Back then, as a kid, you could really just do whatever you wanted until your parents got home.

[Paper Girls] needed to have a certain kind of almost neon style to it, but at the same time we wanted also to show the modern perspective that we had.

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.

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.

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.

We wanted the book [Paper Girls] to feel to evoke the '80s, but not necessarily feel that it was drawn then.