I spoke to Geoff Johns a lot. We went back and forth, and found a way to bring up the best qualities in his personality and psychology and also fill a niche in Gotham that we've never seen. It became about is there a way to really plant this hero in Gotham and say this is someone you haven't seen before - both in terms of who they are as a person and who they are as a hero.

You take the thing that is the worst thing that could have happened to you, the worst challenge in your life, and you turn it into fuel. You don't give up. And that's what Gotham is about.

The hope that they have legs. That's the biggest fear you always have creating new people. You love them, but then they kind of dissipate. Sometimes you don't get to write them as much as you'd like, like me and Harper Row.

I love The End of the Batman story. I have my original copy, the hardcover, at my house from when I was a kid, whenever that was,'88 or '89. It was very influential to me because it was so explicit in touching on the notion that Batman might be mad and that he might belong in the mad house.

First of all, what made him [Duke in "Zero Year"] captivating is this sense of somebody who wants to save the city regardless of whether Batman wants to or not, but has been inspired by Batman. He's always been - not combative with Batman or anything - but I think he has a sense that what Robin is and what heroism is in Gotham is something that's inspired by Batman and sort of separate from Batman.

There's nothing comparative to Damien [the current Robin] or any of the other characters. I love those characters. And this isn't, "This is better than that." I think a couple of people misread what we had said in the first issue about that stuff.

I really wanted to make sure that if we set Duke up, that he's set up the right way and he's his own hero for the right reasons.