For Me, The Whole Process Involves Envisioning

I Can Look At My Early Work And See What A Pained Struggle It Was To Draw What I Was Drawing. I Was Trying So Hard To Get This Specific Look That Was In My Head, And Always Falling Short.

I Never Feel There's Anything I Can't Do.

You Have To Find The Tone Of The Piece And Modulate That. There Are Ways To Indicate That - I Try To Incorporate The Biggest Range I Can Within The Story, Going From Humorous To Serious Without It Being Jarring. That's The Hardest Part, To Keep That Balance. It Requires Being Constantly Aware Of Where You Are In The Story. You Can't Really Do That In A Movie: You Can't Slightly Modulate The Tone By The Way The Character's Eyeballs Look In One Certain Scene.

As Soon As I'm Finished With It, It Feels Like An Impersonal Project. Like, "well, I Did Another Book."

Usually When I Put Together A Book Like This Death-ray Hardcover Or That Ghost World Special Edition, Then I Have To Reread It And See If There Is Anything I Want To Change Or Any Re-coloring I Want To Do. That's When I'm Faced With The Actual Work. When I'm Working, I'm Too Close To It. I'm Sort Of Inside, And I Can't See It At All. So When I Have That Experience Of Rereading It Years Later, It's Jarring.