Batwoman (USA) di JH Williams III & W.H.Blackman

[Azrael]

E' BELLISSIMOOOOOOO 
Disegni FANTASTICIIIIIII 

[Green Hankey]

questo ho paura a leggerlo
Post Uniti: 14 Settembre 2011, 23:02:09
poche palle, Eisner Award del 2012 

[Green Lantern]

maccheppalle, un'altra serie cominciata alla grande, cominciano ad essere troppe quelle che dovrò seguire 

[Azrael]

maccheppalle, un'altra serie cominciata alla grande, cominciano ad essere troppe quelle che dovrò seguire  

E magari ti dispiace  

Giusto giusto questa speravi che andasse male  

EDIT: Tanto per non dimenticare (Ma come si potrebbe?) i disegni 

[Matches Malone]

Ecco, questa serie è la mia vergogna visto che non mi interessa e non la seguo...non c'è Williams III che tenga

[Green Hankey]

in ginocchio miscredenti  . Batwoman è tornata più bella e letale di prima  
Post Uniti: 15 Settembre 2011, 10:00:36
Giusto per dire quanto è stato bello questo primo numero:

Batwoman #1 Review
At long last, Kate Kane's series debuts.
US,  September 15, 2011

It's about seven months overdue, but Batwoman #1 is here and entirely worth the wait. Since she debuted in 52, Kate Kane has come into her own both as a member of the Bat-folks jumping around Gotham and as a character that we understand and care for. All of that continues in Batwoman #1 within the confines of a new DC Universe that, for the purposes of this book, feels pretty much the same as it did in the pages of Batwoman #0 nearly a year ago. Sure, Gordon's gone ginger and Renee Montoya appears to be out of the picture (so to speak), but for all intents and purposes, Gotham remains unchanged as it pertains to Batwoman.

Taking over scripting duties from Greg Rucka for the character are Haden Blackman and J.H. Williams III, who of course also lends his unique artistic stylings to the book as well. We catch up with Kate as she rescues a family from a creepy new villain called the Weeping Woman. As Detective Sawyer later explains, the new rogue has an urban legend behind her that fits in perfectly with Gotham City and the Bat-family, and it will be fun to see the writers play with that notion as they continue to weave this mystery. Batwoman #1 slams a whole lot into one issue, thanks to some deft characterization, well-disguised exposition and incredible visual storytelling. Blackman and Williams cover everything from Batwoman's relationship with Batman, her history with Renee, the dissolving relationship with her dad, her new romantic interest, and of course, the case at hand. It sounds like a lot, no? But the team makes it all completely digestible and better yet, absolutely enjoyable.

Of course, the real appeal of this book comes from the art. I'm going to be so bold as to say that Batwoman has the bragging rights of the best all around artistic team on any of DC's New 52. From Williams to Dave Stewart on colors and Todd Klein on letters, these guys are as pro as it gets and it shows. Williams' definitive layouts are here in full force, making full use of every page and dripping with detail, precision, and beauty. He employs the same technique he did on Detective, opting for a painterly, graceful style in the panels depicting Batwoman in action and a more direct, simplified approach for those with Kate out of costume. Excuse me – "uniform," as she would say. The book blends beautifully as a whole, tied together by Stewart's rich colors. Many props to Klein as well, who is able to navigate Williams' web of design to make this book read flawlessly.

My only gripe with the issue is a two-page sequence that recounts the events of Batwoman: Elegy in the form of an argument with Kate's father. While it informs the reader of the beef between the two characters, it's still an exposition tool that isn't heavy-handed, but could have definitely been a little more graceful. Thankfully, the writers avoid any direct summation of past events, instead vaguely alluding to it in dialog and leaving the collage of images to fill in the rest.

Batwoman #1 is a tour de force of superheroics, mystery, and sheer artistic glory. Go buy it.

Voto:9

By J.H. Williams III (co-writer & artist), W. Haden Blackman (co-writer), Dave Stewart (colors), Todd Klein (letters)

(Before we get started, for the sake of full disclosure, let me just say:

ITSHEREITSFINALLYHERE!!! YAAY!!!!

We now return to your regularly scheduled, completely impartial review.)

