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There is definitely a thematic lineage between 'Descender' and my previous work, like 'Sweet Tooth' and 'Trillium.'

We want to take our time with 'Descender' and let the story unfold at its own pace. But we have carefully planned each world and worked to give each its own look and feel. And each of the 9 core...

Sony is looking at 'Descender' as a franchise of films rather than just one movie.

I think America's obsession with guns and with violence in media and society is a horrible sickness.

I don't enjoy putting my characters through hell unless there's a reason. I don't use violence or anything just for shock value. They're always a means to an end.

I never - when I go into a project, I don't think too much about if there's a lot of other sci-fi books out there or horror books or whatever. I just tell the stories I want to tell, and...

'Hawkeye' is much more intimate than any of the superhero works I've done before.

I started in comics in 2005, ten years ago, and at that time, I didn't have a cell phone. I don't even think I had a computer myself, you know. And just in those ten years, how much technology has...

There's something so arrogant about us creating robots that are more and more human-looking or acting. It's like we're playing God. Let's create something that's a reflection of us, but it's inferior.

I look at my son and his relationship to technology, and I think back to when I was six and how wildly different the world is in that regard. I see him using an iPhone and all this stuff, and...

I'm not a big fan of introducing a bunch of new mysteries into a story without really knowing where they're going because you just end up struggling at the end to make sense of them and make it all seem...

I never really approach any project or story thinking of themes first or what a certain character 'represents.' Maybe other writers do, but for me, it just starts with the characters and a certain emotion I want to convey. It...

You run the risk, whenever you build your story around a central mystery, of either letting it go too long, or revealing it too soon and then taking the wind out of the sails of the narrative.

'Plutona' is the story of five kids who find the body of the world's greatest superhero in the woods after school one day. It's about how this discovery, and the decisions they make, affect them as a group and individually.

When I approached 'Animal Man,' I approached it as if it wasn't a reboot, as if the Grant Morrison and Jamie Delano stuff happened. I mean, as much as I could make it all make sense, it still all happened.

To me, Green Arrow in the past, what people loved about Oliver Queen pre-New 52 was his relationships with other heroes. Like his friendship with Green Lantern, his animosity with Hawkman, his romance with Black Canary - these are all...

The Green Arrow stuff that I've responded to from the past is the Mike Grell stuff. I've liked a lot of other stuff, but I think for me, the direction and the mood and the tone that I really want...

Art should walk a tightrope. That's what art should be. Art should be dangerous. You can't be scared to say something with it. People love to talk about how comics are real art and real literature, so why not use...

'Bloodshot,' for me, was unlike anything I'd ever done before, which was really the draw of it. In addition to trying to reconnect with my earlier work, I also wanted to try to do something that was completely new and...

Letting a project sit and coming back to it is just as important as working on it all the time. You need to come back to it with fresh eyes.

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