I remember when I was a kid and I would go to the comic-book store, I would have no idea what was going on in that month's issues. Sometimes I wouldn't even know what comics were coming out until I walked into the store.

I've always seen 'Y' as an unconventional romance between a boy and his protector. It was always about the last boy on Earth becoming the last man on Earth, and the women who made that possible.

After 9/11, I knew I wanted to write about power and identity and the way Americans on all sides of the political spectrum often mythologize our leaders, which are themes that the superhero genre has always handled really well.

As much as I'm enjoying stuff out here in Hollywood, I will always think of myself as a comic-book writer who does film and television, not a film and TV writer who occasionally does comics.

I want to plug back into the hip-hop audience. Whether it be fans who grew up watching 'Yo!', or people who have become familiar with the culture via the Internet.

I think there's a great homogenizing force that software imposes on people and limits the way they think about what's possible on the computer. Of course, it's also a great liberating force that makes possible, you know, publishing and so forth, and standards, and so on.

The role I see for my books is trying to think through the consequences of various things because a lot of the issues around technology and the nuances in it are not usually widely appreciated. That's how I view my writing as I sort of explore this terra incognita ahead of us in an effort to try to understand where we might be heading.

And what better way to reinvent the form than to toss virtually 99% of everything that's been done with it and start with a brand-new canvas, reinvent it from the ground up? Digital comics gave me the opportunity to do that, and producing things digitally gave me the opportunity to do that.