Face it, you hate every single boy on the face of the Earth!" "That's not TRUE, I just hate all these obnoxious, extroverted, pseudo-bohemian art-school losers

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'm a fan of parchment and wood pulp.

I try to employ a different strategy for each story. Often, I'll have a specific look in mind before I even have the story to go with it. I'm not so much interested in forcing the issue of reader identification through various graphic tricks. I'm more interested in creating specific characters that resonate with my own particular inner struggles.

You need to be, like, turning down high-paying illustration work because you want to work on your comic. That's when you know you're doing something good.

I have cultivated a little crew of people whose opinions I understand. It's like the way you'd follow certain film critics because you know what their criteria are, and you may not agree with them, but you can glean from their opinion how you will feel about a film.

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?