was really scary.

Every ongoing character has to start somewhere.

I love 'Archie' comics.

I think of it this way: When you hear that people have downloaded your comic, appreciate that thousands are eager to hear what you have to say. The poetry club down the hall may not have the same problem. That's a good problem to have.

If I wanted to write a bunch of comics about 50-year-olds sitting around having a conversation about politics, that would be realistic, but it'd be the dullest comic in the world.

I love writing comedy.

There are other ways to create tension and drama than to have somebody stabbed through the back with a sword.

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.

When they first asked me to do 'Hulk,' my first instinct was to say no because I didn't think I had anything to say with the character, especially when they said, 'Please do what you did with 'Daredevil,' whatever that was.'

Certainly, your characters - whether they are superheroes are not - should have foibles. They should have problems; they should have things that their powers can't solve. That's what makes them nuanced, interesting characters. They can have intense motivations. They should have intense motivations to do what they do.

When you're writing a team book where every character already has his or her own series, you don't have dominion over them as individuals - but what you can exploit is their relationships with one another.

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 don't write stories about despair. I write stories about hope.

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.

The idea of lasting consequences isn't your usual 'Archie' trope.