A lot of the ways that I like to approach comic books, or anything like that, is not just the book itself, but the fans of it, the readers, the world that exists around it as a cultural object.

I don't spend as much time drawing as I do writing and reading. That's the really work-intensive part. And by the time I have enough material, it's often way past due time to put the comic up, and I'm already behind schedule, and I have to kind of rush it.

My job never actually leaves me. I watch people who come home from work at six and they're done, and that seems crazy. Then again, they have to get up at seven and go to work, to a job that maybe they don't really care about, and I get to do something that I care about.

I have a diverse audience, which is great, because I like doing things that are a bit more obscure, and I love doing things that are very popular as well. Each has its own bit of joy. So I try to mix it up.

I really believe in the power of comics as an educational thing, even ones as silly as mine, because they're a gateway to the actual thing. They're like an easy entrance.

Nothing funny about happy people. I don't know, you just look at a situation or a life, and you can kind of pick up the areas of conflict and delve in there, because that's where the most story is. If someone's happily married for 20 years, that's great, but it's not that funny.