Batwoman’s origin – like that of SOO many super-heroes these days – is tied to someone from her past, and who will perhaps become her arch-nemesis. We’ve seen it done so many times before, it’s become a comic book cliché. Somehow, the notion of two people with diametrically opposing agendas meeting by chance doesn’t happen in the comic book world.

In this case, Kate Kane’s sister Beth has escaped the asylum where she’s been confined since the kidnapping tragedy years before. And like Batman foe, the Joker, Beth is crazy as a loon. Under the nom de guerre of Alice, she is a twisted victim of someone’s mad tea party. But how much of it is genuine insanity and how much is the manipulation of Batwoman’s former ally Tahani (or is it Safiyah? I can never keep them straight) remains to be seen.

I’ve come to the conclusion that I don’t care for Marguerite Bennett’s comic book writing. I understand she is somewhat new to the comic book world, and as such I’ve cut her some slack while she learns the subtleties of creating 21-page stories that form a greater whole. However, I’ve grown weary of waiting for it to “click” with her; where there isn’t endless expository dialogue, or extended emotional angst. Action and character are the order of the day. I don’t feel comics is the forum for the type of storytelling Bennett does.

Fernando Blanco’s artwork serves the Bat-franchise well, and I’m confident he would do well on any of the Bat-books. Combined with the colors of John Rauch, mood and atmosphere become the order of the day. They are an effective team, in that the work of one compliments that of the other without overshadowing it.

Rating: 5/10