The Story: In a continuity seemingly untouched from the vaunted Detective Comics run, Kate Kane is still dealing with the emotional fallout from discovering the super-villain Alice's true nature. While this is going on, she must also contend with an urban legend come to life, train a new sidekick, and worry about a new relationship with (another) Gotham detective.

What's Good: I will fully admit to being terrified when I picked up this book. The expectation and hype riding on this has been huge (albiet well-deserved), and–especially given the loss of scribe extraordinaire Greg Rucka, I just wasn't sure it could live up to that lightning-in-a-bottle Detective Comics run. Williams' artwork is undoubtedly what made the run famous, but it always felt to me like Kate herself was very much Rucka's baby–he's the one with a penchant for writing both about the military, and strong, well-rounded female characters. While the amazing artwork could certainly continue without him, I would have bet my beloved copy of Detective Comics #854 that the character herself could not.

I have never been so happy to have been proven wrong in my life.


While I'm not sure how writing duties are split between the pair, Williams and Blackman make a fantastic tag team, and manage to capture Kate's voice perfectly. (The highlight of which was easily the "plebe" insult Kate throws at Bette.) None of the character seems to be lost in the transition, which feels like a minor (and completely welcome) miracle. The script itself is extremely solid as well, handling several transitions in both location and mood with skill and aplomb. The new (?) villain is suitably creepy, and we're given just the right amount of information about her for a first issue–we know enough to be intrigued, but not enough to start guessing at possible plot reveals or twists. Very well done.

The artwork? Bah, I've already filled enough review pages singing J.H. Williams III's praises to fill a hymn book. It's still brilliant, of course. The panel layouts are ridiculously creative (yet still easy to follow–how does he DO that?), and the pencils provide page after page of jaw-dropping visuals. I especially love the fact that the art style is noticeably different depending on whether our protagonist is in her Batwoman or Kate Kane persona; it makes the separation between Kate and her alter ego clear. (Unlike Batman, I don't see her being consumed by the Bat-suit. It's a uniform to her that she wears in order to perform her duty. When that duty is discharged, she has little trouble taking it off. The suit is a means to an end for her, not an end in itself.)

Williams isn't the only one knocking it out of the park on art, however. Dave Stewart provides a less flashy but equally brilliant service with his color work. He manages to seamlessly marry his color choices to Williams' artwork, which is a feat in and of itself. His colors do more than work though–they actually elevate the art, which is about the highest praise I can give to someone coloring the work of my artistic hero. I've seen some of the original pencils for this book and–while they are skillful and gorgeous–they lack the beautiful sense of mood and contrast that Stewart's colors give the book. What a wonderful team they make.

What's Not So Good: The only real nitpick I can find is that people who didn't read the Batwoman Detective Comics run might be a little lost. There is a beautiful splash page that attempts to bring people up to speed, but I'm not sure it would work terribly well for someone who didn't know what they were seeing. The story is fresh enough that it stands plenty well on its own, but I do know it can be frustrating when a book tries to provide exposition that doesn't make sense out of context. (Look at it this way though: if you ARE confused, go buy the Elegy trade. Best $15 you'll ever spend on a comic.)

I'm also a little unsure about Bette, if she's going to be a reoccurring character. I'll withhold judgement for now, but Batwoman having a sidekick just feels wrong to me. We'll see where it goes.

Conclusion: Yeah. It was worth a year's wait.

Grade: A+

I was nervous about reading "Batwoman" #1. I don't think it's much of a secret that the character's run in "Detective Comics" by Greg Rucka, J.H. Williams III, and Jock was a favorite of just about the entire CBR reviews staff at the time, and that was hardly a unique position. It's been a year and a half since it came to a halt in "Detective Comics" #863, though, and Rucka has since left the project. So the promise of "Batwoman" has always felt a bit uncertain since then, that it could live up to the expectations it created before.

Here's the good news: if you read the stories in "Detective Comics" before, you're going to love "Batwoman" #1. Williams and W. Haden Blackman are now co-writing the comic, and it feels like they're on the same page that Rucka was when it comes to Kate Kane. Batwoman is still doing her own thing, now with a protégé under her wing while trying to find a mythical figure that's kidnapping children. Kate Kane is also doing her own thing, trying to begin a relationship with Detective Maggie Sawyer even as her relationship with her father continues to crumble.

