BATWOMAN (2025) #1 / Script by GREG RUCKA / Art by DANI / Colors by MATT HOLLINGSWORTH / Letters by HASSAN OTSMANE-ELHAOU / Published by DC COMICS

I thought I knew Batwoman fairly well. I read her formative adventures in the 52 series. I watched every episode of her series on The CW, even after Ruby Rose left and it ceased being about Kate Kane. And yet, I found myself completely and utterly confused on my first few readings of the first issue of the 2026 Batwoman series.

There is a school of thought that every comic should be written as if it were someone’s first exposure to the lead character. Another school of thought says that may not be true of all comics, but certainly a first issue should generally give you some background into the titular protagonist. Greg Rucka has apparently chosen to burn both those schools to the ground..

At the very least, Rucka missed the memo regarding the new DC Next Level line. Specifically, Scott Snyder’s statement that the new line was “very new-reader friendly.” Also “an initiative that welcomes new readers that are looking for a jumping-on spot for DC’s main line of comic books”. There is nothing friendly or accessible about the new Batwoman title, though it may be great if you read all of Rucka’s original Batwoman stories from 15 years ago. (Full disclosure: I have not.)

What this issue establishes is fairly bare bones. Kate Kane is in a Greek mental hospital and is not doing well. She’s still being stalked by the Religion of Evil. Her sister, Alice, may or may not be dead again. It is unclear how much (if any) of the Batwoman stories written since Rucka’s run are still in play.

I will admit the mysteries established here are engaging. The problem is there’s no firm footing for a complete newcomer who has no clue what the Religion of Evil or the prophecy of the Kane sisters are. That is a major problem for a first issue that, nominally, is meant to reach out to new readers.

The artwork by DaNi, at least, is as innovative as advertised. There’s a distinctive, dream-like perspective that captures how off-balance Kate is meant to be. Matt Hollingsworth uses washed-out palettes, which make the black and red of Kate’s costume all the bolder in contrast. And Hassan Otsmane-Elhaou does his usual sterling job on the letters.

I suspect that this new volume of Batwoman, like much of Rucka’s work, will read better once collected than as a month-to-month drama. As it stands, I would recommend Batwoman: Elegy to those wanting to know more about Kate Kane before handing them this issue Longtime fans may enjoy it, but I fear few new readers will be adding this to their pull lists.