All I can say on the Guilford story - and this comes more from my perspective as a father than an artist - is for parents and administrators to give so little value to the career of a public-school teacher - to allow him to be cast aside without exhausting every avenue to resolve the issue - is an obscenity worse than anything I've ever drawn in my comics.

You try to make the world a better place and what does it get you? I mean, Christ, how the hell does one man stand a chance against four billion assholes?

You can give some kind of spark of life to a comic that a photograph doesn't really have. A photograph, even if it's connecting with you, it seems very dead on the page sometimes.

For me, the whole process involves envisioning this Ghost World comic book in my head as I'm working.

I have a very low tolerance for animation. I'm used to the perfect integrity you get from drawing your own comics. There's something about that that animation always loses.

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 never feel there's anything I can't do.