It just won’t stop.
§ First, for all your informational needs, IGN has a lengthy interview with editor Mike Marts, who comes off as quite smart and professional and all the other things an editor should be. And the IGN folks ask him all the questions you want answered:
IGN Comics: Seeing as you had worked with Grant before on New X-Men, I think it’s probably safe to assume you guys knew going in that RIP would be a controversial and divisive storyline. That said, did you anticipate some people’s confusion over what actually happened in the story and that last issue?
Marts: Well, you know, with the amount of things we were dealing with in this story, I’m not surprised that readers had questions. But I think that’s always part of Grant’s plan. Grant is a master at teasing story tidbits and story information, and he’s very good at satisfying the reader up until a certain point, but always leaves them wanting more. So I think that the way Grant structured Batman #681 was intentional in that he wanted to come full circle on certain parts of the story and wanted to resolve certain things, but also wanted to leave readers saying, “Huh? What’s next?” That was very intentional on his part.
He does go into what’s next, Neil Gaiman’s Batman, why Tony Daniels, and so on. Like we said, everything you wanted to know.
§ BUT…MEANWHILE, Tucker Stone continues the current trend of using BATMAN #681 as the lens through which to view all that feels wrong about the comics industry, via comparisons to The Shield television program.
Now, if The Shield had operated the way the Batman comics do—what would have happened to it? Say that Shawn Ryan only decided to write specific episodes of each season that had to do with his overall idea of a long-ranging “important” story, he’d only vaguely described it to the other writers, and they’d decided to just insert various one-shot stories that didn’t match up to the ones surrounding them—characters had sex and then never mentioned it, dead people showed up alive and well with no explanation (just an assumption that the viewer would “figure it out”) and each and every episode was directed by directors of varying talent and wildly divergent style, like Yasujiro Ozu for three episodes and Michael Bay for a couple of bookends.