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

I think when I finally got it in my head that I was going to do the story, I wanted to avoid doing what I thought people wanted me to do.

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.

There are some people who may not like precision in their art. They may like it to be grittier and more gestural, more of a direct expression in the way that a painter would put his strokes on canvas.

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.

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.