52 Fix-Up

Selina Kyle opens up an “acquisitions firm” in Gotham’s East End.

“Bradley, Robinson, & Kyle Acquisitions”: Selina Kyle, Holly Robinson, Kitrina Falcone, and Slam Bradley.

They are “not thieves or P.I.s; [they] just procure whatever needs procuring.” The series itself is all about Selina regaining everything she’s ever lost: edge, finesse, fun, sexuality, love, family, power, and, ultimately, freedom. Morally ambiguous agency, globetrotting adventures; Selina’s relationships with The Crow and The Blonde; her and Kitrina’s shared Falcone heritage; reunions with her sister, Maggie, and her daughter, Helena; Selina’s taking control of and uniting the Three Families in Italy; the establishment of an international thieves guild; and her eventual marriage to The Blonde.

The second season would feature Selina as a virtual queen, ruling the Italian underworld in the most self-serving way possible. When her scheme stands fully revealed, she leaves The Blonde with divorce papers, moving her cat agency/thieves guild to The Crow’s country. She assists him in the final stages of his political coup in exchange for asylum.

Eventually, The Blonde launches an all out attack against Selina’s people. Slam is gravely injured. The Blond takes Helena, accusing Selina of having taken his daughter away. Selina and her surviving cat girls go on the attack, taking the fight to Italy. Kill Bill-style, they decimate the entire Italian Mafia and it’s top lieutenants to get to The Blond. In the end Selina decides not to kill him but Kitrina does. After this Selina decides to return to Gotham with Slam and Holly. Kitrina and the Italian Catwoman stay behind, assuming control of the mafia for themselves.

– Catwoman (Selina Kyle)
– Catling (Holly Robinson)
– Kittyhawk (Kitrina Falcone)
– Slam Bradley

– Calico (Orabella Palladino)

– The Blonde
– Louisa Falcone

– Magpie (Leticia Vasco)
– The Crow (Vincente Barbosa)

By Quinn Hopkins

Between Winick’s “Under the Hood” and its film adaptation, Grant Morrison’s “Revenge of the Red Hood” storyline in Batman and Robin, and Winick’s “Lost Days” mini-series, a Red Hood series has been a long time coming. Jason is an extremely compelling character, he has a sizeable fan base, and he’s a badass anti-hero with twin red pistols, just waiting to take back the anti-hero niche in market (he’s Daredevil, the Punisher, Wolverine, Daken, and Venom rolled up into one guy who was trained by the goddamned BATMAN).

When DC came out with The New 52, Red Hood should have been a title selling at least 90k. Instead, we get Red Hood and the Outlaws, debuting at a respectable 65k but now down to 39k. Instead of a book bordering on Batman-meets-Boondock Saints, we got a book so contrary to the highlights of Jason’s character—ancient magic zombie sensei, say what?—that it really feels like it could have been about…anyone.

It’s not bad—39,000 people might even say it’s good—but that doesn’t change the fact that it should have been great. It should and could have been a breakout hit: the birth of a new franchise in its own right.

My intent is not to discredit the current creative team but to suggest a more financially profitable and hagiologically rewarding alternative.

First and foremost, Jason is a redhead. Bruce is WASPy, Grayson is Romani, and Tim is also pretty WASPy, and it all adds up to every Robin having black hair. Jason having red/blonde hair works perfectly to signal him as something slightly apart (the red headed step-child) and the fact that he used to dye it black to look more like Grayson just works so well with his character and his relationship with Bruce that I hate to see it forgotten. Then there’s the matter of his being the Red Hood and all, so his red hair works there, as well—almost like a predetermination of his character arc. The red also works well with the fact that the Joker, his pater mortis, beat his brains out—and the fact that only Barbara Gordon/Batgirl, another redhead, received equally harsh treatment. The Joker hates redheads?

Also, Todd is an Irish surname; so let’s take advantage of that by making Jason not just kind of Irish but extremely Irish: his father was first generation Irish-American and most of his extended family is still located in Ireland. This way, he has a place to build something for himself outside of Gotham while retaining a sense of personal history—for example, his ancestor, “The Flying Todd”, a Robin Hood-esque who mounted a private war against corrupt landlords during the Great Famine.

Jason could never work in Gotham, not with Batman around, and for him to work outside of Gotham it would have to be somewhere low key. Ireland is a good starting point and home base, but his adventures will take him global.

As far as his mission statement is concerned, Jason will have taken the next natural step in his development. Jason, the child soldier raised from the dead, will shift his concerns from the egotistical (proving his methods to the Bat-Family) to the universal (allowing his methods to speak for themselves). No longer a spirit of his own vengeance, he will embrace his role as a protector of the world’s innocents, staining his hands with blood so they won’t have to.

Batman doesn’t kill because he values life too much. The Red Hood does kill because he values innocence even more. The bigger sacrifice, in Jason’s mind, is to kill and live with the burden. The Red Hood is the result of Batman’s own selfish morality—had Bruce been willing to get his hands dirty, Jason never would’ve needed to. But the mark requires its Cain, and since Bruce wouldn’t carry the burden, it was passed down the line to Jason. Jason embraces the sin-stained mantle of the Red Hood. He’s happy to consider himself Life’s violent “catcher in the rye.”

Batman couldn’t prevent the Red Hood, but the Red Hood could have prevented Batman.

