I'm supposed to be making comics, so I had to do it the best way I knew how, which is what those guys at the beginning of the Twentieth Century were doing.

Sometimes I'm drawing onto a computer directly, sometimes I'm drawing on paper , so I can't really talk about drafts. It's just like having soft clay until it hardens. At least as much of the problem has to do with the decisions of what to represent, how to represent that, and how to reduce it down. The words in the balloons aren't particularly poetic necessarily, but it has the same problem as poetry, which is that one has to do great reduction. And if I tried to draw everything, you'd just have a tangled mess of a picture. The stripping down takes much longer than building up.

he technology that threatens to kill off books as we know them - the "physical book," a new phrase in our language - is also making the physical book capable of being more beautiful than books have been since the middle ages.

Even on the iPad or the Kindle, when reading a book, you're rewarded for pressing a button - it's almost as if it were a Pavlovian thing. There's a little action that happens. And that there's always a little pump of adrenaline that happens. But that pump is different when you're lifting a page as if it was a curtain in a theater to show you another thing.

In reality, childhood is deep and rich. It's vital, mysterious, and profound. I remember my OWN childhood vividly; I knew terrible things, but I knew I mustn't let the adults *know* I knew... it would scare them.

There's a therapeutic aspect to all making, but the nature of working is to compress, condense, and shape stuff, not to just expunge it. It's not just an exorcism.

I live in my own bubble. I was looking for an audience that wouldn't necessarily be looking for escapism when they came to my comics.