Years went by and Henry, now 40, and with a family of his own, returned to his comic strip with a more poignant and real understanding of family life.

Henry talked to the Globe about his philosophy for the comic, creative inspiration, the four main characters — Wallace, Spud, Amelia, and Rose — and his old school approaching to drawing.

Q. Where did your love for comics originate?

Henry: Like most cartoonists, I’ve been drawing my entire life. It was something I’ve been doing since I was a kid and it was a passion that stayed with me through elementary school, high school, and even in college, where I was writing comics for the daily campus paper at the University of Connecticut. No matter what odd job I was doing I was always finding time to do cartooning at home. Andrews McMeel Universal gave me a chance to syndicate “Wallace the Brave” nationwide and internationally.

Were you doodling and thought ‘This might be a great career?” or did this come on later in life?

It came later on. When I was in elementary school, I was copying “Garfield” comics word-for-word to show my friends or copying “Far Side,” but it was just for fun and a creative outlet. It wasn’t really until that first year in college when I realized the job does exist. Someone has to do it. I thought maybe that could be me.

Describe “Wallace the Brave” and the world of Snug Harbor?

I would describe it as the view of a small town through the eyes of kids in grade school, full of mystery, and wonder, and adventure. and friendship. I take a lot of pride in the character development, but it’s a coastal New England town, which I think is why it would be perfect for the Boston Globe, and I think a lot of people in that area will see parts of New England that they recognize, even if it’s vague.

How much did growing up in Rhode Island — the Ocean State — shape that setting?

Oh, absolutely. I’m a child of the ’80s, where things were a little more lawless and there’s a bit of that in that comic. I’m really interested in just what happens when children get bored. Their mind wanders and adventure starts. Less screen time, more nature, and with Rhode Island being the backdrop of that, there’s a lot of ocean-focused scenery, and jokes. It’s almost like Easter eggs for the New England readership. It definitely has its heart in Rhode Island and New England.

What is “Wallace the Brave’s” origin, is it based on anybody you knew?

I’ve always kind of said the two main characters are Wallace and his best friend, Spud, and they’re opposites, but they’re very good friends. They counter each other’s weirdness and they appreciate each other’s weirdness, even if it’s a different kind of weirdness. The two characters are sort of my two personalities, just separated and magnified, and that’s where you kind of get the Wallace and Spud character. Wallace is who I want to be on a daily basis — positive, uplifting, and a ride or die friend — and Spud is the understated nervous worrier, which on my worst days I can be.

Do you think these characters all balance themselves out?

Balance is tricky. It’s more of about being true to the characters and giving them depth. I try to make them more than just two-dimensional characters, like, that one’s the nerd and that one’s the sports jock, because I have two kids, and they and their friends are not one-dimensional. They have many layers, I try to incorporate that with the way they interact with each other.

Are comparisons to Calvin and Hobbes humbling?

Oh, I love it. It’s one of the best comics ever made. I’ve had, and I get a lot of, comparisons with Calvin and Hobbs, Cul de Sac, and Peanuts, all awesome comics to be compared to. I will absolutely take it as a compliment.

Did you have any missteps on the way to syndication?

I’ve had a lot of failures in the cartoon world. I mean, I’ve probably had three or four comics before “Wallace the Brave,” and they progressively got better. The one before “Wallace the Brave” was called “Ordinary Bill,” and it had a little bit of a readership, and it was sort of that web-comic model, but at the end of the day, it wasn’t a great comic, and I abandoned it once the idea for “Wallace” came to me.

Why do you think comics about kids experiencing life unplugged — collecting bugs and flying kites — connects with readers right now?

It serves the same purpose as the comics serve in the newspaper as a whole. It’s a bit of escapism from the world. I want to live more like Wallace, but I’m still in front of a computer a lot, still checking out social media, so I think it’s a bit of escapism. One thing I’ve noticed — because as my kids come into reading age and are starting to read the comic more seriously — they’re taking cues from it. They want to be like the characters in it. I’m hoping a little bit of that trickles down to the kid audience, where they take a moment more to explore the world around them.

Are you using a computer to draw or hand-drawing your comic strip?

I am a dinosaur when it comes to that because I am still working pen and paper. I will usually watercolor them, but for for print in the Boston Globe, they’ll be colored digitally, just because it reproduces better.

This interview has been condensed and edited for clarity.

The Boston Globe’s weekly Ocean State Q&A features Rhode Islanders who are starting new businesses or nonprofits, conducting groundbreaking research, or reshaping the state’s economy. Send tips and suggestions to rinews@globe.com.

Carlos Muñoz can be reached at carlos.munoz@globe.com. Follow him @ReadCarlos and on Instagram @Carlosbrknews.