I wanted it to be as readable as possible. I had the ambition of reaching a broader audience.

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'm always pointing things out to native New Yorkers that I think are weird about this place and their culture and all that. But I feel like my friends and family from California feel like I've totally "become a New Yorker."

I think a lot of the criticism had to do with disliking the characters - which, again, I take as something of a compliment.

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 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.

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.