Williams and Blackman have paced the book out perfectly; in a matter of pages I felt fully drawn into the world of "Batwoman," one where deadly strangeness lurks around the corner even as you want to stop and gawk at the beauty around you. And while it feels like the story's just getting started when it comes to a conclusion, it's not because of a slow pace but rather because so much is going on in Batwoman's world. The only time the pace doesn't quite work is when the book briefly stops for a massive dump of exposition about what happened in Batwoman's ten issues of "Detective Comics." I understand why it's there (not only has been a year and a half, but with the re-launch of DC Comics chances are high there will be a lot of new readers who don't know Batwoman's story to date), but it is a slightly weak portion of an otherwise well-written comic.

And as for the art, well, it's fantastic as always. Williams continues to play with page layouts; a series of panels with Kate and Bette in Kate's home are fit into the structure of her building, with the rest of Gotham still existing outside of it, for example. Or when the pair run across the rooftop, it's in a long two-page spread shaped in the form of Batwoman's and Firebird's logos combined. Within that stretch, Williams places thin, almost invisible panel borders around each position the pair is in as they run, but they're subtle enough that you can look at it as a long unbroken single image with them appearing four times across its distance to show their movement. Of course, it helps that Williams isn't just clever with page layouts; he's an amazing artist, period. The grace of their movement along the rooftops flows perfectly, a great sign of how well Williams handles movement. And then there's the chilling opening scene that (with help from the always great colorist Dave Stewart) feels like it's actually taking place underwater, with the dreamlike blurs and drifts of the characters, coupled with the blue-green icy colors.

"Batwoman" #1 feels like it could have just as easily been "Detective Comics" #864. Aside from a tiny tweak or two to fit into the new setup of DC Comics (the most notable being Maggie Sawyer is now a Detective again, instead of a Captain) it fits in perfectly with what Rucka did up until now. More importantly, it's very clear that "Batwoman" is in excellent hands. The character's appearances in "Detective Comics" was one of the crown jewels of DC Comics, and "Batwoman" looks determined to follow in those footsteps.

4,5 su 5

Previously, on Batwoman: Kate Kane was a military brat, who graduated West Point with honors, but that didn't stop her from being drummed out of service when her same-sex affair with another cadet came to light.  Her life fell entirely to pieces, until a chance encounter with the Batman changed everything, giving her a new outlook on life and a new purpose.  She has worked alongside and battled the fellow members of Batman, Incorporated, but her strangest case came with the the arrival in Gotham of a villain called 'Alice,' who seems to somehow be her long-dead twin sister returned to life.  Whatever the future has in store for Batwoman, someone's still going to be mad that Barbara Gordon has to be 'Batgirl' because of her.
A New Start, With A New Love Interest?

This issue kicks off with a very moody, creepy, disturbing sequence, as a strange blue ghostly figure looks us straight in the eyes.  I had forgotten how moody and expressive Williams' art could be, but immediately this issue hooked me, as the unseen narrator describes how a ghostly figure arrived to steal her children.  Batwoman arrived to stop the creature, but the spectral kidnapper stole away with the little ones, and the heroine promised to get them back.  Cut to Gotham P.D., as Detective Maggie Sawyer concludes her interview with the grieving parents...  I was worried when Greg Rucka wasn't included as the writer of this series, but the transition here is very well handled, going from Batwoman's vow to save the children to Maggie's more carefully worded promise to never stop looking.  As Detective Sawyer walks them out, she crosses paths with Kate Kane (secretly the Batwoman!) and we transition seamlessly into a charming character bit, as the two women decide that they should go out (do they still call them dates?), even though Kate may or may not have had a thing with Maggie's former co-worker Renee Montoya.  That's a lot of stuff to get into the first HALF of an issue, but the whole thing moves, smooth as glass, organically from one sequence to the next.
The Legend of La Llorona...

