JIM LEE

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.

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

One of the reasons I never had a problem handing over my characters to other creators is that I knew that they would add their own influences and takes on the characters and make them better for it.

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.

Al Plastino helped redefine Superman in the 1950s. His work on 'Superman's Girlfriend,' 'Lois Lane,' 'Adventure Comics' and pretty much any title in the Superman family will be fondly remembered for years to come. He will be missed.

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

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.

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

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.

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

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

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.

I always figured Metropolis was north of New York, actually. Between New York and Boston, in my mind.

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

The thing that weighs the most on how your final artwork turns out is the amount of time you have and the speed at which you can move.

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

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.

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.

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.

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.

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.

'Watchmen' is a cornerstone of both DC Comics' publishing history and its future.

No true fan wants to go to Comic-Con and get assaulted with a marketing blitz about just any old show.