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You can do so much crazy stuff with books that isn't necessarily being done. That's how culture stays alive - by doing new things with it.

The nice thing with Shakespeare from a modern point of view is that a lot of stuff that was tragic for him can read as comic for us.

I think the best villains are ones that you can look at and say, 'Yeah, he's obviously going about this the wrong way or going too far or whatever, but I can see where he's coming from.' Magneto's a great example of that, and the reason he and Charles Xavier can have such great conversations is that they can both make some good points.

A shot-down advance doesn't have to mean the end of a relationship, right? You can still be friends, as long as you're not dumb about it.

Your worst enemy as a writer - especially one working online a lot of the time - is obscurity.

You care a lot about these stories you're writing, and you hope that someone else will care, too.

It's good to have hobbies.

I've always found it funny when people call 'Romeo and Juliet' 'the greatest love story ever told' because - man - it does not work out well for those kids, you know? I'd like to think the greatest love story ever told would at least let them be together for more than a few hours.

My first book, 'To Be or Not To Be,' took 'Hamlet' and converted it to the choose-your-own-path format. It was a great fit for a book where you control what happens - a book as game - because the plot of 'Hamlet' is very game-like: get a mission from a ghost to kill the final boss, kill the final boss, and game over. You win.

The fun thing about writing a book with multiple paths and multiple endings is you really get to explore the characters and figure out their different fates.

The idea of taking command of your life and doing something that you're not sure if you can do and you're not really sure if you should do it, I think is pretty timeless. We all face those doubts often, if not constantly.

The first mp3 I downloaded, which I guess was illegal, was a symphonic rendering of the Super Mario Brothers 1-1 theme song. It was great. I was like, 'This is blowing MIDI files out of the water. This is the future, right here.'

I actually put Jubilee in 'Squirrel Girl.' I made it a priority.

If you're going to be adapting something across media, you should at least have the moves that people want you to hit and that you want to hit.

Yes, I've won prizes for putting words on a computer.

This is why it's hard to talk about winning awards. You can't do it without sounding like a tool.

You can have an idea that everyone else thinks is dumb, and it's still a good idea.

I've never written a novel before, and part of the reason I haven't is I was worried about getting 50,000 words into a book and realizing I'd made a mistake on word three that would mean throwing everything out.

Writing 'Jughead' in general is a pleasure because - and I think a lot of very tall guys can agree with me on this - there was a time in my teenage years where I just ate all the time and never got full.

I see Jughead as being generally this really rational dude, this anchor of sensibility in a world of boy/girl-crazy friends.

I used to worry that I had a finite supply of ideas, that I should hold on to each of them in case it was the last. But then I talked to other cartoonists, and I realized ideas are cheap; you can have a million ideas. The tricky part is the follow-through: making good ones work, making the best out of the raw material!

No offense to real jobs, but comics seemed a lot more fun.

Being online works really well for any creative work, but especially comics.

You have to recognize as a creative person that not everyone's going to be into what you're doing.

The funny thing with Ophelia is that I remembered her being this really cool, awesome female character when I read 'Hamlet' in high school, and when I went back and read it, no, she's not.

I never actually watched 'Teletubbies.' Maybe I missed out.

I'd hate to be writing 'Adventure Time' comics and not be excited about it.

There's a difference between children's literature and all-ages literature. One is written expressly for children. The other is written for everyone, including children. And the difference usually manifests in not talking down to kids.

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