Un problema gordo, que el mejor y casi único artista que ha sabido tratar a Spider-Man en la presente etapa no acabe de encontrar su sitio para seguir trabajando en Marvel.
Yo me quedo con esos posibles Fantastic Four que le gustaría hacer algún día...
Well, what’s happened is that writers have generally become the face of the comic book they work on. They are the idea people, and I think we’ve come to the point where people don’t realize the responsibility and weight artists have on creating a comic book – both for good and bad. Artists are the ones who put it together; who take what’s written and transform it into visuals, which is what the comics medium is.
Those three pages I did for Superior Spider-Man #26 were a special treat, and it’s difficult to say it’ll happen again anytime soon. It’s always fun to work on Spider-Man; I love superheroes. I grew up reading Marvel comic books, and I always have a great time working on any characters I grew up reading. For instance, I sometimes fantasize about doing a Fantastic Four book at some point, but I’d like to do it in a way that’s not really possible.
I loved working on Spider-Man, but I always felt like a gear in a clock, where I wasn’t really responsible for anything going to happen in the book on a large scale. I’m a slow artist, and when you work with the Big Two you have to be fast in order to have any real input into a character’s history. I can’t do that, and I think it’s better not to fool myself. That being said, I love coming back every once in a while, and I think it’s very important for Marvel and DC to exist because they are the ones that hold up the industry; and there has to be an industry for other things to exist.
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