I really want people to read the book, and bookstores never sold an issue of Eightball because nobody knew what it was.

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

Writing screenplays is very freeing from what you can do in comics in a lot of ways. You can change things around. I can take great delight in writing 40 pages, then just pressing delete and getting rid of it and not thinking about it ever again. Whereas in comics, if I had put that kind of effort into it, I couldn't go on.

I have this certain vision of the way I want my comics to look; this sort of photographic realism, but with a certain abstraction that comics can give. It's kind of a fine line.

I'm a fan of parchment and wood pulp.

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.

If I could have somehow been the kind of artist who could crank out two or three issues a year, that's different. That's sort of what it's all about, to get this thing out so that there's some kind of continuity. But to do a comic book every year or two was just so anti-climactic.