RELATED: Batman: Tom King Promises to Change the Dark Knight "For a Generation"Īll of this is leading up to Tony. And it helps that when you're on Batman, you get the best artists in the world. So it's all structured around the artists. And we're doing an issue in the desert, which is a callback to when Mikel and I did together in Grayson #5.
Playing to Mikel's strengths, I know he draw people prettier than anyone else. And so I've leaned into a lot of Jorge's strengths, like super elaborate backgrounds and the way he uses scale. But after I know who the artist will be and what they want to draw, I structure the issue around that.įor "The Fall and the Fallen," it's Mikel and Jorge doing double duty. So you always have to roll with real life and make sure the artist is doing what they want. Sometimes someone can't draw an issue because they get sick. Of course, all that stuff is dictated by real life. I generally know where everything's going, but then when I learn who's drawing the issues, it impacts how I do it. Nightwing was shot, and that fallout has appeared in his title as "Ric Grayson." As you get to the end, are you wanting to pull some of those characters affected by all this back into the mix, or is it natural that that stuff will defuse? Joelle Jones took Catwoman's story and all that has played out in the solo series. Throughout the whole run, we've been seeing your story echo back out into the DCU. It's the easiest part to write, really, because everything is already set up, and the momentum of the book can just carry you. So there's a trail in this story, and everything is coming together. It's something that we can come back around to now. You can't really beat him with a headbutt. For example, when Batman defeated Bane with this mega headbutt in issue #18 or something, obviously that's not how you defeat Bane. I feel like I've thrown a bunch of knives up in the kitchen, and I'm waiting for them to come back down and stab everyone. This is all something I've planned from the beginning, but things are definitely hanging in the air. As you head into the final phase of the story with #75 and beyond, are there ways you're looking to tie in the smaller threads or details from early on back together? One thing we saw in the "Knightmare" arc is that you've been doing follow-ups or callbacks to previous stories in your run. He has almost nothing, and that's what it's all about. Maybe that's the thing that broke his marriage up. But now he's starting to think that maybe the vow was a mistake and it's driving him crazy. And if you read the "Knightmares" arc, which is so important to this entire thing, you see that the one thing he can depend on is this vow he made. Everything he thought was solid in his life is falling away. In the next issues, he'll have trouble with the family and trouble with Alfred.
People who he always thought would stand by him are gone during "The Fall and the Fallen." So Gordon has already split from him. So his mansion is a sacred place, and Bane is attacking it. The entire ground he's walking on is caving in.
What Batman thought was solid is completely made of liquid. I think it's that idea that as we go forward, nothing is safe. What does Bruce's home mean for the story? With #71, we're getting to an external battle, though, and it's another fight at Wayne Manor. RELATED: Batman Writer Tom King Shares the Best Convention Proposal Story of 2019
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