Talk about your process a little. How do we get from your initial drawings to the finished page, like this?
I remember that page taking several months. I had a lot of ideas swimming around but I didn't know how they were gonna fit together. Often, when I'm depressed, I'll just scrawl in a notebook. This was based on one of the depressed scrawls. And I thought, 'Well, why can't that be a comic?' There's no content to speak of, I added to it and tried to build it, and then got intrigued by the claustrophobic inertia. The feeling I had when I was that bummed out. And that meant living in a room that I couldn't get out of, because that meant getting up, and trying to figure out this giant mountain range of furniture and junk was where I lived with whatever media was piped in as signs of civilization. Feeling motionless, inert, trapped, an d not interested in much of anything. So how would I portray that space, and make a comic strip, which is something that moves through time. And that led to this idea of a real faucet dripping slowly, and this idea of a bouncing ball. But I'm reconstruction that. It's been a long time since that particular bout of depression, and many since. But at that point, it was like, 'OK, there's this comic that seems to move through time, but it's really just moving through the visual space.' And there's only one thing that moves through time, which is the ball, that moves from panel A to panel B. So that's the only place where there's temporal movement. Visually, I was looking at cubism. And didn't connect it consciously with what little I knew about art deco, in a way art deco grew out of cubism. And so did this. The idea of having the pictures lag in time, or move ahead in time from the caption that surround [them]. All of that was really exciting to me. 'Wow, these can do some more stuff than having someone flying across a room!' And so that page felt like ... a discovery.
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