Nothing I've worked on has been asked this much of me to put it on the page [like Paper Girls].

I realize that this is not what you want to put on a cover with Wonder Woman emblazoned on it. She could be in trouble, but she doesn't need to be completely out of control. So whenever I'm doing these covers, I try to make sure that there's an element where, even if there is danger, it's not something where agency is taken away from her.

A lot of times we look at the past as something that was really great, but we ignore things that have actually gotten better since then.Our girls [Paper Girls] are now dealing with what their futures look like, and reflecting on what they hoped the present day versions might be like.

I don't think I've ever worked on a project [Paper Girls] that is this personal. We draw so much on our memories of growing and we're putting so much of our present day into it as well.

What I like about Paper Girls in particular is that because we're approaching it more from a female perspective, we're able to consider the emotional states of these characters a little bit more, and think more of their interiority.

Matt Wilson, the colorist, has this great palate [in Paper Girls] that brings up all these emotions and this feel of the '80s without being actually as kind of as bright and primary as it could have been.

[Paper Girls] needed to have a certain kind of almost neon style to it, but at the same time we wanted also to show the modern perspective that we had.

We wanted the book [Paper Girls] to feel to evoke the '80s, but not necessarily feel that it was drawn then.