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'If you write stories on a template that's based on story structure, it's like… you know, in Hollywood they used to have script readers. Each producer has stacks and stacks of unread scripts and these girls fresh out of college read all of them and then they make smaller stacks. They have a sheet of parameters like, does it have three acts? Can I follow the character arcs? Blah blah blah blah blah. But nowhere on those sheets does it say, “Do I like any of these people? Two, do I care what happens to these people? And three, would I want to hang out with these people?”' - Larry Hama

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"I've never actually seen a complete animated GI Joe episode because to me, a lot of the voices didn't fit the characters. In my head, Destro sounds like Sean Connery. And Cobra Commander is Orson Welles." - Larry Hama

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'I don’t think in “arcs.” To me, it’s all one continuous story that began in 1982 and is still developing.' - Larry Hama

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"Both Devil's Due and IDW had other GI Joe titles that they considered the main books. I think the going assumption was that I was played out, and they could do it better. DD didn’t even let me continue my original continuity. At IDW I was allowed to restart the original Marvel continuity with issue 155 ½ and then plow ahead, but it was considered a side dish - a curiosity, and they put their big push on their own revamping of the title. In the end they all fell by the wayside, and ARAH held its own. Mr. Kirkman calling me, was very reassuring and supportive - something I never got from DD or IDW. I am extremely grateful to him for that." - Larry Hama

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"I don’t want to live in a world where Larry Hama isn’t continuing his unparalleled run on G.I.Joe: A Real American Hero, and thanks to Skybound, I won’t have to!" - Robert Kirkman

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Author Benjamin Percy is starting his run as writer on Nightwing in May, joined by new artist Chris Mooneyham. There's an article up about it at Entertainment Weekly



"The best way to approach Nightwing is as a high-octane, adrenaline-fueled mystery and adventure.

Consider how Gotham and Blüdhaven are shadow-soaked, crime-ridden environments. One of the things I love about Nightwing is his irrepressible optimism. This joy—a love of the game, a showman’s theatricality—is tonally essential to my approach. I see it as a necessary counterweight to material that might otherwise feel oppressively grim. In this way, Grayson really captures the hopeful maxim that has defined the Rebirth era.
"

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