I certainly wasn't consciously hiding my identity in the earlier work, though a lot of people have brought up the fact that I drew myself without eyeballs.
I think most cartoonists are solitary, lonely kids who use their work as a way to try to connect with the world. If I had any other skills that were more performative - if I could have been a musician or an actor - I'm sure I would have pursued that instead in order to get that instant feedback and to hear applause.
I think there was a point in the past when I felt that my options as an artist were either to make race a nonissue and deny its impact on life and just say, "Don't think of me as an Asian cartoonist. Just think of me as a cartoonist."
I never go home and take out those business cards and go to those websites. But if there was a mini-comic here in my hand, I'd read it while I ate my lunch. I'm also probably one of the few remaining holdouts who hasn't consented to making the e-book versions of all my work, which is annoying to some of my publishers.
When people see me struggling on paper, I think it invites an almost collaborative relationship with the outside world, and that includes readers and other artists.
It's psychologically a weird experience to be so aware of the fact that the real time of your life is moving much faster than the fictional time you're trying to depict. You start to feel very weighted down sometimes.
I guess there's just a part of me that's not very enthusiastic about finding myself ten years from now halfway through a story that may or may not be any good.
I get the impression from some people that unless they get direct access to characters' thoughts and realizations, either through thought balloons or narrations or some sort of showy action, then those thoughts and realizations never existed.
And also, as a consumer now, it's weird that when I used to go to a book signing I would leave with a stack of pamphlets people had made to show off their work, and now I just leave with business cards where people have the URL to their websites.
Underground and alternative comics existed in a vacuum for years, where money really wasn't an issue. No one would get into doing a black-and-white comic because they thought it might be a route to riches.
When I talk to people who have teenagers now, their rooms are filled with screens. There are their phones and their DVD players and TVs and all these things to produce distractions for them, and I think it would be hard to find the time to create something. I think that's really changing something about adolescence.
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.
The first time I did a reading/signing thing at Cody's, the woman who did the introduction said something like that, and I wasn't the only one cringing. I remember looking out into the audience and seeing people's faces and people whispering to each other, and thinking like "Ugh, can we just cancel the whole thing? I can't go out there after she said that."