The Red Hood kills the killers.


The series would pick up right where Morrison left it. During the chaos of Professor Pyg’s escape from Blackgate Prison, Jason will also have escaped. He will have returned to the sewers—as in Battle for the Cowl—emptying one of his previous bases before hitting the road. When the series opens, Jason will already be operating in South America, tracking down a lead to the rogue Flamingo. Jason has vowed to rid the world of its deadliest and most sadistic killers. He’s decided to let The Joker be Batman’s problem, letting the responsibility of each victim fall squarely on Batman, while employing his own methods to more effective ends around the world.

The major themes of the series will be trace—the inability to escape the past entirely, no matter how many bodies you bury it beneath; revenge versus retribution—acting out of self-interest or out of interest for the greater good; and the dynamic of nature versus nurture—can man be anything more than the product of his circumstances?


  • THE RED HOOD: Jason Todd
  • SCARLET: Sasha

Jason Todd* = Red Hood** = Red Cap = Holden Caulfield/A Catcher in the Rye
(* = Fox  [“Flying Todd” = Flying Fox = Bat Species = Bat Family])
(** = Red Riding Hood)

The Red Hood #1
“Best Served Cold”

By Quinn Hopkins

Page One

1/ A young Jason (red hair) stealing the tires from the Bat-Mobile and Batman catching him doing it.

CAPTION: Jason Todd. Orphan.

CAPTION: Bruce Wayne. Batman.

2/ In the Bat-Cave, Batman (sans cowl) in the middle of training Jason.

CAPTION: A new world.

3/ Jason as Robin–his hair now black, except for a single red streak.

CAPTION: A new way.


4/ The Joker swinging a bloody crowbar, from Jason’s POV. Black and White, except for the blood and Joker’s green hair.

CAPTION: The Joker.

5/ Batman cradling Jason’s body.

CAPTION: A Death in the Family.

6/ Black.

Page Two

1/ Green.


2/ Jason rising up from the Lazarus Pit, as if waking from a nightmare. Ra’s al Ghul and Talia stand over him, looking down.

Jason’s hair is now back to red, but the previous streak is now Lazarus green.

CAPTION: Rebirth.

3/ Jason training with Ra’s al Ghul and the League of Assassins. Directly mimics the panel of him training with Bruce.

CAPTION: A new life.

4/ Ra’s sitting on a throne. Talia is to his left. Jason, in LoA gear, to his right.

CAPTION: His Red Right Hand.

5/ Talia pushes Jason off a cliff’s edge. Her words/speech balloon follows him as he falls.

TALIA: Remember.

6/ Jason, in his gear from Under the Hood, looks up at the Gotham skyline from the river’s edge/harbor.

CAPTION: Gotham.

Page Three

1/ Jason, beating the Joker with a crowbar. Again, the panel is in black and white, except for the red of Jason’s hood/helmet and the blood, and the green of The Joker’s hair and Jason’s eyes.

CAPTION: Revenge.

2/ Crime Alley. Batman punches Jason to the ground, cop lights in the background getting nearer.

CAPTION: Retribution.

3/ Jason and Sasha from Morrison’s arc, staring down Batman (Grayson) and Robin (Damian).

CAPTION: Return.

4/ Close-up: A letter being held in Batman’s hand (his thumb beneath the last words). The letter reads: “To Batman, I leave the Joker. Sincerely, Jason.”

CAPTION: Resignation.

5/ Jason in his new costume, riding on a motorcycle on a long stretch of highway in Mexico.

CAPTION: Reboot.

6/ A series of photos being taken by Jason of a priest with a young boy as they enter a cathedral.

CAPTION: Redefine.

Page Four

A figure in monk’s robes–the hood is red, as are his slightly visible boots–standing in front of the Cathedral doors. He’s in the middle of posting up a wanted sign of the priest (Wanted: Dead, not Alive)–a la Martin Luther.


The Red Hood
“Best Served Cold”

Page Five

1/ Interior of cathedral. Priest is in the middle of a prayer. We see the church from behind the pew (from over the priest’s shoulder). Three knocks at the door interrupt him mid-speech.

PRIEST: Eternal rest grant unto them, O Lord, and let perpetual light shine upon them. May the souls of all the faithful departed, through the mercy of God, rest in–

SFX: Knock kock knock!

2/ The front doors swing open. A silhouetted figure in robes and a hood stands in the open doorway, the sun shining in from behind him.

PRIEST: –peace…

3/ The doors close behind him. We see the figure is wearing priestly robes, his face covered by the hood.

4/ Close up on red combat boots (like the Pope’s red slippers, yo).

5/ Close up: we see the lower half of the figure’s face. He’s smirking. His left hand is at his hood, readying to remove it.

6/ Close up: from his right sleeve, the tip of a red gun emerges.

Page Six and Seven

Double-page spread.

1/ The Red Hood stands revealed. Between his helmet and the priestly robes, it’s as if the Devil just entered the church. His right hand is raised, ruby red gun in hand, aimed at the priest.

SFX: Click


2/ Jason pulls the trigger.

SFX: Blam!

3/ Close up of priest’s face, a bullet hole in-between his eyes. His eyes are rolling back. Behind him a stained glass window of the Virgin Mary and Christ shatters.

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