Kate suits up, along with her cousin/niece/something-or-other Bette Kane (originally the Golden Age Batgirl, now the Teen Titan called Flamebird) and sets out into the Gotham night.  Once again, transitions are seamless, as Kate and Bette discuss recent history, Bette's career, and why Kate won't speak to her own father after the events of the Detective Comics arc.  Williams habit of building the panel borders to resemble Batwoman's chest-symbol continue, but in a truly brilliant stroke, he creates a panel that is a melange of the red bat and a flame-bird.  I truly want to hate this man for how effortlessly this issue comes together.  There's more continuity bits in the issue (which makes sense, as it was more than likely plotted an possibly COMPLETED) before the New 52 was a reality, with Cameron Chase sent to find Batwoman, Maggie Sawyer learning the urban legend of La Llorona ('The Weeping Woman') and Batman arrives to end the issue with a cliff-hanger:  "I have a proposition for you..."  (I hope he knows she's dating Maggie, because...  AWKWAAARD!)
The Verdict:  Flat-Out GORGEOUS.

Holy CRAP is this a beautiful book.  Every single page is just packed with with detail and expression, and even the scenes where Kate and Bette change into their crime-fighting clothes are impressive.  A lesser artist would give us static pneumatic blah blah blah fishcakes, but Williams gives both women realistic anatomy and doesn't turn it into a peek-a-boo situation.  The story maintains the complexity and moral ambiguity that we have come to expect from Gotham (and more to the point, from Batwoman) while the emotional moments with Kate confronting her father play out in a very realistic fashion, so much so that you feel bad for Bette awkwardly forced to stand and listen.  I've read 20 of the New 52 as of this very moment (5:09 p.m. on the 14th of September) and all of them have something to offer, even Hawk & Dove.  But Batwoman #1 is hands-down my favorite book so far, not only of the New 52 but in recent memory, earning 5 out of 5 stars overall.  It's not easy to live up to hype (especially in today's comics industry) but this comic sticks the landing in gold-medal fashion...

5 su 5[/b]

[Azrael]

Bellissimoooooooo 

Non avevo dubbi!!!! 

Maccio a roma ti farò una testa tanta per fartela leggere 

[Matches Malone]

L'ho già provata con Greg Rutta
E visto che voglio bestemmiare fino in fondo: Williams III è divino e tutto, ma a volte le tavole le fa un po' troppo incasinate con tutti quei fronzoli, per quanto belli, e la cosa un pochino mi infastidisce

[Green Hankey]

L'ho già provata con Greg Rutta
E visto che voglio bestemmiare fino in fondo: Williams III è divino e tutto, ma a volte le tavole le fa un po' troppo incasinate con tutti quei fronzoli, per quanto belli, e la cosa un pochino mi infastidisce

meno male allora che non hai letto Promethea 
Post Uniti: 15 Settembre 2011, 10:32:06
Comunque Williams III e Blackman alla scrittura sono stati bravissimi 

[Murnau]

Ecco, questa serie è la mia vergogna visto che non mi interessa e non la seguo...non c'è Williams III che tenga

[Green Hankey]

non vi dirò che state facendo una cazzata a non provarlo  

Commentary Track: JH Williams III On "Batwoman" #1
Post Uniti: 15 Settembre 2011, 11:05:48
While many fans have been waiting to see the final result of DC Comics' linewide relaunch for months now, readers invested in the adventures of Kate "Batwoman" Kane have been waiting longer than most.

Originally planned to his stores in January after a special "Batwoman" #0 issue hit the stands, the follow-up ongoing series to the award-winning arc in "Detective Comics" by Greg Rucka and JH Williams III was mysteriously delayed in the eleventh hour. Fans were at first perplexed at what could hold up the highly anticipated book co-written Williams and W. Haden Blackman (with art on the second issue to be handled by Amy Reeder), but before long the reveal of the New 52 made it clear that they'd have to wait no longer than the fall to see the next chapter in Kate Kane's life.

That wait ended today as "Batwoman" #1 officially arrived in comic shops across the country, revealing what's been happening with DC's red-headed heroine since the revelation that her father hid the fate of her sister-turned-arch enemy from her, the total dissolving of her romance with Rene "The Question" Montoya and the twist that saw her cousin/former teen superheroine Bette learn her identity. To help fans dig deeper into the debut, CBR News reached out to Williams to provide commentary on the biggest story threads in the ongoing's first issue. Below, the writer/artist reveals how important Kate's relationship with her father will remain to the book, what weird and supernatural secrets will drive the first murder mystery arc and subsequent genre-busting stories and romance, rivalry and a DEO agent called Chase will complicate "Batwoman" for months to come.

