I’ve just read a good swath of the New 52 Catwoman, written by Ann Nocenti, drawn by Rafa Sandoval, Jordi Tarragona, Patrick Olliffe, and Tom Nguyen.
On the plus side: it’s very well drawn. I prefer the more minimalist line of Darwyn Cooke, but I can’t complain about the art (as I did with Hellblazer), especially Sandoval’s. Well, actually I can: I like the way the artists design the whole page, and yet they don’t make a pleasing whole in the way that J.H. Williams can do effortlessly, and they rarely offer the sense of wonder offered by John Cassaday. Plus it kind of bugs me that the artists think people can talk with their mouths closed.
Drawing Catwoman in particular is tricky. On one hand, she’s supposed to be sexy, and she dresses head to toe in black latex. On the other, she’s a badass heroine, so she shouldn’t look like a bondage model. Again, Cooke got the balance right, seemingly without effort. Your mileage may vary, but I’d say these books, in their choice of poses and camera angle, err a little too often on the side of senseless cheesecake. The shot above is a mild example: is that a pose a rational person would use to get within ten feet of the Joker? (Curiously, though, she keeps her suit zipped up these days, and she wears underwear beneath it.)
As for the stories— I dunno, they’re grim and ultraviolent (autocorrect wants me to say ultraviolet) without any concession to realism. Nocenti’s Catwoman is a little more immoral, more of a loner, than before the New 52. More like Batman, then, but that doesn’t feel like a good move for her— her greater empathy and real concern for the East End were solid pluses.
Gotham City requires a weird balance too. Batman grew out of noir, and his enemies are goth exaggerations of ’30s gangsters. I think Catwoman works best when she’s planning an elaborate heist, or confronting the gangs directly. E.g. there’s a pretty good arc where Penguin sends drone bombs after her, and she directs them back at him. It’s always fun to see Penguin going in a few seconds from arrogant to sniveling when his bodyguards are stripped away. There’s at least a little grounding in reality here— the book doesn’t have anything to say about gangsters, but at least they’re based on something real.
But Nocenti amps up the wackiness, and I think that doesn’t work so well. Joker plays some mind games with her… eh, that doesn’t make sense; he’s too much the anti-Batman; he was designed to illuminate Batman’s methods and thought processes, and can’t do the same with the Cat. There’s an extended sequence in the remarkably spacious and well-populated underground of Gotham City… it’s just fantasyland with fourth-tier supervillains. Then there’s a competition for Best Thief, which sounds like something from the ’60s Batman TV show. First, if there really were elite thieves, they’d find this sort of reality-show competition beneath them, or too high-profile to be worth it. Second… jeez, one whole issue is devoted to a Mad Max style race in the desert, it’s just goofy. And this arc is narrated in such a fractured way that it felt like pages were missing. (On the plus side, it had one nice idea: during the actual burglary competition, one team almost wins by stealing a bunch of gold; Catwoman wins by stealing a set of documents that’s worth more. A nice touch establishing her greater sophistication.)
Well, Big Comics has to fill dozens of titles every month, and it’s hard to have good ideas each time. But I wonder if grimdark isn’t a little played out. Gangsters and psychopaths are powerful narrative elements, but they don’t constitute an injection of realism any more— quite the opposite, Gotham City’s villains have just been banging around inside their own lurid bubble for eighty years. I don’t have any bright ideas on how to fix it, except to suggest that the most satisfying Catwoman stories tend to be those that downplay the supervillains entirely, and make use of her intelligence and social skills.