If I see that something is wrong, I don't care who says it. Whether it's a Republican or Democrat, the left or the right. If they are on the opinion of the right thing, that's what I will talk about. I won't proselytize or make the strong things to influence other people about any particular politics, except the decency of things, the logic of things. That's why I don't get that much involved in politics directly.

When sadness happens in the middle of work, I separate my personal grief from my train of thought.

I live in a very small town and now that I've closed down my studio, I'm working at home.

I'd love to do a whole series of stories and have them collected into books.

A comic book is the opposite of a cartoon. In a cartoon, you want to simplify the idea, so when they look at it at a glance, they get it. Boom. Simple. Direct to the point. But when you're drawing Groo, now it's a narrative, a story. You want the viewer to get involved in the story. You want him to feel like he's in the town to follow your main character. So I love to add lots and lots of things in it. Things that people will enjoy going back to and say, "Oh yeah, that's how a market must have looked in this fantasy world, with people selling meat here and dishes here."

Sometimes, you start with the drawing and then the gag comes to you in the middle of it. That is when you start working on the solution of the gag, which is composition, placing, equilibrium, and character design.

Anyone can write a story based on the kind of horror where you see a guy in car and then there's the bad guy in the back seat. It's infantile to rely on that for telling a story. That's like going to bed and thinking there's a monster under your bed. It's silly.