You are life, rarer than a quark and unpredictable beyond the dreams of Heisenberg; the clay in which the forces that shape all things leave their fingerprints most clearly.

Soon there will be war. Millions will burn. Millions will perish in sickness and misery. Why does one death matter against so many? Because there is good and there is evil, and evil must be punished. Even in the face of Armageddon I shall not compromise in this. But there are so many deserving of retribution ... and there is so little time.

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Unlike T.V., we cannot have too much of science, despite its nuclear quirks. With science, ideas can germinate within a bed of theory, form, and practice that assists their growth ... but we, as gardeners, must beware, for some seeds are the seeds of ruin, and the most iridescent blooms are often the most dangerous.

As I see it, a successful story of any kind should be almost like hypnosis: You fascinate the reader with your first sentence, draw them in further with your second sentence and have them in a mild trance by the third. Then, being careful not to wake them, you carry them away up the back alley of your narrative and when they are hopelessly lost within the story, having surrendered themselves to it, you do them terrible violence with a softball bag and then lead them whimpering to the exit on the last page. Believe me, they'll thank you for it.

There seems to be an audience that demands everything be explained to them that everything be easy. And I don t think that s doing us any good as a culture. The ease with which we can accomplish or conjure any possible imaginable scenario through CGI is almost directly proportionate to how uninterested we re becoming in all of this. I can remember Ray Harryhausen s animated skeletons in Jason and the Argonauts. I can remember Willis O Brien s King Kong. I can remember being awed at the artistry that had made those things possible. Yes I knew how it was done. But it looked so wonderful. These days I can see half a million Orcs coming over a hill and I am bored. I am not impressed at all. Because frankly I could have gotten someone a passerby on the street who could have gotten the same effect if you d given them half a million dollars to do it. It removes artistry and imagination and places money in the driver s seat and I think it s a pretty straight equation — that there is an inverse relationship between money and imagination.

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"Looked at sky through smoke heavy with human fat and God was not there. The cold, suffocating dark goes on forever and we are alone. Live our lives, lacking anything better to do. Devise reason later. Born from oblivion; bear children, hell-bound as ourselves, go into oblivion. There is nothing else. Existence is random. Has no pattern save what we imagine after staring at it for too long. No meaning save what we choose to impose. This rudderless world is not shaped by vague metaphysical forces. It is not God who kills the children. Not fate that butchers them or destiny that feeds them to the dogs. It’s us. Only us."

-Rorschach.

I've developed a theory that there's an inverse relationship between money and imagination. That if you've got lots of imagination then you don't really need much money, and if you've got lots of money then you won't bother with much imagination. You've got to be able to pay your bills, otherwise you're not going to sleep at night. But beyond that, the world inside my head has always been a far richer place than the world outside it. I suppose that a lot of my art and writing are meant to bring the two together.

... the most probable of all my theorems, is that life is ordered by the principles of some religion so peculiar and obscure it has no followers, and none may fathom it, nor know the rituals by which to court its favour.