Yeah, that's a good question. The edition I did pay attention to was in Yiddish, which unfortunately I can't read yet. That one was actually illustrated by Marc Chagall in sort of a strange illustration style, and beautiful as everything that he did, but also very surreal and weird and only in black and white. That edition, I looked over in some detail. I wound up looking at a lot of Chagall paintings and actually got a great exhibition catalog from a show that I think was done in the 70s or 80s called Chagall it was like The Lost Jewish World, really about how Chagall was consummate painter of the Ashkenazi universe that existed in Eastern Europe. Chagall is a painter of a particular cosmos, so to speak. That really drove a lot of the thinking of how I put things together. Certain colors keep coming up; Neal, at one point, he called me up and was like, what's with all this blue, because he had done a book about blue, in fact that particular shade of blue, it's very idiosyncratic shade of blue it's almost an electric blue that pops up in a couple of places. I later realized it was from a swatch that I had in my studio from another job I was doing, it's just sort of gotten into my brain that pops up a lot but is this wonderful way of having our work that is very, very based in the real world, but at the same time, viewed as a sort of magic, and surreality and it was just kind of perfect. You'll see in the book, certain colors come up, you know, sort of as motifs where you'll have magic tap and you may see a gold you may see some blue, there's a blue cat. Things that Chagall referenced keep showing up and are involved in various things that happen in the story, and as the night goes on, and the sun goes down, Washington starts to look more and more like a Chagall painting. Actually, it's funny, at one point, Neal told me Hey, this is starting to look too much like a shtetl, I was like yeah you're right, so we had to scale that back a little bit, but it does, it does sort of do that like the book becomes more timeless, as the night goes on, where it's very obviously rooted historically in the 30s everything about it in the beginning, and then the style, while it still incorporates aspects of all that, it also becomes more sort of magical and surreal, more of an imaginary environment, towards the end.