Ann Nocenti Quotes

Catwoman has an awesome, iconic personality. It's a blast to write her. You get her; she's an archetype. You can just kind of put on the cat-suit.
Catwoman isn't a 'joiner.' She's a solo operator. She isn't naturally heroic; she's fairly selfish.
Comics shouldn't be 'tools' for anyone's agenda except for the characters. And I am speaking only of super hero action comics. I love many of the alternative comics that are like journalistic stories. Documentary comics, a mix of reportage and fiction. Those are just great.
Green Arrow has gone through so many changes; he's been right-wing, he's been left-wing, he's been rich, he's been poor, he's been a social justice guy, then when I got him, he was a rich playboy guy. So it was a lot harder to get into a character that has so many personas in the past, and I just looked at his anger.
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.
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.
I am inspired by both Japanese Samurai films, in particular the films of Kurosawa, and how they share the spirit of American Westerns, with the influences running in both directions, and including the 'Spaghetti Westerns' and films of Sam Peckinpah.
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.
I believe in working with your morning brain - you have your coffee, and then maybe you'll start thinking about the grand plan and what's going to happen in the next arc, and then you write for a while, and then you get really dreamy, and over the course of the day or in the middle of the night, something comes, and you just throw it in!
I don't think most people are all heroic or all villainous, so I find ambiguity of motivations to be a natural human condition.
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.
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.
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.
I like talking about comic book process, and one of the things is that I have plans going ahead for years, and the plans constantly get thrown away and shifted. There's a difference between planning and what actually happens in life, and comics have a life of their own.
I live in New York City, and one day many years ago I was with a poet, Gregory Corso, walking through Greenwich Village. He pointed to a doorway in an alley that he said led to a tunnel under Manhattan, a tunnel he'd use to run from the cops. I started learning about old Prohibition-era speakeasy tunnels under the city, for running whiskey.
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.
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.
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.
I want Green Arrow to have fun. I don't want him to be a tortured hero. I mean, I've written plenty of tortured heroes, like Daredevil. But it's all there in Daredevil's origin as to why he'd be a tortured adult. Green Arrow doesn't have that kind of origin. In fact, he's such a clean slate that he doesn't even have an origin anymore.
I wanted the new Green Arrow to somehow sense his long, brutal past. It's like someone who has past lives they can't remember but feels occasional flashes of.
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AuthorName
Ann Nocenti
Profession
Journalist
BirthDate
17 January, 1957
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