CBR News: I wanted to start by talking about how you conceived the first issue of "Batwoman." The #0 issue we saw a few months back really covered the origins of the character, but as much as #1 felt like the beginning of a new ongoing adventure, there were still plenty of moments in the story that found ways to catch readers up on who Kate is and where she's been. How did you split the difference between writing this book for fans who were along for the ride in "Detective" and newbies?

JH Williams III:  It was kind of tough because it's one of those things where, yes, the character had a very significant story that came before, but it wasn't necessarily in her own title. It was all about finding that balance of catching people up but giving them something new. It's a really tricky thing because you want people to feel like this is a start, but you want them to know that everything that came before mattered. It's all about identifying the important pieces of the character, and making sure they flow properly with how the story is going to move as we set the stage for what comes next. The process on that was really just making sure we are examining the material that came before enough that we could insert what we needed in a very direct manner without being overtly expositional. That way, it allows us to jump right into new characters like the Weeping Woman, our new villain, and the new subplot material we're looking to develop.

The one subplot that everyone knows about is the falling out between Kate and her father over what exactly happened to her sister. There's an implied cold war going on between them in issue #1, and in some ways the long delay readers went through to get to this launch since DC moved it to be part of the New 52 meant echoed in the long period where they haven't been speaking. Did that occur to you at all as you were working on the story? That there would be some synchronicity for the fans and the characters?

Maybe subconsciously. We didn't really understand how much time was going to pass between one story and another until we were well into the work. That's an interesting take you've got though – that the gap worked to the advantage of their estrangement and how much time we'd seen since the periodical's publication. I think that's a very interesting assessment. But for us, it wasn't a very conscious thing because we started writing the scripts for this quite a while ago. It was sometime last year.

For us, we knew that this estrangement would be taking place by the way things were left at the end of the "Elegy" book. So we had to find a way to continue that and not short-change what came before. Focusing a lot on that will have major ramifications for where the series can go now. This is not something that can be easily solved for her and her relationship with her father.

At the same time as that relationship is off to the side and simmering, you've got a bunch of new faces making a splash in the book, and the first one is a character who you can help me solve a personal comics mystery for. For years, I've seen the name Bette Kane in print, but I've never heard someone say it out loud, and I've wondered if it's pronounced like "Betty and Veronica" or like "Bette Midler"?

I've always pronounced it like "Betty," but I don't know. It's never occurred to me that people would pronounce it like Bette Midler, though she does spell it like that. [Laughter]

But more importantly, this is an older Bat-Universe element coming fully into play. When Kate was first introduced in "52," she was introduced as an entirely new character who, while based on a previous DCU iteration, was essentially a brand-new cast member. As you were looking on developing Bette, what was the attraction to having a sidekick-like character in Kate's world, and how much did you want to use from the character's previous iteration versus making her all-new?

We're very much approaching Bette Kane from a fresh perspective but acknowledging that she does have a comic past. Some of her lines see her referring to her time with the Titans and that kinds of stuff. The way Greg left that character – because she didn't get much time in the "Elegy" book but she was in the three issues that came out which Jock drew quite a bit – made for the pieces that we're picking up on. Bette realizes who Kate is and wants in because of her own past. She wants to be Batwoman's Robin, per se. So we're taking all those elements and finding a different way to play it and twist it all around. It'd be pretty boring to have it be "Here's the female version of Robin" essentially. [Laughs] Her story is going to be a long one and a quite profound one. We've got some interesting stuff in store for her, but I don't want to give away too much about it.

Though aside from the plot mechanics of it all, one way it feels like this character works for the book is that while we've gotten to know Kate as a character through the "Detective" stories...it's been a really rough ride. That's been necessitated by the revelations of the story, but those issues are very serious and in some cases sad, but Bette seems to lighten up the proceedings a bit. Was that part of the plan?

Yes. That was definitely one thing we wanted to show. Her personality versus Kate is – well, Kate can be fun, but she can also be pretty morose too. Better provides that pop. She's got a slightly younger perspective on things. Her attitude towards things is a little bit more flippant than Kate. Kate is more methodical even though she responds emotionally to things. So we were very well aware of that dynamic and wanted to drive it home because it will provide some interesting character interactions and plot point interactions just because of the personality difference there.

