Today, Patrick and Shelby are discussing Batgirl 32, originally released June 11th, 2014.
Patrick: I was recently putting together a resume for a creative position, and I found myself completely unable to distill what’s special about me into a digestible collection of jobs and experiences. Just by virtue of being a human being for over thirty years, I’ve amassed a weird collection of skills and experiences, and the only reason I can believe that it’s all part of a single lifetime is because I was there to experience it all. I’ve got something of an obsessive mind, and a propensity to burn myself out, so my list of former passions is long. The point is, there’s a lot feeding into the person I am today, and while it’s easiest to say that I am the handful of things that have effected me most recently (i.e.: improviser, writer, comic enthusiast, administrator), that definition is woefully inadequate. The same is doubly true for superheroes, and Batgirl 32 revels in developments from the recent past while acknowledging a history (both real and invented) that demands to be honored.
Today, Shelby and Patrick are discussing Batgirl 31, originally released May 14th, 2014.
Shelby: I love me a good, jovial villain. Any bad guy can be evil and cranky, but when they’re amiable, pleasant, flirty even, that is hands down the best. Those villains are unpredictable and creepy. Best/worst of all: you can almost find yourself liking them. They don’t fit into the standard good guy/bad guy dichotomy, which creates a far more complicated relationship between them, the actual good guys, and the reader. I love complicated relationships with fictional characters (what’s up, John Constantine), so I’m thrilled to see Gail Simone and Fernando Pasarin welcome Ragdoll to Gotham City and Batgirl.