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

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

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

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

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

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

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

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.

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.

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.

As an artist, as I design and lay out a page, the less-important things, things I want you to spend less time looking at, I draw them very small, maybe even silhouette them. The more-important pivotal scenes, I draw them larger, maybe even a double-page spread.

I certainly wouldn't buy a DVD series of a hit show and start at Season 7. I would want to go back and start from the beginning.

From 'The Sandman' and 'Black Orchid' to 'Whatever Happened to the Caped Crusader?,' Neil Gaiman has provided some of the most memorable stories of the comic book industry.

Whether it be in comics, games or film, you can trace the art direction and influences back to some earlier, real-life historic period or artistic movement.

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

Most video games, you build up toward the big, bad boss. And it's just a bigger, more powerful version of what you've been fighting all along in the game.

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.

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

'The Dark Knight,' 'The Rocketeer' and definitely the first 'Superman' movie by Richard Donner are the best. I tend to be softer in my judgment about what's a bad movie - I don't think anyone intends to make a bad movie, and sometimes it just doesn't click for some reason.

As lifelong fans of comic books, Dan Didio and myself, we definitely have our own takes on what make for successful comics and the kind of comics that we want to publish.

'The Authority,' by Warren Ellis and Bryan Hitch, really pioneered the widescreen, action-packed style of storytelling.

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