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2010 was a huge year for DC.
It’s the end of the year and, if you’re like me this year, that means there’s still some last minute shopping to be done. Need help seeking out the perfect gift for your comic book loving friends and family? Just check out the latest and greatest best of 2010 lists...
Sometimes you just know.
In my time on this job, I’ve had hundreds of ideas for comics and graphic novels thrown at me. I’ve gone out and found quite a few more on my own. I’ve even cooked up a few out of my head. The vast majority of them never go anywhere because frankly, they’re not very good (especially that last kind I mentioned). Others are, in fact, very good. But they, for whatever reason, don’t connect with me.
Then there are those rare, few ideas where, the minute you hear about them, you just know.
The Old City of Jerusalem is crowded. In a relatively small space surrounded by walls there are three major religions, their sects and subsets. There is tourism and noise, garbage and sacred things, ideology, conflict and competing ideas. And, in early March of 2007, there was also me, standing in a narrow street with a notebook thinking to myself: “How the hell am I going to write about all of this?”
After finally getting to page 195, it was time to go all the way back to page one again and start coloring and inking. Like I said before, I hadn’t known how I was going to color the book when I first started out. Making the book full-color hadn’t even been my idea, rather, Vertigo had asked me if I wanted to make it in color. I told them that I wasn’t sure I could color a whole book, as I had never even attempted to make a comic in color. But they had liked the covers of my minicomics, for which I had colored a panel in Photoshop and made it into a sticker:
I had already completed two chapters of HOW TO UNDERSTAND ISRAEL IN 60 DAYS OR LESS when Jon Vankin asked me if I would consider publishing the book with Vertigo. Jon had picked up those two chapters at MoCCA, where I was selling them as minicomics. I couldn’t wait to get started on the book. Although my editors told me that I didn’t have to redraw the first two chapters, I decided that I would scrap them anyway and treat the minicomics versions like rough drafts.