The third big ongoing element for the book is the romantic element with Maggie Sawyer becoming a new regular in the cast. Unlike the scenes with Kate's father where we are given a very clear reminder of what happened between them, the scene where Kate catches a glimpse of Rene Montoya's picture was very silent and subtle. You absorb the impact of what that means without being given all the specifics. I'm assuming you'll get a lot of fans asking "Where is Rene in all this?" but how does your choice to focus on this new relationship with Maggie build on all that we've seen before?

In some of my conversations about the book, I heard a lot of people assuming that with Rene and Kate, they were kind of the "it" relationship for each other. But to me, it seemed like there was a lot of baggage and a lot of damage done between the two of them. And to me it felt like that damage was kind of irreparable on a personality level. I don't see them actually having a future together. I don't think Kate is the kind of character who should be constantly pining after someone instead of trying to move her life forward. In this first issue, she pretty much has set her mind on letting the past be the past and moving forward. When you think about it, it makes a lot of sense because she's sort of isolated herself from her father and is trying to set that aside and move forward from there as well. So Kate is trying to redefine her life in a lot of ways and the pieces of her life.

Her relationship with Maggie Sawyer came along, and one of the interesting things to us in writing this relationship was that so often heroes have relationships that are doomed to fail. We're not sure if we want to go there and have this character just be another superhero who can never make it work with anyone. We're definitely interested in seeing where this will take Kate. What I like about it is Kate having an interest in someone who, while she's a cop, has lived a pretty normal life in a lot of ways. And Kate...well, she hasn't. [Laughter] So that normalcy has a lot of attractiveness for her, and in some ways, that's similar to what originally attracted her to Rene. Of course, Rene ended up becoming something else. So the new relationship provides a lot of interesting dynamics for us, and we're really excited by it.

In some of my conversations about the book, I heard a lot of people assuming that with Rene and Kate, they were kind of the "it" relationship for each other. But to me, it seemed like there was a lot of baggage and a lot of damage done between the two of them. And to me it felt like that damage was kind of irreparable on a personality level. I don't see them actually having a future together. I don't think Kate is the kind of character who should be constantly pining after someone instead of trying to move her life forward. In this first issue, she pretty much has set her mind on letting the past be the past and moving forward. When you think about it, it makes a lot of sense because she's sort of isolated herself from her father and is trying to set that aside and move forward from there as well. So Kate is trying to redefine her life in a lot of ways and the pieces of her life.

Her relationship with Maggie Sawyer came along, and one of the interesting things to us in writing this relationship was that so often heroes have relationships that are doomed to fail. We're not sure if we want to go there and have this character just be another superhero who can never make it work with anyone. We're definitely interested in seeing where this will take Kate. What I like about it is Kate having an interest in someone who, while she's a cop, has lived a pretty normal life in a lot of ways. And Kate...well, she hasn't. [Laughter] So that normalcy has a lot of attractiveness for her, and in some ways, that's similar to what originally attracted her to Rene. Of course, Rene ended up becoming something else. So the new relationship provides a lot of interesting dynamics for us, and we're really excited by it.

You bring up something that stands out to me overall when looking at the Weeping Woman, who I'm not even sure we can all the way call a villain yet, and the mystery with the children. One strong thread of you and Greg's stories was this combination of very normal, relatable human issues that Kate had dealt with like "Don't Ask, Don't Tell" and then on the other hand some really, really, really weird stuff. That marriage seemed to be what made the book click then, and the new mystery fits in that mold well. Is that part of what your conception of "Batwoman" as a series is? Are those two elements always going to be driving this character's stories?

Yeah. I absolutely agree with that. In a lot of ways, you don't see a lot of interaction with the supernatural or weirder stuff and the superhero side of comics. A lot of times with the Batman stuff, even though you have some crazy characters it's all focused on trying to keep things in "realistic" terms. But I think Kate's world has shown us a different side of DC and a different side of Gotham really. There's something metaphysically unique about Gotham that makes it a place where weird stuff can happen. To me, this harkens back to the stuff that you would see – weird, esoteric stuff – in "Batman" in the '70s. We're bringing that back out and showing that you can have grounded characters and grounded storylines mixed in with crazy, esoteric, fantastical stuff. If it's blended right, it can work. That's one of the things that jazzed me so much about the first run and Greg's story. He introduced these elements, and that easily opens the door for us to push the envelope and see where we can take it. I think it's pretty cool.

