The reasons I became an artist–and specifically a cartoonist–are manifold. Comics are a humbling, approachable, and egalitarian medium, and have an ability to reach people who may otherwise feel alienated from the art world. Comics provide the artist with an enormous amount of creative control; he or she is at once the actor, editor, director, producer, and set designer. Cartooning is also rich in tradition—for the most part, I can use the same tools on my comics that George Herriman used 100 years ago on Krazy Kat. I also enjoy the meditative, almost ritualistic aspects of the art, as inking comics is about the only time I am fully in the present, and fully engaged wholly and completely in what I’m doing. I was put on this earth to draw pictures.
But to revisit human production, the main thing I like about comics (and the main goal of my work) is that the world needs comics; or more specifically, the world needs goodness, and this is what I try to produce. I am not unconvinced that things like good, bad, love, hate, greed, and generosity are tangible, and that the world can have surpluses and shortages of them depending on current conditions. This is why I want to provide comics and illustration as a service: to increase joy, peace, laughter, and other positive qualities that the world is definitely lacking. E.B. White once said something that I’ve always liked: “All that I hope to say in books, all that I ever hope to say, is that I love the world.” I think that this matches my own motivations, with the caveat that if I can’t always love the world, I at least want to nudge it toward something that can be loved.