Williams and Blackman are distressingly wasteful this issue. One can tell Williams loves his art and takes it seriously, but it doesn’t explain why we have to plod through the first six pages or so.
It’s Batwoman versus the strange water lady, who probably isn’t Kate Kane’s dead twin, but is close enough we get a bunch of narration about her. There’s no weight to this issue and that lengthy open forecasts that condition.
Kate fights with Flamebird and makes out with Maggie Sawyer. The fed after her–Chase, I think–questions Kate’s dad. Through in a couple Batwoman escaping police pages and it’s done. There’s the issue.
The kiss scene isn’t even a big deal. Kate Kane’s gay. What’s she going to do with her love interest, bake?
Batwoman exists for Williams’s art, which is fine, it’s amazing art. It still needs actual content.
Though, without, it’s still okay.
This one uncannily sits between art and commerce. On one hand, there is little actual written content, but the flowing, hypnotic visuals seem to make that not necessarily a weakness. The comic’s dreamlike qualities make you wonder if Katy Kane actually exists in the real world, or is this something else? And yes, they probably will bake. But it’ll be the dreamiest, most mesmerizing baking ever seen in comic books. I’ll get really impressed by DC’s newfound boundaries when I see a couple of men in the same situation. For now, though, it’s a mellow trip without the actual drugs.