IGN Comics: I want to jump over to Return of Bruce Wayne. First though, I'd like to talk about your wider take on the Batman concept, and how that will play into Return of Bruce Wayne. With your work on Superman over the years in All Star and Final Crisis, you've dealt with and explored the idea of the "Super" man or ubermensch the "sci-fi Jesus," to borrow a term of yours.
With your work on Batman in RIP and Final Crisis, you seem to be exploring a different side to that concept, focusing on Batman as the ultimate, most resourceful human the "optimum man," as you've called him. Batman and Superman seem to be two sides of the same coin light and dark, brain and brawn, god and man. It sounds like you'll be once again dealing with the power of the mythic superhero concept, albeit in a different way. Is that an accurate description of how you're tackling this particular mythic character in Return of Bruce Wayne?
Morrison: It's more specific to Batman, yes. It's more about Batman being who he is, and how the Dark Knight idea expresses itself in different times and places and in ways he's never had to deal with before. Bruce has no memory as the story starts, and it's all about putting him through the most difficult situations where he doesn't know who he is and somehow still has to survive. It's about Bruce literally trying to find his way home. We know he's Batman, but he has no memory and doesn't know his own name. So we're seeing him in action and seeing how he responds to things even when he doesn't know who he is. This story shows how you can never really take his training away from him. So it builds up from the Paleolithic era and kind of puts him all back together again as he moves forward through time.
But yeah, I suppose it is an examination of the superhuman. Because Batman is superhuman and it's about all the different facets of that; all the different parts of him that come together to make up this amazing character. We use these various time periods to sort of personify the different parts of what he does. We watch him learn how to be a detective again, how to be a savage fighter again, and how he learns to be a dark figure of vengeance that preys on criminals.
Again, when I started doing Batman I was looking at areas that no one had exploited in a long time and no one had looked seriously at those weird fifties stories. They'd just been dismissed from Batman's history because no-one could find a way to justify their existence. You know, I grew up with Neal Adams and The Dark Knight Returns and I hated that cranky old stuff too, but it's become a real source of inspiration for me these last few years and taught me new ways to see Batman. So I'm looking at that stuff and I just kept thinking there was still something in that idea of the caveman Batman. The Professor Nicholls time travel stories. I kept thinking there was something to that, and if you did it in a kind of believable, convincing, modern way, you may get a really great, new story of a kind that nobody is really doing these days. That's what was the most fun for me, dealing with all these different Batmen and how to make them cool rather than camp. Like the Cowboy Batman as Clint Eastwood High Plains Drifter with a Jonah Hex guest appearance. [laughs] It's just great, fun stuff to do.
Having said that, my approach to Batman is a logical response to my initial brief. When they gave me the Batman book to write they told me this was the superhero book and Detective Comics was the crime book.
From the very start I was trying to be aware of Batman as a guy who lives in the DC Universe, rather than as the movie-version lone vigilante crime book, hence a lot of the decisions we made to take him in a slightly more outlandish direction. A lot of those directions have roots in Batman's place in the wider DC Universe, and some of what we've done harkens back to a Batman that can coexist with Superman and Mr. Mxyzptlk. I love the Brave and the Bold cartoon, which really takes that aesthetic and runs with it.
Quelle:
IGN