That'll be my claim to fame: My grandmother-in-law is the oldest iPad user!

That's the biggest part of doing comics: You have to create stuff that makes you want to get out of bed every morning and get to work.

Try letting a Kindle protect your heart from sniper fire!

When I close my eyes to draw I always think Chicago in 1975.

When people get things for free, they tend to not take them as seriously.

Working on movies made me realize how fluid the medium of film was.

Yeah, I don't necessarily like endings that contrive an artificial moment of completion.

I have this certain vision of the way I want my comics to look; this sort of photographic realism, but with a certain abstraction that comics can give. It's kind of a fine line.

I must have been 3 years old or less, and I remember paging through these comics, trying to figure out the stories. I couldn't read the words, so I made up my own stories.

I was a very fearful little kid, and I would always see the worst in everything. The glass was half-empty. I would see people kissing, and I would think one was trying to bite the other.

It's embarrassing to be involved in the same business as the mainstream comic thing. It's still very embarrassing to tell other adults that I draw comic books - their instant, preconceived notions of what that means.

You can give some kind of spark of life to a comic that a photograph doesn't really have. A photograph, even if it's connecting with you, it seems very dead on the page sometimes.

When you see somebody who's got a complaining personality, it usually means that they had some vision of what things could be, and they're constantly disappointed by that. I think that would be the camp that I would fall into - constantly horrified by the things people do.

In a movie, you have to be mindful that no budget is going to be able to deal with running around the globe at every whim of the writer.

I originally just wanted to be an artist.

But I enjoy the opportunity to use swear symbols.

Comics seldom move me the way I would be moved by a novel or movie.

Even if I only had 10 readers, I'd rather do the book for them than for a million readers online.

For example, I noticed that every single kid in the high school in 'The Death-Ray' is based on somebody I went to high school with.

For me, the whole process involves envisioning this book in my head as I'm working.