That's how I've made a living for years: doing illustrations for comics and magazines. And I'm still doing it. Though I'm really trying to make efforts to have other career choices, because it's just so unstable.

Working in magazines these days is like one of those horror movies where people keep leaving the room and not coming back.

That's how I've made a living for years: doing illustrations for comics and magazines. And I'm still doing it. Though I'm really trying to make efforts to have other career choices, because it's just so unstable.

What I'm trying to do with Thrizzle is create the experience of a humor magazine, even if it's just one person. So that's involved me trying to simulate different styles and create a feeling of some contrast and variation, which is obviously very different from Snake 'N' Bacon.

Twitter is just a great joke laboratory. You go in there and there are so many witty people that I know any joke I make is going to have a response with at least 10 great jokes coming back.

Certainly I enjoy the outré and I enjoy artistic comics and surrealism in comics very much. But the decision I made and have stuck with and refined was the decision to try to be funny and communicate humor. Once you put that ahead of everything else, it resolves those other questions for you.

In early comics, you see the amazing awkwardness and bizarre reasoning in the storyline, and it's because comics hadn't really been invented yet. There was no format for them to follow. They were just making it up. So I try to incorporate that kind of awkwardness in my comics quite frequently, which is odd. In some ways, I can't be as awkward as I'd like. But I do think that's one way in which my comics are unusual, because I will try to make the artwork look bad, occasionally.