And with this sort of increased visibility, there's more money going around in the industry, and it changes a lot, in terms of who gets into the business as a creator, who sticks with it, and who gets pushed out. And I do think it's sort of too bad that what once was a safe haven for truly eccentric, outsider artists is no longer that thing. But there are definitely pros and cons. You could also look at it as bringing in a more diverse crowd.

When I talk to people who have teenagers now, their rooms are filled with screens. There are their phones and their DVD players and TVs and all these things to produce distractions for them, and I think it would be hard to find the time to create something. I think that's really changing something about adolescence.

I was very aware of the fact that there are a lot of comics out there that I love, because I've grown up my whole life reading comics and I know every little nuance of the language and all the implications.

I wanted to try to create characters that happen to be Asian but who are pretty different from those we generally see in our culture, in our commercial culture.

I feel like if people are going to go to the effort to get a stamp and, you know, put it on an envelope that, you know, it's a big effort these days. So I often write back.

I certainly wasn't consciously hiding my identity in the earlier work, though a lot of people have brought up the fact that I drew myself without eyeballs.

I think it's harder for each generation. Even I just feel completely separate from teenagers today who have access to the Internet. And I'm amazed that this interest in video games has never gone away. It just keeps growing.