"The Cursed Wheel" is the heart of the whole year on All-Star. All-Star is a series that's largely compartmentalized so that every artist can reinvent a villain and have Batman go up against the villain in a way that's pretty singular.

What Batman is saying is that, "I want to try something new that's more about this era and this moment." And I do think that it speaks to a modern take [as opposed] to a 90s take or a 2000s take being maybe the older program about having a sidekick.

"The Cursed Wheel," which Declan [Shalvey] is starting here, is the one constant. It's a story in the backups that will go through the whole year and be the one consistent narrative. It anchors the entire [book].

With this particular series [The Cursed Wheel] I'm going farther in that direction than I've tried before in terms of the elasticity of the mythology.

The thing with Superman is that he's completely emotionally open to the reader. Meaning what he tells you is what he's feeling; there's a transparency there. And what he tells other characters is usually as transparent as can be. What he says he believes in. So there's an honesty that is both really inspiring writing the character. One thing I love about Clark Kent is that there is a badassery that you don't see a lot. Even as Superman, he's always kind of restraining himself. When you challenge him, I think there's nobody that has a stronger spine than Superman.

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 got fascinated by the idea that our universe itself is comprised mostly of dark matter and dark energy. Things that we can't perceive at all, and we've only discovered that relatively recently. So it's almost as if our universe is the foam on the ocean of things that we can't see, or know, or perceive, and yet we feel the affects of those things right and left.