It wasn’t until I discovered comics that I actually began to approach drawing as a possible career.

We all live in a state of profound isolation. No other human being can ever know what it’s like to be you from the inside. And no amount of reaching out to others can ever make them feel exactly what you feel. All media of communication are a by-product of our sad inability to communicate directly from mind to mind.

And what better way to reinvent the form than to toss virtually 99% of everything that’s been done with it and start with a brand-new canvas, reinvent it from the ground up? Digital comics gave me the opportunity to do that, and producing things digitally gave me the opportunity to do that.

If a comic comes out on the scene and it’s really knock-out brilliant, the community is pretty good about getting the word about good newcomers.

To be a “thing” that thinks and moves and wants... that’s MIRACULOUS.

There’s a very big part of me that just wants to take all of comics history and toss it on the bonfire. I’d sort of like to get on to the future.

I wouldn’t necessarily have been making books about how to make comics if I’d really felt I knew how to make comics.

As I see it, mainstream comics now speak only to the hardcore few who stayed; conversing in a weird, garbled, visual pig latin only they can understand – rendering the term ‘mainstream’ a hollow joke – while the true mainstream, the other 99.9% of the populace, find enjoyment elsewhere.

Amplification through simplification.

I don’t think the potential for comics in nonfiction has been exploited nearly as much as it could be.