The way polls are set up here, multiple choices aren't fair, unless their numerical in nature (like the rating polls).

For example, with two choices, if 9 out of 10 voters think A to be the best, and B second best, but the 10th voter doesn't include A in the top two, B could win even if no one chooses it as number one.

Not so much change pages as add and expand them. According to Ralph Macchio, then-DD artist JRJr wanted to work with Miller on a one-shot DD project. Miller was interested so they decided on doing an all-inclusive definitive origin for DD. Miller's initial plot and script was for a graphic novel but Macchio was so impressed by it's initial quality, he asked for more. Thus, they added new scenes and expanded on existing sequences and the graphic novel was quickly upgraded to a mini-series.

The original mini had a bit in the end where John Romita is shouting at Ralph Macchio over various changes to the series, Frank Miller going to Hollywood to be involved with Robocop or so and so on. I loved reading that; Miller wrote a rough outline send to JRJR that was 42 pages IIRC. Reaction from Ralph: "Oh, 42 pages, we can do that as a 48 special if we add a bit." JRJR: "No, the OUTLINE is 48 pages." RM: "Oh dear." (Paraphrased because I don't have that comic here).

" In fact, Man Without Fear was initially imagined as a movie script and it is through the meddling of later writers on the main book that elements from Man Without Fear has entered into Daredevil continuity..."

www.theothermurdockpapers.com/2012/05/review-of-daredevil-season-one/

I'm finding quite a bit of anecdotal evidence that Man Without Fear was originally a movie pitch, but no primary sources.

I forgot to lock this poll, so before doing that, I thought I'd give new members (most people, after all these years) a chance to vote. Old voters also have the option to change theirs.

Most of the choices aren't drawn by him!

Holy thread necromancy, I guess I never got around to explaining this! It's now been years since I last read All-Star Batman & Robin, so instead of trying to work from very old memories, I'll cut and paste a review I did of the series in 2008:

All-Star Batman & Robin begins with young Dick Grayson, happily flying through the air, bathed in rich, nourishing golds and pure, untainted whites. It is contrasted, on the next page, with a tramped up Vicky Vale, adorned in nothing but her undergarments, lit with subtle carnal reds, bathed in cool, almost depressing blues. The narrative box at the top of the page announces "Gotham City." Throughout the rest of this issue, we'll come to know Gotham as an infectious disease of the soul, constantly bathing its inhabitants in depressing blues and lustful/violent reds. It is a place where there is no innocence and little room for morality. Your only choices are to become a jaded victim, a remorseless monster who preys upon jaded victims or (in the case of The Batman) a jaded monster who preys upon remorseless monsters who prey upon jaded victims. With only a short stay in this virus of a city, Dick's world of love and purity becomes quickly tainted. He is forced to witness the death of his parents (caused by Gotham criminals), at which point those brilliant golds and pure whites seem to leave him forever.

I first became aware of the growing rumbles of dissatisfaction with this title when the fourth installment came out. Everyone was livid that Dick still hadn't become Robin yet. They saw everything leading up to that moment as drawn out and unnecessary, expecting to quickly arrive at the formation of The Batman & Robin team. Of course, anyone could have (and has) written that story. Instead, Frank Miller endeavors to do something far bolder, here. He's less concerned with how Bruce and Dick became Batman and Robin, and far more concerned with how Batman and Robin work through their history of violence and victimhood in order to become heroes.

It's unfortunate that this volume only contains the first half of this story, as much of this growth and realization first begins in the ninth installment (where those whites and golds curiously surface again). But still, bathed in the all prevailing blues and reds of the red light district that is Miller's Gotham City, we can begin to understand the basic idea. It seems to me that Miller began by asking himself "What kind of a city creates a man driven and passionate enough to become Batman?" and then answers with another question: "What kind of a Batman would that city force him to become?" Both of those questions are eloquently answered in these early issues. In a sense, Gotham is the strongest, most fleshed out character in this volume, with Batman only serving as its pawn, and Robin in turn serving as Batman's pawn. The true wonder of the next volume will be watching these characters step back from their anger and violence, re-examine their purpose, and return as heroes. For me, that makes this the most honest and compelling portrait of Batman's early years. A man driven enough by crime and violence to take it into his own hands doesn't craft a clear cut superhero morality over-night. First, he must burn off some of the adrenaline and hatred that drove him to action in the first place.

This is a highly misunderstood volume, praised for Jim Lee's art (some of his finest yet) but, at best, playfully mocked for Miller's over the top depiction of "The Goddamn Batman". I would implore all readers of this volume to look beyond the obvious. Watch the art, listen to what Miller is trying to tell you about Gotham and the effect it has on people. Allow yourself to move beyond the shock that this is not the Batman you know. He will get there.