Danny Miki

If you've been keeping up with "Endgame," the current story raging through Scott Snyder, Greg Capullo, Danny Miki and FCO Plascencia's Batman, then you've seen a lot of stuff going on. I mean things are apocalyptically bad in Gotham City on a scale that they haven't been since... well, since the last big Batman story. Still, it's pretty rough out there, what with the millions of zombie-like citizens infected with airborne Joker toxin. But in all the action of the latest issue, you may have missed the most important part: Jim Gordon's ringtone. It might seem like a minor detail, but it's actually a pretty significant piece of the ongoing Batman mythology -- mainly because I suggested it on Twitter back in November, and now that it's canon, I will never, ever shut up about it.

We make a regular practice at ComicsAlliance of spotlighting particular artists or specific bodies of work, as well as the special qualities of comic book storytelling, but because cartoonists, illustrators and their fans share countless numbers of great pinups, fan art and other illustrations on sites like Flickr, Tumblr, DeviantArt and seemingly infinite art blogs that we’ve created Best Art Ever (This Week), a weekly depository for just some of the pieces of especially compelling artwork that we come across in our regular travels across the Web. Some of it’s new, some of it’s old, some of it’s created by working professionals, some of it’s created by future stars, some of it’s created by talented fans, awnd some of it’s endearingly silly. All of it is awesome. Read More: Best Art Ever (This Week): | //comicsalliance.com/?p=112338&preview=true&trackback=tsmclip

If there's one thing we've learned from our series of in-depth reviews and interviews about Batman: Zero Year, it's that the creative team of Scott Snyder, Greg Capullo, Danny Miki and FCO Plascencia set out to do a lot more than just re-tell Batman's origin for a modern audience. That might've been the stated goal, but along the way, it became clear that the team wanted to use that bombastic superhero background to tell a story that was incredibly personal, using the trauma that made Bruce Wayne a hero to explore feelings of isolation, fear and, eventually, triumph. In our final Zero Year interview, Snyder tells us about the interactions with other Batman creators while it was coming out, how he identifies with both Batman and the Riddler, and how much of the story was inspired by his own very personal experiences with overcoming panic and despair.

For the past year, I've spoken to Scott Snyder for a series of in-depth interviews about Batman: Zero Year, the new origin story that he, Greg Capullo, Danny Miki and FCO Plascencia have produced for DC Comics. In the final act, "Savage City," Batman was confronted with a Gotham City that had been destroyed by a super-storm, was overrun by plants that had grown out of control, and was being held in the iron grip of the Riddler, all while confronting the trauma that inspired him to become a hero. With the full story completed, I spoke to Snyder for the first part of a two-part interview about how he felt he'd achieved his goals with the bestselling story, the inspiration for the dynamic visuals, and his meeting with Frank Miller, possibly the most definitive Batman author, who had one very specific note about the story.

There was a lot to be wary of when Scott Snyder, Greg Capullo, Danny Miki and FCO Plascencia's "Batman: Zero Year" was announced. The most obvious reason was that it was the story that was set to replace my all-time favorite comic, Batman: Year One, going back to cover ground that had been stomped into concrete by one of the most influential stories of all time. Even the name was a response to Year One, and the expansion of what Frank Miller and David Mazzucchelli had done so elegantly in four issues to a full year of comics felt like it could've easily been symptomatic of the trend towards decompression that drags everything out for the bookstores. Why sell one hardcover when you could sell three, right? At the same time, I liked what Snyder and Capullo had been doing on Batman enough that I was looking forward to reading it, and from that first shot of Batman on a dirtbike, something that I am genetically hardwired to love on sight, I was hooked. This week, the final issue came out, and while we're still too close to it to really tell how well it'll stand the test of time, what I know right now is that I love it, and there's a good chance that it'll end up not only as my favorite version of Batman's origin, but as one of my favorite comic books of all time.

In the pages of Batman, Scott Snyder, Greg Capullo, Danny Miki and FCO Plascencia are retelling the origin of Batman for the modern DC Universe with "Zero Year." Told over the course of a year, "Zero Year" is divided in to three arcs, each representing a facet of Gotham City and Batman's growth into a superhero, and it's been wild right from the start. For each arc, ComicsAllia

In the pages of Batman, Scott Snyder, Greg Capullo, Danny Miki and FCO Plascencia are retelling the origin of Batman for the modern DC Universe with "Zero Year." Told over the course of a year, "Zero Year" is divided in to three arcs, each representing a facet of Gotham City and Batman's growth into a superhero, and it's been wild right from the start. For each arc, ComicsAllia

We make a regular practice at ComicsAlliance of spotlighting particular artists or specific bodies of work, but because cartoonists, illustrators and their fans share countless numbers of great images on sites like Flickr, Tumblr, DeviantArt and seemingly infinite art blogs that we’ve created Best Art Ever (This Week), a weekly depository for just some of the pieces of especially compelling artwor

Despite overseeing Marvel Comics for a decade as Editor-in-Chief and operating now as the Chief Creative Officer of Marvel Entertainment, Joe Quesada was and always will be an illustrator at heart. Before his work as an executive, Quesada rose to fame with a series of high profile comics projects like Batman: The Sword of Azrael, X-Factor and his creator-owned series Ash that spotlighted his drama

For many years Venom was known more as a t-shirt design than a comic book character. But then the '90s ended,and the world collectively realized that wearing black all the time, while awesome, could not go on forever. If we over-consumed the precious resource of the all-black wardrobe, its strength would diminish...