Quotes from Mark Waid

We want the reading experience of digital comics to be as simple as tapping a tablet or an arrow key or mouse button to move forward or back.

Style and entertainment tastes change, but the core emotions of being a kid - which, not coincidentally, are the core foundations of any good story - are constant.

I'll still do print comics; as long as there's a market, I'll still be there. I just have a hard time believing that's the future.

I love print comics.

I'm a great salesman when I believe in a product that somebody else is producing, but I always feel very awkward and clumsy asking for money for my work.

When you're writing a team book where every character already has his or her own series, you don't have dominion over them as individuals - but what you can exploit is their relationships with one another.

The best stories, the most-fun 'Avengers' stories, explore the relationships between the characters.

Anyone can write a detective story about a detective who fails, for Pete's sake. That's pretty unambitious.

I'm not as good a prose writer as I'd like to be, but I never aspired to that.

I don't know if you'd do a Marvel story on Ferguson, because it trivializes what the real flesh-and-blood people on the ground are doing there. But you can make an allegory and deal with the bigger questions.

There are other ways to create tension and drama than to have somebody stabbed through the back with a sword.

I love the challenge of taking established, iconic comics characters and showing readers why they remain contemporary.

I think of it this way: When you hear that people have downloaded your comic, appreciate that thousands are eager to hear what you have to say. The poetry club down the hall may not have the same problem. That's a good problem to have.

There's a reason Archie didn't go the way of Betty Boop or Davy Crockett or Woody Woodpecker, forgotten relics of a bygone era, and it's because when 'Archie' stories are at their best, anyone of any age can see a little bit of themselves in them.

Teaching is good for me. It forces me to articulate ways of doing things or rules of thumb that I've sort of taken for granted.

I do like Hank Pym.

I'm not a big fan of the George Lucas school of meddling and tinkering. That's a slippery slope.

I am just tired of writing about heroes that we're dragging down to our level, and I want to write about heroes that we want to be.

When you give me something that I love, then I spend a long time drilling down on it and figuring out what it is I love about it.

Heroism is heroism, regardless of the timeframe or the backdrop.

In Marvel Comics, the worst thing was always that your loved ones could be attacked, or you could be horribly beaten in a knock-down, drag-out fight, but in the Superman comics, you would be run out of town with people throwing rotten vegetables at you and waving a sign that said, 'Superman, Who Needs You?'

I broke into comics by working as a press reporter for the industry, for a trade press in comics, and reporting on events and reporting on books and so forth, and I got to know some of the editors at DC Comics in the mid-'80s.

I was the last guy I imagined anyone would ever associate with 'Daredevil,' but once I gave the character some thought, much like with the 'Fantastic Four,' I found my hooks and, I think, some angles on the series that have never been explored.

Dialogue is one of the easiest ways to get character conflict across immediately in comics.