Scott Snyder has written three different men under Batman's cowl, from Dick Grayson in his initial "Detective Comics" run to Bruce Wayne and later Jim Gordon during his New 52 tenure on "Batman." One thing that hasn't changed, however, is the overwhelmingly positive fan response to his tales of the Dark Knight. Snyder's Batman run is already considered a modern classic, cemented even further by a lengthy collaboration with artist Greg Capullo. So when Capullo announced a hiatus from "Batman" and rumors began to swirl about Snyder's time coming to an end, fans started to worry.
DC's Rebirth initiative changed all that, however. While Snyder is indeed moving on from "Batman," he isn't moving on from Batman. Instead, he'll head up a new "All Star Batman" series featuring art by John Romita, Jr., Jock, Sean Murphy and more. And if anyone was worried about Snyder going anywhere, he also signed a new, exclusive contract with DC Comics.
During WonderCon 2016 in Los Angeles, the same convention where DC made their big Rebirth splash, Snyder sat down with CBR TV's Jonah Weiland to talk about his plans for "All Star Batman," the highlights of his collaboration with Capullo, and what advice he has for the team taking on "Batman" after he departs.
Scott Snyder's conversation with CBR TV begins with a discussion of what it's like to working with a variety of artists, including superstar John Romita, Jr. and frequent collaborators Jock and Sean Murphy, plus reveals that "All Star Batman" will have backup stories starring supporting character Duke Thomas. He also talks about new price points for monthly comics and how they might affect readers.
On what advice he'd offer to future "Batman" writers:
James [Tynion IV] is my brother and Tom [King] and I started becoming friends long before he got the job. When he was working on "Grayson," I started showing him my stuff about a year ago, and then when they were looking for someone to take "Batman" because "Batman" was going to be double-shipped -- and even before it was double-shipped, just to be clear, when Greg said he was going to take some time off, I knew I was going to switch titles at that point, it wouldn't make sense -- I didn't feel like it made sense for me to stay on "Batman" without my partner. So I was pushing for Tom internally as well, and my feeling is that those guys -- I cannot tell you what terrific people and terrific writers they are, both of them. They have such great stuff coming, I swear to God, the "Batman" stuff's in great hands, and "Detective [Comics]."
But my advice to them would be what we tell each other all the time, because we trade, and we're always like, is this the story you'd like to pick up and read today about this character. Where what Tom is doing really speaks to his experience in the CIA and it speaks to some of his darker sensibilities that I think you sort of see on "Vision," and he's sort of bringing this bombast for David Finch. And so ultimately what I'd say is that Batman, you have to write him so he's a creator-owned character, you have to write him as though you're taking a character and saying, "These are the fears I have in the middle of the night." For me it was, on "Death of the Family," it was being a father, you know, I could name each one. You right him as though he's the hero you've chosen to fight your worst nightmares in the middle of the night, and work you through them. You can't be afraid even he's such a storied character with such a legacy of amazing stories, to make it personal and make it individuated, where you're giving a lot of yourself and making yourself vulnerable on the page. Because when you're emotional and vulnerable and say this is what I'm scared of, and I hope Batman can make me brave when it comes to this, like in "Superheavy," the way the country is, you know? People respond so rewardingly to that. They love when you're willing to make yourself -- to show them what you're thinking and feeling and afraid of in the middle of the night. Because it makes Batman your hero, and thereby by proxy their hero as well.