My career—I guess I can officially call it that now—was not my idea. When my editor, Jim Andrews, recruited me out during my junior year in college and gave me the job I still hold, it wasn't clear to me what he was up to. Inexplicably, he didn't seem concerned that I was short on the technical skills normally associated with creating a comic strip—it was my perspective he was interested in, my generational identity. He saw the sloppy draftsmanship as a kind of cartoon vérité, dispatches from the front, raw and subversive.
Why were they so subversive? Well, mostly because I didn't know any better. My years in college had given me the completely false impression that there were no constraints, that it was safe for an artist to comment on volatile cultural and political issues in public. In college, there's no down side. In the real world, there is, but in the euphoria of being recognized for anything, you don't notice it at first. Indeed, one of the nicer things about youthful cluelessness is that it's so frequently confused with courage.
In fact, it's just flawed risk assessment. I have a friend who was the Army's top psychiatrist, and she once told me that they had a technical term in the Army for the prefrontal cortex, where judgment and social control are located. She said, "We call them sergeants."