You've seen the first issue and what happened in the last page. Some pretty awful stuff. I don't know why I seem to be very good at drawing it!

Some guys can do digital things where they make some tricks work, but I work on paper and I work with washes. You can't just change things afterwards. You have to get it right on the page.

You've seen the first issue and what happened in the last page. Some pretty awful stuff. I don't know why I seem to be very good at drawing it!

There's a great line by Joss Whedon: "Make it dark, make it grim, make it tough, but then, for the love of God, tell a joke." Even for a reader, there's only so much punishment they can take. You've got to give them a break here and there.

I feel like I've been training my entire career for this moment in a lot of ways. So many artists just want to draw Batman, and I'm getting the opportunity to do the backups in a brand-new Scott Snyder project that has so many artists.

There's a page in #2 where I did one of the most interesting pages I've ever drawn. I had to think, "This is a big, blockbuster comic book." You're prepared to be more fan service-y or bombastic. Yet I did one of the most challenging pages I've ever drawn, and it was incredibly satisfying to do that on a project like this [All-Star Batman].

For me, I'm a fan of really dark, depressing stuff. Even something like The Wire, which can be hugely depressing and really serious, the bits I always remember are the jokes, you know?