It starts with the writing. We have to think of all these characters - we have to treat them all equally. We have to think of them as having an interior life and having motivations. When I'm drawing female characters, I'm looking for that. I'm looking for subtext. I'm looking for ways to make the reader relate to them in a way that goes beyond the pure aesthetic value. You know, just drawing an attractive woman really gets kind of boring after a while.

[Paper Girls] is very much is about how we are thinking about our past and growing up.

One of my favorite comics is Love and Rockets by the Hernandez Brothers. They do such a wonderful job of showing you how the character of Maggie ages and really doesn't present that with any kind of judgment.

Matt Wilson, the colorist, has this great palate [in Paper Girls] that brings up all these emotions and this feel of the '80s without being actually as kind of as bright and primary as it could have been.

The '80s were a really different time for kids.Technology has changed so much of how we stay in touch and keep tabs on people.

I've become really aware of all the subtle things you can communicate through the art and how you're presenting a character, particularly someone like Wonder Woman, who means so much to so many people.

When coming up with Wonder Woman cover designs, sometimes people will pitch ideas to me, either the writer or the editor. And it's interesting, because I know they're not trying to, but they end up pitching things that end up feeling like damsel-in-distress covers, where the tension comes from her needing to be rescued somehow. And it's something I immediately push back against.