You start to get nervous when the value of a comic book or graphic novel is relative to the achievements of some other medium.

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.

Basically, I know there's no turning back the clock, and it's sort of pointless to mourn what has passed, but I don't know if the alternatives now really replicate the learning experience that I had, in terms of what I gained from making mini-comics. There were certain components of it that are completely gone because of being able to just throw stuff up on your blog the minute you're done with it.

It's important to make a distinction between becoming more precise and becoming better.

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 get the impression from some people that unless they get direct access to characters' thoughts and realizations, either through thought balloons or narrations or some sort of showy action, then those thoughts and realizations never existed.

One of the by-products of being allowed to start my professional career prematurely is that the evolution of my work is really evident.