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.

A lot of the kinship that people notice is not coincidental. I was very impressionable and trying to find my role models when I was twelve or thirteen.

I've always been really impressed with some of the longer graphic novels and thought it would be really amazing if one day I could try something like that.

For me, as much about being a parent as it is about being a child.

I never go home and take out those business cards and go to those websites. But if there was a mini-comic here in my hand, I'd read it while I ate my lunch. I'm also probably one of the few remaining holdouts who hasn't consented to making the e-book versions of all my work, which is annoying to some of my publishers.

I think in terms of getting new artists who are not in that sort of stereotypical teenage boy demographic; there's been a lot of progress recently. And I shouldn't make a definitive statement about this, but my impression is that the main impediment to progress in that regard is the number of people who are choosing to make a go of it.

The first time I did a reading/signing thing at Cody's, the woman who did the introduction said something like that, and I wasn't the only one cringing. I remember looking out into the audience and seeing people's faces and people whispering to each other, and thinking like "Ugh, can we just cancel the whole thing? I can't go out there after she said that."