I feel like a lot of my aesthetic was in response to feeling the awfulness and cheapness of that [ the 70'th].

When I go back and reread the stuff, I'm always floored by how deeply personal and revealing it actually is.

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 love the medium and I love individual comics, but the business is nothing I would be proud of.

Everybody just lets the media do their thinking for them... that's why you'll never hear any reggae on the radio!

That's been my main interest for the last 15 years, is to really make sure the story and the characters take precedence over everything else, and that I give them everything I can to make them exist as actual people.

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.