I try to only work on the screenplays for a few hours a day when I'm in my most voluble mood, just sort of writing whatever comes into my head. It's a very freeing thing.

Usually when I put together a book like this Death-Ray hardcover or that Ghost World special edition, then I have to reread it and see if there is anything I want to change or any re-coloring I want to do. That's when I'm faced with the actual work. When I'm working, I'm too close to it. I'm sort of inside, and I can't see it at all. So when I have that experience of rereading it years later, it's jarring.

I knew how to draw all of the different smokestacks on the old trains and all that stuff, and then I realized that if I can draw trains, which is the thing I was probably the least interested in in the world at the time, I can do anything and find a way into it that will be interesting.

I must have been 3 years old or less, and I remember paging through these comics, trying to figure out the stories. I couldn't read the words, so I made up my own stories.

I had no television when I was little, just a stack of old, beat-up comics from the 1950s and 1960s.

Even if I only had 10 readers, I'd rather do the book for them than for a million readers online.

I think I've had the fantasy of a ray-gun that could erase the world from the time I was a very little kid.