We do meet Chase by the end of the issue, and right before this hit stands, DC announced that they're going to be releasing a full trade of your original "Chase" series.
Yes!

How did that feel to have that happen?

Pretty exhilarating, actually. It's something I've been wanting for a long time, and I knew it was an uphill battle because it's material that essentially was a story that was unfinished in her own book. She ended up having plenty of guest appearances since then and the same with the DEO as a concept, but I've had discussions with DC about this for years, and one of the things that they kept telling me was there wasn't anything they could tie "Chase" to in a prominent way in order to warrant doing the trade paperback. So inserting her into "Batwoman" was just something I wanted to do. It had very little to do with wanting a trade. But I think what happened was that DC started to see the value in doing a "Chase" trade with all the DEO stuff on their own without having any realization about the kind of role Chase would play in "Batwoman." It was this serendipitous thing where both happened simultaneously.

So as we've said, there's this very strange world Batwoman exists in with weird, creepy stuff, and while Chase and the DEO can technically deal with anything, their series was always more of procedural. Is there a way that on a sheer conceptual/idea level these two worlds will clash in "Batwoman"?

Certainly. We're definitely going to be leading to some thing where the role of the DEO is going to be stepped up as the series progresses. We've got some interesting notions in terms of how we'll play the story arcs because we feel like even though we're dealing with the superhero genre and that it's a Batwoman comic in the DCU, we feel like each story arc can be its own genre. This arc is a particular genre as is the second and the third. But we're also setting up different pieces in each story that feed into the next and actually comment on a part of each story unto itself. It's a tricky balance figuring out all the subplot material and its relevance to each arc, though as each story carries through you'll see how the subplot material feeds through to set the stage for a grander whole. That's ultimately what we're after. By the time we get to the end of the third arc, you'll feel like we've done a full-on trilogy where all these pieces work together even though they are their own stories.

Does having Amy Reeder work on the art for the second arc aide in that revolving genre feel as well? Did you try and write the story to match her particular stylistic strengths?

Yes. But at the same time, I very much feel like one of the things I've had the luxury of in being an artist who's worked with some tremendous writers was being challenged by those writers. Certainly, they were interested in wanting to cater to things I was interested in, but at the same time, they challenged me to push myself and have to deal with stuff I might not necessarily think of on my own. That's something we're after too – telling the story that fits within the framework of where we're going and can be exciting for Amy to draw, but at the same time challenge here and see if we can push the envelope on stuff. So far, she seems pretty excited by what we're giving her. What's fun too is that even though her arc will feed of the first one and then the third will feed off of hers once I return to the art table, her story will definitely feel like its own thing. That was one of the key things about playing with the different genres. In the end, each arc will have its own feel and you'll be able to say "Here's book one, book two and so forth."

"Batwoman" #1 is in stores now from DC Comics.

[Bruce Wayne]

Bellissimo numero. Disegni stratosferici e storia intrigante. 

Spiacente, ma non sei autorizzato a visualizzare il contenuto degli spoiler.

[Mr. Seven]

Gran bel primo numero, davvero.
Spero solo che la serie regga la mensilità ma ho forti dubbi.
Mi ci sono affezionato a Kate, i disegni sono un qualcosa di speciale, vorrei l'HC tipo subito.
Comunque, altra piccola incongruenza di continuity:

Spiacente, ma non sei autorizzato a visualizzare il contenuto degli spoiler.

[Green Hankey]

è diventata un'incongruenza, perchè almeno questo primo numero era pronto da marzo  

Qui colpa degli editor 

Penso che la mensilità la possa reggere. Williams mi sembra che sia già al 7 numero e poi quando arriverà lo story arc della Reeder può rifiatare  

[Dude]

Se hanno fatto tutto sto casino di reboot per far ripartire le serie dal numero uno, con lo scopo di accaparrarsi più lettori, e non riescono a tenere nemmeno la mensilità sarebbe una buffonata. Devono tenere la mensilità altrimenti stavolta salta qualche testa in casa DC