What I've done for the last ten years is develop high profile entertainment properties for animation, so it's kind of funny to be able to create my own book to already know how I'd want to develop it for animation and live action.

It's really inspiring to know that your publisher is so behind you. It makes you want to put forth your best work.

I was selling a piece of my art on eBay from The Escapist, which was an adaptation of The Adventures of Kavalier and Clay, and the person who bought it was Alan Heinberg, one of the executive producers of the show and was a huge fan of my work and asked if I'd be interested in maybe being the ghost artist for Seth. It clicked and I could relate to Seth's plight on the show. It became really easy to fill in his shoes, and people really grabbed onto it; they really dug that sort of very minor sub-plot in the show.

Comic-Con is definitely grown from just being about comics to being about all forms of media.

Tokyopop's been extraordinary. They approached me to do My Dead Girlfriend - Julie Taylor, one of the senior editors was a huge fan of The O.C. - asked if I'd be interested in creating a book for Tokyopop. My Dead Girlfriend was the book we all agreed upon as being the one that I would do first, and they've just embraced it completely.

What I've done for the last ten years is develop high profile entertainment properties for animation, so it's kind of funny to be able to create my own book to already know how I'd want to develop it for animation and live action.

I had no idea the amount of people who even knew who I was. Suddenly, they were coming up and saying, "You're my favorite artist." Very surreal. After years of trying to get work, and then coming here and being able to meet some of the fans of Array.