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.

Something I always wanted to do, to capture that later half of the '70s. It's like the early half of the '70s is still the '60s, in that there's still kind of a playfulness and inventiveness in terms of design and the things that were going on in the culture. The second half, it got much more commodified. It's possibly the ugliest era of architecture and clothes and design in the entire 20th century, from 1975 to '81 or '82.

I'm more interested in characters who are a little difficult.

I don't read much of anything online.

I used to use cigarettes to indicate somebody's an outsider a lot. It gave character a seedy, disreputable, almost suicidal quality. Now cigarettes are so unused - - you can't have anybody indoors smoking. If you drew that in a restaurant, you'd have to have a panel where the manager comes over and kicks them out. Unless it's set in Europe, you can't really do that. Characters who smoke - - it dates comics, somehow.

I think there was a point that I realized I could do what I wanted to do in terms of the drawing. I used to run around a lot of things. I would shy away from certain things that I realized would be horrible for me to draw, and just wouldn't be fun.

I see a lot of possibilities in the age of my characters - between 18 and 21. You have a window of opportunity when you leave your childhood behind and have this chance to become what you always wanted to be. For me, that was a time when I could have gone many different ways. I was in flux and deciding what kind of person I would become. There's something interesting about the vision of what that will be and the reality of making that happen, and how you really are what you are. Unless you're "in character," it's impossible to get around that.