Catwoman

ED BRUBAKER / PAUL GULACY /DC

    Ever since I read his 1999 Vertigo mini series SCENE OF THE CRIME, I have been a huge fan of Ed Brubaker’s work.   Few writers are as adept at capturing the sordid characters, seamy underbelly, and moral ambiguities of street level crime, as well as the struggles of those cops, private eyes, and, in this case, costumed vigilantes who attempt to bring some sense of order and justice to a world that can both seduce and destroy.  While Catwoman has always been a fan favorite for obvious reasons, the great potential for pathos and conflict inherent in Selina Kyle has never been fully realized until now.  Brubaker is writing the definitive take on the character.  Determined to protect her Gotham neighborhood, the East End, from all manner of crime and corruption, Selina has curtailed her own criminal activity, while also acting as mentor to her young friend Holly.  Brubaker consistently reminds us that Catwoman springs from a criminal background, and that her methods and perspectives, while usually geared towards admirable ends, often dwell in a gray area that is unacceptable to the DCU’s more traditional costumed heroes.  She is always her own person, determined to maintain her sense of identity and personal prerogative, regardless of outside pressures.  Indeed, while CATWOMAN is considered to fall under the BATMAN family of titles, Selina is anything but one of Batman’s “family.”  Brubaker utilizes this character trait to finally give the Batman/Catwoman, Bruce Wayne/Selina Kyle relationship its’ due.  He delves deep into both her awe and resentment of Batman, as she persists in avoiding his shadow, while always acknowledging to herself that “Bruce” would’ve handled matters differently.  Furthermore, while Catwoman often spurns Batman’s offers of assistance, or accepts them only grudgingly, Selina Kyle yearns for Bruce Wayne to come out from under the cowl and fully let her into his life.  Brubaker also explores Bruce Wayne’s conflicted feelings for Selina to a greater degree than perhaps any writer before him.  Batman is often a remote presence in the East End, remaining on the fringes, but always maintaining a watchful eye, and poised to offer assistance.   Inevitably, he becomes aware of the other highlight of the series, Selina’s conflicted, emotionally needy relationship with private eye Slam Bradley, a classic, hard boiled private eye (Gulacy gives Bradley the facial features of Robert Mitchum!).  Batman’s subsequent fist fight with Bradley in issue #22, and Bruce Wayne’s emotional thawing during a date with Selina in issue #32 are benchmark moments exemplary of the work of a writer at the peak of his powers.  Ed Brubaker’s run on CATWOMAN is pulling off that toughest of challenges:  taking risks with iconic characters by furthering their development, rather than relying on ho-hum, retread plot devices.

    It should also be noted that CATWOMAN’s elite status on the racks is equally due to its’ superb line-up of artists.  From the gritty, animated style of Darwyn Cooke to the film noir atmospherics of Cameron Stewart to the stylish, Steranko-like lines and cinematic pacing of Paul Gulacy (of Master of Kung Fu fame; few pencilers render hand-to-hand combat scenes better), CATWOMAN is home to masters of their craft who put the story first.

    Ed Brubaker's run ran from issue 1 to 37, and is being reprinted in trades.