Chris Roberson Quotes

To me, I was always just standing on the sidelines because up until issue 50, we were just doing Spawn. I wasn't recruiting anybody because I didn't have any books for people to work on.

I tend to like writing long stories in comics. I worked on 'Flash,' 'Teen Titans' and 'JSA' for years. I always like diving into characters.

Wouldn't want to write the X-Men, and I suppose the X-Men is the ultimate Marvel comic, and I really wouldn't want to go anywhere near it at all, although on the other had I wouldn't mind having a crack at something like the Punisher.

Ever since I'm done with Zim everyone thinks that I'm going to go back to comics. I've been flooded with emails asking me if I'm working on the new Johnny over and over again.

I thought I had a great opportunity when I started doing my comic book in 1972. I thought there was so much territory to work in.

I created lots of characters in high school and college, and the first character I created in pro comics was Liana, Green Lantern of M'Elu, for a backup story in 'Green Lantern #162,' my first professional sale.

I grew up reading a lot of superhero comics, so it's really fun to take a shot at one myself and see what happens.

Listen, people like Brian Bendis did great things for comic readers, great things for comic readers.

That's what I really wanted to do when I was 16, be in comics!

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.

I love creator-owned comics. Most of my favorite books these days are creator-owned, from stuff DC publishes, like 'Fables,' to books like 'Saga,' 'Fatale,' 'Hellboy,' and 'Courtney Crumrin.'

I tried to get into comics initially after I graduated Clemson in 1994. I spent a year trying to get in, and I quit reading books because not getting in made me sad.

I grew up on monthly comics. My closet is full of monthly comics. I've always wanted to do a monthly comic, and while I've had a couple of offers, the timing has never worked out. Most superhero comics come into the world as monthly series, so we wanted the same for 'The Shadow Hero.'

We can't really make a living doing comic books, despite the fact that would be an awfully fun way to make a living.

I never thought I would work in mainstream superhero comics or Valiant or Marvel. I just set out to make the kinds of stories I wanted to make, which at the beginning was small personal stuff like 'Essex County.'

I've wanted to write comics ever since I figured out it was a job.

When you write for a comic series, many superheroes have 60 or some years of history that you are coming into.

There are great comic books, these great geniuses that manage to tell you a story in one frame, and that became the thing that opened my eyes.

I'm a comic book writer, so I work with a lot of artists. Sometimes, you get art back, and you're like, 'Oh, no.' Sometimes, you get art back and you're like, 'That's exactly what I imagined in my head,' and you're happy about that.

I believe monthly comics and the extended miniseries are the true hallmarks of comic art and storytelling.

I knew I really wanted to work in comics in 1979.

We had that first Marvel NOW! retreat where everybody came in and pitched their new books, which was probably the most exciting retreat I've ever been to because it was all brand new.

The first work I ever did in comics was for Archie Comics, and I didn't do that very long because I did other stuff.

Well I grew up following most of the major titles like 'Fantastic Four,' 'Spider-Man,' 'Avengers,' etc. But I had also a lot of love for the smaller titles like 'Master of Kung Fu,' 'Black Panther,' 'The Defenders,' 'Inhumans,' and of course Power-Man and Iron Fist.'

Coming from the world of comics, I was very surprised that writers and illustrators, for the most part, don't talk, and they don't collaborate.