I did work more realistically: I used real anatomy, faces with expressions - not Dick Tracy with his one slip of the mouth and that's it, but actual expressions on the faces that made the characters look like they were saying what was in the balloons.
I used to work on a carousel on a boardwalk in Coney Island.
It may be that a majority of superheroes are white males. But that's because they used to all be white males, except for Wonder Woman and Black Canary and maybe one or two others. Now there are Spanish, Puerto Rican comic book superheroes, black superheroes, and women superheroes.
I like Captain America because I liked Captain America when I was younger.
Back in the olden days when we were rubbing sticks together, everybody wanted to have a comic strip, to live in Westport Connecticut, to have a Jaguar and to have a wife and two and a half kids and to have a girl in town in their studio in Manhattan that they'd romance, and then they'd have people ghost their strip. It was like this big dream.
It used to be that comic strips were the big thing, and comic books were toilet paper.
I'm not someone who complains in any way about how things move forward, unless somebody actually does a really crappy job.
Nothing is gained by not being kind and courteous.
What populates a comic-book convention? Well there's actors, and there's dealers, and there's comic-book artists and writers, and there's cosplay people, toy sales people, people who are selling trading cards, and people selling swords. It's not a flea market.
Nobody has ever disproved Sam Carey's work.
The 'Superman vs. Muhammad Ali' book was printed in every free country in the world, OK? Now, it's so good in its way that we can go in and make fun of it and feel good about it.
I think, sometimes, if you get too much attention, then everybody watches you more closely, and they make these broad generalizations about you that aren't really true.
I don't get involved in criticizing or extolling really good artists who do their job. That's for other people.
I changed the layout of comic books in general. When I came in, layout design wasn't really part of what you did. It was all just panels, panels, panels. So when I came in, I thought, 'Nah, let's change that,' and I designed the page.
When I was asked by Pacific Comics for an original creator-owned series, my first choice of those several characters was Ms. Mystic. Since I always try to advance the work of other younger creators, I asked the young Mike Nasser if he'd like to join me in this project. He said yes. Mike created nothing!
Believe me, when I do a story - if you read 'Batman: Odyssey,' I never do something without there being a reason. There's always a reason, and you will find out in the story. I'm looking to entertain you.
Everybody's 'odyssey' is a little bit different. Batman's is his own and unique to him.
What's interesting about 'The Brave and Bold #85' is it's a book in which I re-created, or created, Green Arrow.
There's a bad thing that we have in America, and that is a slow, sticky way that we get out of prejudice. We get out of it very, very slowly. It's like walking through tar. But we're getting out; things are changing.
As it turned out, if you look at the history, everything in superhero comic books pretty much lies between Superman and Batman: Superman being the greatest superhero there is, and Batman being the one of the few superheroes who has no superpowers and is, in fact, not a superhero.