Catwoman 4 (April 2002)

Catwoman #4

How does noir work when the villain is a Clayface rip-off. I say rip-off because Catwoman is a Batman spin-off and Clayface is a Batman villain. Brubaker knew the similarity. It also gives Cooke something fantastic to draw. Selina in this gross pink muck–the leftover transformative flesh of the villain? Great stuff. Lots of movement in the art.

The villain does have something of a noir origin though. G.I. injured, army docs turn him into a monster, it’s like a film noir with shades of fifties sci-fi. It’s really cool.

But Brubaker relies on it almost too much. The script tries to showcase the art, which is fine and dandy and marvelous. Only it makes for some rushed scenes. One less page of the fight and one more page with Selina and Leslie would have been awesome.

The issue starts fast and rushes. The last few pages seem so short because of the action sequence pacing. Those last few pages are exceptional. Brubaker and Cooke figure out how to give noir a superhero. It’s great comic book storytelling.

Even if the fight goes long.

CREDITS

Anodyne, Conclusion; writer, Ed Brubaker; penciller, Darwyn Cooke; inker, Mike Allred; colorist, Matt Hollingsworth; letterer, Sean Konot; editors, Nachie Castro and Matt Idelson; publisher, DC Comics.

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Catwoman 3 (March 2002)

Catwoman #3

It’s a strange issue. It’s a good issue–though it’s certainly the least ambitious so far–but it’s also a strange issue. Selina doesn’t have as much narration as she had before and now she’s doing much different things. She’s the star of a Bronze Age Batman comic, where Batman dresses up as Matches Malone and investigates on the wharf.

It’s a successful issue. Cooke’s in on the Bronze Age vibe of the issue and the art feels very seventies. The content Cooke’s illustrating, anyway. There’s even a sixties thing with a used car dealer. A lot of thought went into the visual presentation of the book. I just wish Brubaker hadn’t been so quiet.

So far, this series has been about Selina evolving into a do-gooder. This issue continues that evolution, but with the exception of the narration in the first few pages, Selina’s experience is absent from the comic. Even when Brubaker brings back the narration later, it’s to establish that Matches Malone sequence.

Like I said, strange. Expertly, enthusiastically done, but with too much confidence in the narrative effect of the comic to worry about the narrative itself. It’s showy.

CREDITS

Anodyne, Part Three of Four; writer, Ed Brubaker; penciller, Darwyn Cooke; inker, Mike Allred; colorist, Matt Hollingsworth; letterer, Sean Konot; editors, Nachie Castro and Matt Idelson; publisher, DC Comics.

Catwoman 2 (February 2002)

Catwoman #2

Cooke mixes a lot of styles in this issue. Selina lives her non-costumed life in a more angular city, one with more art deco designs than when she’s got the costume on at night. But Cooke also finds this mixed style for Selina herself. She’s got the modern look, but he also goes for Silver Ago influences to make her more sympathetic.

And then there’s what Brubaker’s narration does for her character. This series of Catwoman integrates whatever history the character had since Batman: Year One, so the Jim Balent stuff and whatever else, with a continuation of the character from Year One. Or at least something closer to that characterization. Including the history of prostitution.

The prostitution angle–with Holly, Selina’s sidekick from her Year One days–figures into the story, with Gotham’s dirty cops ignoring a serial killer preying on girls on the street. Selina ends up investigating it. There’s no humor in the comic. Not a moment. Not even when Cooke and Brubaker take the time and care to show Selina’s pure joy in running around the rooftops. It’s serious stuff; Brubaker’s very deliberate in how he works through Selina’s thoughts in the narration too.

Again, it’s noir. It’s a noir comic masquerading as a superhero comic (masquerading as a noir comic). Brubaker juggles the mainstream and more artistically ambitious beautifully. What Cooke does is just as important, but it only works because of how well Brubaker does his bit.

CREDITS

Anodyne, Part Two of Four; writer, Ed Brubaker; penciller, Darwyn Cooke; inker, Mike Allred; colorist, Matt Hollingsworth; letterer, Sean Konot; editor, Nachie Castro and Matt Idelson; publisher, DC Comics.

Catwoman 1 (January 2002)

Catwoman #1

In his ★★ review of Batman Returns, Roger Ebert said, “no matter how hard you try, superheroes and film noir don’t go together; the very essence of noir is that there are no more heroes.” I disagree about the film, but not all of the quote. I agree with the first part, not so much the second. Because it’s a closed vision of heroes.

It oddly doesn’t seem to occur to Ebert how the “junkies and masochists and hookers and those who have squandered everything… [can be] the ring of brightest angels around heaven.” Because a review of a single comic book from 2002 needs this long of a preamble. One with the only time I’ll agree with Ebert this year and a great Rick Moody quote.

But Ed Brubaker and Darwyn Cooke’s Catwoman requires a significant preamble. Because Brubaker and Cooke crack Ebert’s problem. How do film noir and superheroes go together? Well, the superhero can’t be the hero. Batman shows up in this first issue of Catwoman for two reasons.

First, regardless of how progressive DC was being with a non-objectified characterization of Catwoman, they weren’t being so progressive they didn’t want to sell the comic. There’s an exceptionally tasteful, but sexy, suiting up sequence. Cooke can do that kind of thing, thanks to Brubaker selling Selina’s excitement. It’s believable.

That scene is so well-executed, one might just skip over it as a commercialist detail. But Batman is all commercial. You launch a spin-off of a Batman comic, Batman better guest star, especially in the early aughts, especially going from Chuck Dixon and Jim Balent to Ed Brubaker and Darwyn Cooke. You need Batman. And this issue delivers. A full-on Batman action sequence–it’s hard to remember when Brubaker’s mainstream writing was a DC staple, not how he brought the same thing to Marvel to better sales–then Batman shows up for character stuff.

And that character stuff is the second reason Batman shows up. He’s essential to Brubaker’s characterization of Selina. Selina has an informed but seemingly simplistic view of Batman; he’s her dark blue boy scout. It gives Selina better possession over the shared setting, she belongs.

Brubaker and Cooke visualize that setting as a noir. They start with the already noir-ish David Mazzuchelli Year One visuals then develop it, creating a Technicolor film noir. Brubaker’s script follows Selina–the comic’s narrator as well as protagonist–through her last few days of sabbatical. She doesn’t know it, but she’s going to get suited up again.

There’s a lot of noir framing in the flashbacks and so on. The narrative construction is special stuff. It’s meticulous. Meticulously written, then meticulously illustrated.

By the time the most noir element comes into the comic–in its last pages–Brubaker and Cooke have already delivered an awesome read. The way the last two pages and the soft cliffhanger? It’s the chocolate sprinkles on the frosting.

CREDITS

Anodyne, Part One of Four; writer, Ed Brubaker; penciller, Darwyn Cooke; inker, Mike Allred; colorist, Matt Hollingsworth; letterer, Sean Konot; editor, Nachie Castro and Matt Idelson; publisher, DC Comics.

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