Then one day, Cooke received a phone call green-lighting Batman: Ego, a book he had pitched four years earlier. He still pitched comic book stories, but nothing ever seemed to come from them. Soon after his discovery as a DC New Talent, Cooke slipped into the parallel dimensions of art direction and then animation, working on the critically acclaimed animated series Batman, Superman and Batman Beyond. But it would be another 17 years before he would take the full plunge into the comics field. From "A Change in Climate"Ī handful of years later, bat signal burning brightly in his veins, Cooke made a bold trek to New York City and sold his first story to DC Comics, which appeared in N ew Talent Showcase #19. He always enjoyed drawing and “making stuff,” but when Cooke was 13, a reprint of Spectacular Spider-Man #2 and a Batman tale called “Night of the Stalker” gave his creativity focus and ignited the enthusiasm that became his career. The oldest of three Toronto sons, Cooke’s imaginative storytelling was fueled by hot plastic toys, the funny yarns his grandfather would tell him and a collection of comics built on garage sales and chance.
From Selina’s Big Score to DC: The New Frontier, to The Spirit, to Superman Confidential, Cooke’s hopeful, silver-tinged comics have resonated with fans and critics, earning him an Eisner award for his work on New Frontier in 2005 and a reputation as a full-service writer-artist. After years spent sparring with DC’s editorial office over the direction of his stories, the Canadian-born creator dug his feet in, outlasted editorial interference and somehow managed to produce a string of uncompromising takes on some of DC Comics most enduring superheroes. This interview originally appeared in The Comics Journal #285 (October 2007).ĭarwyn Cooke knew he was right.
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