It's embarrassing to be involved in the same business as the mainstream comic thing. It's still very embarrassing to tell other adults that I draw comic books - their instant, preconceived notions of what that means.

It's embarrassing to be involved in the same business as the mainstream comic thing. It's still very embarrassing to tell other adults that I draw comic books - their instant, preconceived notions of what that means.

For example, I noticed that every single kid in the high school in 'The Death-Ray' is based on somebody I went to high school with.

I like to leave a little room to innovate and change things around while I'm working.

At a certain point, I realized that I could draw anything, and there was nothing I should avoid - I could make it work. That's opened me up to being able to be much more comfortable telling any kind of story.

I feel like a lot of my aesthetic was in response to feeling the awfulness and cheapness of that [ the 70'th].

I can look at my early work and see what a pained struggle it was to draw what I was drawing. I was trying so hard to get this specific look that was in my head, and always falling short.