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superboyprime

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"The basic idea was gestated by -- uh-oh, the basic idea was gestated by DC editorial. Uh-oh. I guess I know who gets credit now. It bounced back and forth. Chip Zdarsky had been tinkering with it and a bunch of other DC writers. Everybody, Tom Taylor, Tom King, everybody. Scott Snyder. Everybody had sort of taken a shot at this thing and couldn't wrestle it to the ground for whatever reason. And I'm not saying that I'm Hercules where I’m wrestling the lion to the ground and they aren't. What I'm saying is they solved so many problems for me that by the time I got to this story I was able to, I think, wrestle it to the ground and make something of it with that." - Mark Waid

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laughing_tree

This is the thing I got from Jurgens. What Jurgens understands about this character is, that in the end, Booster does the right thing and doesn't get credit for it. He's the superhero who's like, yes, he first thinks of himself. Yes, he first thinks of money. Yes, he's a goofball. But at the end of the day, he's really a really good person. -- Tom King

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laughing_tree

The notion that you could get the same thrill of watching Superman take down an authoritarian regime but you put it on another planet so it doesn't seem as crass that Superman could solve all our problems. But you can put him on a planet where he can solve the problems of some ridiculous, symbolic problems of human nature, I liked that. It really worked and gave me an ending to the story that was different but it did what I wanted. It took it out of what Superman has been doing for all these years fighting the same Brainiac and Luthor but leaves it behind to say he's going to take it on a higher metaphorical level. -- Grant Morrison

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laughing_tree

That's the thing, it wasn't so much the Authority characters as it was the Authority concept and what that meant at the end of the 20th century when the powerful people weren't our enemies but were on our side and how poignant and tragic that looks nowadays. But that idea of what if the good guys were on our side, it's more from that and there's not a lot of characters from the Authority, apart from Apollo and the Midnighter, that appear. What I wanted to do was take characters from DC's past who would fit the roles of the Authority: The Engineer becomes Natasha Irons, the niece of Steel, and instead of the magical Doctor, it's the Enchantress, the DC witch, and so on. -- Grant Morrison

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laughing_tree

It started out as one thing, but we integrated it and I spoke with Phillip Kennedy Johnson, who's doing the Superman stuff, and I really like that guy, he's very smart and he has got big ideas for Superman. What I did was kind of retrofit it all in so it absolutely ties in, it's kind of important. If you don't read this, you'll probably die! -- Grant Morrison

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cyberghostface

“If Harley is a guffaw, Punchline is a quiet, creepy grin. If you imagine the angel and the devil on the Joker's shoulders, Harley is the angel that saw the best in the Joker and saw something human there and Punchline sees all the dark potential for the Joker and she is in love with that aspect of him." -- James Tynion IV

( What Comes After a Joke? )

superboyprime

"I’m allergic to cats." - Tom King

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laughing_tree

It goes back to Alan Moore’s famous book. He said, Bruce was the first second-dimensional comic book character. There’s sort of the first-dimensional comic book characters like Superman who have one motivation: “Save the world.” Bruce Wayne is a second-dimensional character in that there’s a reason he saves the world: His parents died. That’s what Stan Lee was famous for: He made a bunch of two-dimensional characters. What Moore said was, our responsibility is to make three-dimensional characters — characters who don’t move in one direction. They’re not motivated by one thing because life is so complicated. The reason why you do something, it has to do with how you were raised, it has to do with who you are in that moment, it has to do with just the random s— in your life. All that stuff is what makes a three-dimensional character. I feel like Flashpoint Batman looks at Batman and thinks he’s just this two-dimensional character: “You’re motivated by death. This will kill you.” -- Tom King

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laughing_tree

Batman #83 - you're going to be in tears. Batman #84 you’re going to be really angry, and Batman #85, you’re going to be in tears again, but hopefully for a different reason. -- Tom King

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laughing_tree

I consider [Gail Simone] the best Bane writer. -- Tom King

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laughing_tree

What’s awesome about BATMAN is I’ve been planting these seeds forever and now I’m just watching them grow. So going all the way back to issue 5, which is way far back, we showed that Gotham Girl has the power to take down the entire Justice League in about 30 seconds. So, when we talk about a city controlled by Bane, you might ask, why doesn’t Superman just come down and end it? Why doesn’t the Justice League take it over? Because they’ve got an atom bomb. Bane’s not working with someone who can shove a staff in your face, he’s working with someone who can punch Green Lantern into the next galaxy. -- Tom King

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laughing_tree

If you've been reading Batman all this time, God bless you, but I've been torturing you for the last six months to a year. I've been tearing Batman down all that time. "City of Bane" is Batman getting off the ground, saying, "I'm still here," it's the turning point. -- Tom King

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laughing_tree

I think in most Batman fiction, they tear him down physically, and he's like, "OK, but I'm still sad about my parents, so I'm going to come back and punch you in the face." That's 90 percent of Batman fiction — and some of the best Batman fiction, Batman stories that I love — so the idea is, what if we take that away from him? -- Tom King

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laughing_tree

Ha. You are confused and frustrated, just like Batman. You’re in the cowl now. -- Tom King

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laughing_tree

At a DC retreat, I said, "OK, between 50 and 75, we're doing the fall. It's Batman hitting his lowest point, in issue 74," and I could see people look at me: "You're going to do 25 issues of Batman falling?" I was like, "Yeah, sure! No problem, it'll be fine!" Then I got in the middle and I was like, "What was I thinking?" -- Tom King

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laughing_tree

To me, the “Knightmares” arc was the most important one, perhaps of the whole series. That’s where we sort of untethered Batman, in a sense. We took away his defense. The one thing about Batman is, he doesn’t doubt that his cause is just in the moment. The end of “Knightmares” — the revelation that he was almost happy, he almost achieved that, but it was his vow that kept him from that — that, to me, is, “Now he’s vulnerable.” Now he has doubt. -- Tom King

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laughing_tree

One of the reasons I love Tom King is that he’s a very structuralist kind of guy, by opposition to, say, Grant Morrison, who can sometimes be very rigid in terms of a project like "Pax Americana," but most of the time he’s very impressionistic with his structure. Tom is more rigid, in some ways. You know, he loves those nine-panel grids and the very designed types of beats. And I really wanted to go there. Strangely, this is not what this issue is like; there is no nine-panel grid, which I feel like a little bad about it. So I need to work with Tom again, just so I can do the technical nine-panel grid. -- Yanick Paquette

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laughing_tree

Knightmares. Epic arc scraping at the soul of Batman. -- Tom King

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