Ann Nocenti Quotes
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Rotgut was, to me, just this way to get into the underground of Manhattan where you have these little pockets a villain could rise from; a rot in the bowels of Manhattan. It led to these stories that were just very creepy.
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When I was in college, I worked at a state hospital that was a dumping ground for all manner of the criminally insane and 'mental defectives' as they called them back then. It was a horrible place, like Arkham, mostly in terms of total neglect of the inmates, so I wanted to write an Arkham story.
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Catwoman isn't a 'joiner.' She's a solo operator. She isn't naturally heroic; she's fairly selfish.
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There was a Japantown in San Francisco, but after the internment camps that locked up all the Japanese, Japantown shrunk down to just a couple tourist blocks.
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I'm dying to fool around with the distance between Selina Kyle and Catwoman. And, you know, the whole double identity thing is endlessly fascinating. I mean, you can always find another riff for it.
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I know my predecessors have written a Green Arrow who has a lot of thoughts about social justice, but that was a more evolved, older, wiser Green Arrow.
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I walked the streets of New York; I would feel the presence of Daredevil. I would see him up on the rooftop. What you are doing in your life, you start to see in your book. It all starts to merge together.
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I am thrilled to be working with Alex Sanchez as the artist on 'Katana.' His work is wildly eclectic, exciting and powerful, yet slyly humorous, which is a perfect match for Katana.
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I think writers process their own experiences through the characters and situations they write. So for Batman, I used my own experience of losing a loved one. Grief is a strange place; it's like an altered state. You might sleep too much, so you can see the dead in your dreams.
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I actually have a peculiar feminism that does not involve the idea that women shouldn't be sexy. Female characters written in comics have always been pretty damned sexy, and used their sexuality. And I don't have any problem with that.
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Green Arrow was a very complicated character to take on because he has archaic weaponry. Catwoman, I think is more of a simple archetype to grasp, so it will be about nuance. But I think you need three or four issues before you say, 'Ah ha! Now I really know how to write this character!' You're carrying them around with you.
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When you choose the sword over a gun, just like Green Arrow chooses an arrow over a gun and Catwoman chooses a whip over a gun, you have to be highly skilled and highly trained. I can grab Green Arrow's bow, but I'm not strong enough to shoot it. I can grab Catwoman's whip, but have you ever tried to whip a whip? It's not easy.
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Katana is a trained, disciplined martial artist. She removes herself from Birds of Prey to go on a personal journey in Japantown, San Francisco, and pursue a quest for vengeance against the Sword Clan, the men that killed her husband.
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I know I've erred in the past putting too much of my social justice sentiments in comics, but hopefully not too much, and I tried to only do that with characters that it made sense with it. These days, with the 'social justice' aspects of the two books I write, 'Catwoman' and 'Katana,' the concerns are more about moral justice.
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I'm thrilled to be taking over Green Arrow. What I adore about the Arrow is his recklessness. He'll shoot off on an impulse, dispatch someone if they deserve it; his heroism is instinctive.
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Is it possible to run a big industrial corporation in a benevolent fashion? We see these days that even the hippest companies hide some rotten practices to make their profit margins work.
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There is an unspoken feminist layer to Katana. She's an aggressive modern woman with traditional Japanese roots. She was in love with her sword because she believed it contained her husband.
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I'm one of those people who believes you are what you do.
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I have a fascination for extra-judicial societies and underground cultures, and in situations where justice can only be found outside the law, and how these societies have evolved over the centuries.
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I think the best collaborations in comics come from a lot of talks with the artists where you are finding out what they want to draw, what kind of villains they want to do.