One of the cornerstones of Catwoman is that she is one of the most fashionable characters and is always changing her look. How did the identity of that character play into making this wedding dress design work on the page?
Jones: I attempted to do that with the dress – say "This is Catwoman formal." I've always been fascinated with her. I do think she's the most fashionable and with it character, and I've tried to keep on top of that.
And you've also worked in the book to "canonize" the Michelle Pfeiffer Catwoman costume from Batman Returns. How did that become a step in this longer story?
King: I'm of the generation where that was almost my first exposure to Catwoman. I think the '66 series was always around in reruns, but in terms of the character entering my conscious brain, that Michelle Pfeiffer look was what I saw when I closed my eyes and thought of Catwoman. And there's so much that I love about that performance and movie. "Does this mean we have to start fighting?" is one of the best lines in Batman history.
But that stupid costume is not in continuity! So I just did this issue where we had every Catwoman costume, and the whole point of it was the more she changes, the more she's being herself. But I couldn't use that one, so I found a way to put it in this Tony Daniel issue. And it helps if you're working with Tony because he draws everything so beautifully. Even something as classic as that, he finds a way to make it look modern.
That costume to me is also a joke because Booster makes it for her, which is its own story, but Booster never does anything competently. [Laughter] It just fit the story perfectly.
We're getting closer to #50, and that's both a milestone issue and a wedding issue. Both of those phrases have their own expectations, particularly the latter category stretching from when Reed and Sue got married in the Fantastic Four on through when Lois and Clark were married in the '90s. How do you play with those traditions?
King: I looked at a lot of things, like the Spider-Man wedding and how big they went with that. I read the Fantastic Four wedding with Stan and Jack knocking on the door. When I was a kid, I loved that soap opera wedding aspect. When Louise Simonson had Cyclops and Jean Grey get engaged, that was one of my biggest comic book moments as a kid. That soap opera aspect of comics interests me greatly.
Joellle, what are your visual touchstones for a story about a wedding?
Jones: Whenever Tom gives me a script, it seems really sparse, but the emotional impact is the driving force for everything behind it. It really sets the tone for how I go about drawing it. And this issue is well thought out and crafted as far as that emotional tone. I'm feeding off what he gives me.