I remember reading the arc where sonic gets his dad back and defeats robotnik. and he’s just looking over the wasteland of what was and says to tails... dude, was this worth it? I think that was the first time i grasped an adult theme in a comic book.

I don’t understand how Euron Greyjoy, a guy who tortures magic users to death in order to steal their power so that he can eventually kill gods, was somehow made into a boring villain. Like, sure, the show cannot spend dozens of hours on the guy so they made him more conventional, that’s fair. But keeping nothing…

As the cool kids in the interwebs say....“THIS”

They don’t even have to do fringe. They could do big, sweeping epics aside from the Skywalker stories.

Sooooooo fucking Agreed.

I’m not sure about this grimdark remake of Coming To America.

Tattooine is actually Earth in the far, far future. They take a quick trip back there and find the Statue of Liberty half buried in the sand.

I could see him doing that

I did wonder if he was kind of in character lying about how great he is. Do actors do that in interviews?

Wasn’t I-Rok in the book; the character that kept trying to get into Aech’s Basement? And then spilled info on Parzival after he reached the first gate?

We need a Velvet adaptation. That comic is so good.

What are you reading right now? Are there any websites or magazines you use to stay up to date on the newest technology?

Mr. Ellis—huge fan of your work, thank you for being here on io9!

As an autistic adult, I read your depiction of Karnak as having autistic traits - hyper-awareness, a thought process focused on mechanisms, and a dislike for social situations (I read Karnak’s “asshole” behaviours as being in part not caring for social interaction, but also a defence mechanism to avoid encouraging…

I’ve seen mentions of Jenny Sparks in your upcoming Wildstorm reboot. Does that mean you’re moving away from your century babies concept? If not will we see the spirit of the 21st century

Planetary. Ellis and Cassaday’s history of 20th Century pop-culture via grumpy superheroes. Beautiful, funny, sad, exciting, and a well-thought out metaphor for what happened to comics after Lee and Kirby broke things in 1961.

Sandman #1 - #75 & the special, by Neil Gaiman & various.

It’s hard to go wrong with Mark Waid’s Daredevil: it’s a thorough, studied reinvention of the character, one that juggles an adult balance of humor, heart, and deep, deep sadness. The art is uniformly brilliant—clean, sharp, cartooning from Paolo Rivera, Chris Samnee and others. It still stands for me as close to the…

Claremont’s X-Men runs with Cockrum and Byrne, Gaimain’s Sandman, and the Giffen/DeMatteis Justice League are all close. But I just love the Alan Moore Swamp Thing so much.