I couldn't take my eyes off of Stan [Lee]! As good as the movie is, all I could think about is, "What's he thinking?" So the movie ended, and then he, very whimsically, expressed all of his feelings about how long he waited, and how the TV shows in the '70s were all, "If only they could do this," and now they could. And he didn't get choked up and blubbery, but he was moved. Like, "Ohmigod, it happened while I was alive." And I can't believe I got to see that. He was very raw. It was quite beautiful.

One similarity I see between peers and some of the people who read my books is that comics were definitely an outlet for us.

I didn't know why I was coming to this room. Someone just told me to go to Sam Raimi's office. I knew that I uniquely had the comics version of his job, which was to take Spider-Man and put him into the modern day. But I thought, "Maybe he wants to tell me to cut it out." So I come in, it's in his office, and then Stan Lee comes in, and I'd only ever met Stan as a fan, not as a professional. And then they sit us down on a couch, and roll in an AV cart with a TV on it and go, "We're going to show you the first cut of Spider-Man."

If you like Powers, you'll love The Victories!

In my mind jealousy would come with seeing people do something that makes it all look extremely easy when it's not, like artists who can draw better than I can. In college, I was different. I was so hungry that anyone else who was published - I couldn't deal with it.

You can't just have a fight scene. In my opinion, it has to be a character moment or story moment.

It also helps that what Dan Slott is doing with Peter Parker in the comics has elevated him to something else, so that Miles Morales at the moment is the more traditional Spider-Man figure in the universe: the high school student trying to balance high school and superheroics, and he can't catch a break. That was Peter's role, but it's not his role anymore, and it's Miles' role. That was given to me, and it's pretty cool.