“Luckily the story I want to tell with Bruce is one giant sort of story in the form of other books I’ve really loved like the Long Halloween or Hush that stand as stories you can jump on at issue one and know nothing about Batman and sort of be fine with. So for us it was really designed to be accessible from go and then when the relaunch happened and it got numbered at number one I looked at it and thought,’Okay, now I’m going to have to change some stuff to be more accessible.’ And as I was reading it, I realized I really didn’t, it has everything in issue one that, to me, introduces a new fan to the world of Batman and celebrates the world of Batman for an older fan — the rogue’s gallery, the relationships between Bruce, Dick, Tim, Damien, they’re all there. The manor, the grandfather clock with the hands at 10:47 and Alfred, the Batmobile, the Batcave with all new gadgets, Commissioner Gordon — I wanted all those things to be at the beginning of the story because it’s really about Batman being comfortable, and Batman feeling excited to be in Gotham and to be in control of the city. Issue one establishes the status quo of Batman, which is the classic status quo, so our story really didn’t have to be changed at all to fit this kind of number one idea. At the same time I’m really excited for it to be a jumping on point for new fans because it’s a story that, as much as I was excited to bring to fans of the character with tons of references and Easter eggs, it’s also a story that’s designed to be able to introduce new fans, like my son when he gets a little older for example. Or for it to be a the first Batman book for someone and have them be able to pick it up and say, ‘Oh this is why I love Bruce Wayne, why the writer likes Bruce Wayne, I can see it from the beginning.’ And it makes them excited and it’s a good access point to the whole world and mythology of Batman.”
— Batman writer Scott Snyder, discussing his approach to introducing new readers to the character and continuity
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