Are you sticking with her '90s "Bad Girl" roots? Certainly the costume was revealing but just seemed more "cute" than her heavily sexualized contemporaries of the day. I've endeavored to not make any changes to her origin. If anything, I've pushed her timeline ahead a couple years. Joseph Michael Linsner's cover for "Lady Rawhide" 1 looks identical to her original outfit.
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Does the interior art by Milton Estevam reflect this or does your interpretation of Lady Rawhide don a new look? While we're talking about the costume, Anita Santiago is a confident person and her outfit reflects this -- ComicVine even cites one of her super powers as "Attractive Female. Her vigilante, Robin Hood-esque actions are subversive, and her overtly flamboyant costuming rejects those social conventions. Additionally, how have you ensured lady readers of today can give this book a shot without feeling like the material is overly sexualized? Clearly, Anita has a rebellious streak.
Her vigilante career began with her desire for vengeance over the blinding of her brother, who was mistaken for Zorro , but it seems fairly evident that she chafed under the role her society placed her in -- that outfit sprang from her imagination, after all. And while the outfit is revealing and probably a little impractical though I'd argue Zorro's cape lacks a certain practicality, too , it would have been completely shocking to both men and women in that time, in that place.
She must've been aware of that, I would think. As for female readers, I'm not sure that I've done much different than I've ever done. I try to approach every character I write as honestly as possible. In "Lady Rawhide," I've approached her as the strong, intelligent, resourceful woman she always has been. Her foes treat her with wariness and respect, so how could I do less?
You've mentioned elsewhere on the internet classic Rawhide characters like her nemesis Scarlet Fever, her vampire ally Carmelita Rodrigue and even Zorro himself will not be appearing in this miniseries.
Can you tell us who will be rounding out the supporting cast, especially in terms of the Sisters of the White Rose? I've posited it's been a few years since her last appearance, and she's amassed a small following; in particular, there's Captain Reyes, a young officer in the Mexican army, whom Lady Rawhide has a flirting cat-and-mouse relationship with.
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He secretly likes and respects her, but he's duty-bound to apprehend her, despite loathing the corrupt government he's forced to serve. Aside from that, I'll be establishing a small "hideout" for her -- one of many she's set up around Mexico, with the implication that she may have "agents" or allies at each. In this case, there's Father Arturo -- a priest she saved from the gallows -- and Leonor, a former midwife whom Lady Rawhide had saved from an abusive husband.
That's probably the biggest "thing" I've tried to bring to the table.
I have a fondness for pulp stories, and I always loved how The Shadow recruited "agents. That way, future writers can add new characters to her retinue as needed, without contradicting anything that came before.
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There's also Judson Cole, an American bounty hunter, hired by the Yanqui silver and rail barons attempting to purchase control of the Mexican government. He's a nasty, vicious piece of work and is consequently a joy to write. As for the Sisters of the White Rose, there are several dozen. The group is lead by a woman named Adelina, the Sisters are all women who have been mistreated by authority figures of all types, and have taken the examples of Zorro and Lady Rawhide and banded together for mutual protection and to punish those they deem evil.
That said, they have adopted more ruthless and violent methods, so while Lady Rawhide can sympathize with them, she can't condone their methods. Adding to the complications in her life, many of the citizens of Mexico -- who have themselves been mistreated by the government -- have embraced the Sisters.
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Is the Dynamite series a complete reboot of the character or a continuation of the previous Topps Comics run? A number of the classic Lady Rawhide solo adventures had her dealing with smaller, localized threats such as clearing the names of the wrongly accused. In your story, the scope gets bigger as she takes on a corrupt governor who servers as a patsy for the American silver and rail tycoons.
You've mentioned this series "isn't a grim, gritty book.
It's pulpy, swashbuckling fun at heart. In terms of tone, it's not terribly dissimilar to a Zorro tale. There's a backdrop of political corruption, but that's always been an underpinning of Zorro's Mexico. There are fairly large political implications in the villains' motivations, but in this kind of story, those problems can be dealt with by a masked vigilante with a true heart and quick reflexes.
Lady Rawhide uses not only a sword, but her fists and a whip -- can you discuss her fighting style and how series artist Milton Estevam approaches the fight scenes? Generally, I write fairly detailed fight choreography; I've tried to loosen up a bit on this project. The emphasis is on the fights looking "cool" and dynamic. Milton's strengths, along with his clear line and storytelling, is to make those fights feel like they're taking place in an actual environment -- it's not just a series of fighting poses.
Misuse on animals may be considered animal cruelty , and misuse on humans may be viewed as assault. Whips are generally used on animals to provide directional guidance or to encourage movement. Some whips are designed to control animals by imparting discomfort by tapping or pain by a full-force strike that produces pain compliance. Some whips provide guidance by the use of sound, such as cracking of a bullwhip. Other uses of whips are to provide a visual directional cue by extending the reach and visibility of the human arm.
In modern times, the pain stimulus is still used in some animal training, and is permitted in many fields, including most equestrianism disciplines, some of which mandate carrying a whip. The whip can be a vital tool to back up riding aids when applied correctly, particularly when initial commands are ignored. However, many competition governing bodies limit the use of whips, and severe penalties may be in place for over-use of the whip, including disqualification and fines.
Whip use by sound never or rarely strikes the animal; instead, a long, flexible whip is cracked to produce a very sharp, loud sound.
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This usage also functions as a form of operant conditioning : most animals will flinch away from the sound instinctively, making it effective for driving sled dogs , livestock and teams of harnessed animals like oxen and mules. The sound is loud enough to affect multiple animals at once, making whip-cracking more efficient under some circumstances.
This technique can be used as part of an escalation response, with sound being used first prior to a pain stimulus being applied, again as part of operant conditioning. Whips used without painful stimulus, as an extension of the human hand or arm, are a visual command, or to tap an animal, or to exert pressure.
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Such use may be related to operant conditioning where the subject is conditioned to associate the whip with irritation, discomfort or pain, but in other cases, a whip can be used as a simple tool to provide a cue connected to positive reinforcement for compliant behavior. In the light of modern attitudes towards the potential for cruelty in whips, other names have gained currency among practitioners such as whips called a "wand" or a "stick," calling the lash a "string" or a "popper".
The loud sound of a whip-crack is produced by a ripple in the material of whip travelling towards the tip, rapidly escalating in speed until it breaches the speed of sound , more than 30 times the speed of the initial movement in the handle. The crack is thus a small sonic boom.
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Most stick type whips cannot make a crack by themselves, unless they either have a very long lash, such as a longe whip , or are very flexible with a moderately long lash, like certain styles of buggy whip. But any design can be banged against another object, such as leather boot, to make a loud noise. Short, stiff crops often have a wide leather "popper" at the end which makes a particularly loud noise when slapped against an animal, boot, or other object. Stockwhips or stock whips , including bullwhips and the Australian stockwhip, are a type of single-tailed leather whip with a very long lash but a short handle.
Stockwhips are primarily used to make a loud cracking sound to move livestock cattle, sheep, horses, etc. It is generally not used to actually strike an animal, as it would inflict excessive pain and is difficult to apply with precision. The Australian stockwhip is often said to have originated in the English hunting whip, but it has since become a distinct type of whip.
Today, it is used primarily by stockmen. Unlike the short, embedded handle of a bullwhip, the stockwhip handle is not fitted inside the lash and is usually longer. A stockwhip's handle is connected to the thong by a joint typically made of a few strands of thick leather which is called a keeper. This allows the whip to hang across a stockman's arm when not being used.