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I think a lot of the criticism had to do with disliking the characters – which, again, I take as something of a compliment.

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But there are definitely pros and cons. You could also look at it as bringing in a more diverse crowd.
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But my impression is that the main impediment to progress in that regard is the number of people who are choosing to make a go of it.
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If you’re changing diapers and going to the playground, any ambitions of being a cool guy have to fly out the window.
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I wanted to avoid doing what I thought people wanted me to do.
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That partially due to the world of media and commerce, the idea of a comic book has been lost in the ghetto.
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I sense a real difference in my work from the time I was younger and single and more involved in the world of music and going out to bars and all that.
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I think there’s this general hunger for greater diversity, where publishers are really excited about finding different voices than what has been done.
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But not the kind of comics that they were used to, and no, it’s not pornography, etc.
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Just in terms of being able to be a professional artist, but also it’s nice to not have to dread introductions.
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I never go home and take out those business cards and go to those websites.
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I think, to its credit, this is one of the last forms of popular entertainment that I don’t sense to be discriminatory in any way.
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And I do think it’s sort of too bad that what once was a safe haven for truly eccentric, outsider artists is no longer that thing.
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I’m getting to a point in my life where my whole attitude about the relationship between myself and the audience is totally different.
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Who was trying to be cool by writing about young people and a certain kind of Bay Area culture that I was tangentially a part of.
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I feel like if people are going to go to the effort to get a stamp and, you know, put it on an envelope that, you know, it’s a big effort these days. So I often write back.
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Underground and alternative comics existed in a vacuum for years, where money really wasn’t an issue.
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