You can see how he changed on the surface. But at the core of it all, I think Superman has remained the same - a character with incredible powers but almost superhuman humility and restraint.

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.

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.

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.

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.

Nick Cardy's work helped define some of the things we see in comics today and take for granted. He broke out of the mold in terms of covers and layout and created a truly interactive experience for the reader that directly points back to his time with the Eisner studio.

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!'

It's interesting - a lot of what you accomplish in your lifetime either as an individual or as a company is determined by other people. I mean, you can do interview after interview and defend a point of view, but more often than not, the collective kind of opinion will be the one viewed historically and taken as gospel.

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.

Bob Harras' personal and creative integrity is respected and renowned throughout the comic book industry. As an editor, he provides invaluable insight into storytelling and character.

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.

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

Las Vegas is about distraction.

It's possible to gather light that's older than our solar system.

In many cases, if we knew what it would take, we might have thought twice about it, so it's often wonderful that we don't have hindsight.

From the very beginning, I was very interested just in light, and art seemed to be a way to work with it.

If you think about art, if you look at Rembrandt and Vermeer and Caravaggio, if you look at Turner and Constable and all the Impressionists and the Hudson River School, there's a tradition of light in art, especially painting.

The lunar cycle within the solar season: that kind of syncopated rhythm is what life relates to.

If you just add all the time, add more and more light, it loses its meaning.

I live in the sky as a pilot, so it has great meaning to me.

Art does, to some extent, follow economics.

I am interested in the physicality of light itself.

I started out with projected-light works and working indoors, but I'd prepare the walls - by sanding, etcetera - the way you'd prepare a canvas for painting.

In Arizona, we're at 7,000 feet, so we're above half of the world's atmosphere. It's crisp but hard, a side-raking light that can be revealing but doesn't have the softness that maritime air has.