As soon as I'm finished with it, it feels like an impersonal project. Like, "Well, I did another book."

There are certain things in there that no one else would recognize, really. I see details of my life that I didn't even intend to put in when I was doing the work. For example, I noticed that every single kid in the high school in The Death-Ray is based on somebody I went to high school with.

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.

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

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.

I'm not opposed to comics on the Internet. It's just not interesting to me.

One of my weekend hobbies is to go look at old houses when there are open houses around here. Just to go look at the architecture. And you can see how many houses were built around 1977, the year where everyone said, "Let's put in these aluminum windows instead of beautiful hand-made wood ones."