Reviews del CatWoman #60
CATWOMAN #60 REVIEW
Reviewer: Terry Verticchio email@example.com
Quick Rating: Good
Title: It’s only a movie—Take 2
Film Freak gets ready for his close-up…Selina rescues the damsel in distress.
Writer: Will Pfeifer
Pencils: David Lopez
Inks: Alvaro Lopez
Colours: J. Cox
Letters: Jared K. Fletcher
Cover art: Adam Hughes
Associate Editor: Nachie Castro
Editor: Matt Idelson
Publisher: DC Comics
It’s not easy being Catwoman. Everyone in Gotham has a beef against her, the cops, the criminals and every other loon in between. But it’s even worse when you’re not the real Catwoman. It has to be said that Holly, Selina’s replacement is a bust; she just doesn’t have the knack for being a superhero. And so it’s up to the real Catwoman to save the day. Of course that also includes battling a thirty-foot genetically enhanced ape that was released by Film Freak from STAR labs.
This issue moves along smoothly enough. The dialogue is crisp and the various plot lines are fleshed out. I like F.F.’s commentary on the movie “Easy Rider”. As well, the way the cops know Holly isn’t the real Catwoman shows how much they respect her, despite their attempts to put her behind bars.
The art is good. I like the little touch of having the borders of the pages that F.F. is presented look like the edges of film. But I have to say that the fight scenes are a bit flat, the action just didn’t jump out at me.
Now that Holly has pretty much hung up her whip, I can’t help but wonder if Selina will return to being Catwoman full time again. She’d better, as they streets of Gotham just aren’t safe without her.
Saturday, October 21, 2006
Crises of Maternity: Brief Reviews of Catwoman #60 and Birds of Prey #99
It's been a rather exciting week, Gentle Reader. Fall Has Come to the South, and right now, it is in the low 60s. Mr. Reads and I did some last-minute shopping for our upcoming Halloween party next weekend. I made reservations for my January research trip in the UK, and we scraped together enough money for Mr. Reads to accompany me. Our Dear Friends delivered a healthy baby boy yesterday. Oh, and Mr. Reads and I got the chance to catch up on our pop cultures. Not only did I get to read The 52 ("don't forget the fifty-two!" - gratitude,– Legion), but I got to read Catwoman and Birds of Prey as well.
Both comics this month are, surprisingly, about Motherhood. Dinah leaves the Birds forever to be a mother to Sin, and Selina leaves Helena for the night to be the savior of Gotham. Dinah leaving the Birds I have no problem with. Of course, that doesn't mean I don't want Dinah in the Birds! Dinah and Babs *are* the Birds to me. While I adore Helena B., and am Quite the Huntress Fan, I tend to side on All Things Canary, All The Time. But it makes sense for Dinah to try something new, and I know, deep down inside, that she will be back. Dinah can't leave the Birds for long; she's entirely too important to be somewhere else, even the JLA.
But Selina, Selina, Selina! The entire One Year Later storyline has revolved around her new duties as a mother. She had Zatanna wipe minds to protect Helena. She has Wildcat guard... I mean, baby-sit for Helena. I'm sure Batman has a video camera or ten installed in and around Selina's home to keep an eye on Little Baby Cats. She has said, ad nauseam, that her number-one priority is Helena. She has made Holly her successor so she can raise her daughter. So why, why, why would she ever act so nonchalantly about her own life? She is a mother now, a fact that she has made clear again and again. Yet the second she puts on the Catsuit, all thoughts of her obligations and responsibilities fly out of the window?
She breaks into the police station. She frees Holly. Yay, Catwoman! Let us Applaud Her For It. Not only does she ensure the continuation of her legacy, she does A Solid for her friend, as well. They escape to the roof, and decide that they need a distraction. Enter stage right: the eight-thousand-pound gorilla in the room.
Film Freak frees a giant, rampaging gorilla. Selina sees Gotham's Finest turn their lasers not to "stun" but to "kill," and decides that she Must Protect The Innocent Of Gotham, no matter the species. She goes to help, but before she can, Holly stops her and asks, "And what if you get killed?" Selina responds, "Then I get killed. Go home, Holly. Back to my apartment. I'll be there soon. And call Karon. Let her know you're okay."
Of course this could simply be Selina Being Selina: arrogant, confident, assured, so very charming and fabulous. This is the Selina we have loved over the past several years. But see, she *hasn't* been very arrogant, confident, or assured since Helena was born. She has new responsibilities and concerns, which she reminds us of, every month. And this *new* Selina is just as charming, perhaps even more so. Her awkwardness, her insecurity, her post-baby belly that is undeniably sexy, how can we not love Selina-the-Supermom? Yet her first response to Holly's concern over her safety is "then I get killed"?
Now perhaps I'm overreacting, and I admit, Gentle Reader, that I have A Tendency To Overreact. Maybe it's because I read books for a living; I'm paid to overanalyze, to discuss, ad nauseam, the implications of tiny moments of dialogue such as this one. But reading these two books back to back, and reading them so soon after Sue Storm leaves her children with Reed, I can't help but see a larger argument about Maternity and Superheroes, whether implicit or explicit, being made here.
Dinah hangs up the tights for her daughter; she decides she can't be a good mother and a good superhero at the same time. Selina, however, puts the suit back on and seemingly forgets that she has larger obligations now. Sue Storm goes off to Fight The Good Fight, and she leaves her children with their father in an attempt to force them to interact. Three mothers, three radically different viewpoints, and, while none of them scream "Bad Motherhood," all of them suggest something Different.
Friends, *I* like Different. *I* think Different is what Makes Us Great. But in these three different interpretations of Motherhood-—-the single, adoptive mom, the divorcee (for all intents and purposes), and the single, working mom--—Different just skirts the realm of Social Not Good. *I* as a person may like different, but the *I* indoctrinated into social expectations--the *I* who is forever influenced by social judgment and stereotypes and genres--anguishes over Canary's decision to leave the Birds to raise her child, but judges Selina and Sue for leaving their children at home while they pursue their careers or ambitions. I guess I am suffering under That Greatest Of Feminist Quandaries: I want the job and I want to raise my children, too, and I want it for my female characters as well.
This issue has popped up again and again in my life, as more and more of my friends are having children *and* careers. Feminism gave us The Right To Choose: pregnancy, career, child, no child, child and career, no child and career, etc. Yet society sometimes judges women as Lesser Beings if they choose to stay home and raise the kids, the same as it sometimes judges women as Lesser Beings if they *don't* choose to stay home and raise the kids. Supermom or Superhero? Pick one or the other, Dinah, Selina, and Sue, because apparently, you can't have both.
There is no similar quandary for men, is there, Gentle Reader? I can't think of a Superdad or Superhero situation in comics, but that doesn't mean that it doesn't happen, over and over again. But Mr. Fantastic is allowed to go off and work and still have children, as is Batman (who actually takes his kids to work, every day!), Green Arrow (who didn't even know he had a kid for a good long while), and Power Man (who sent his kid off with Jessica to protect them). Please let me know if you can think of any such situations in normal continuity (not in the "now retired and having kids" world of, say, future Spider-Man and his web-slinging daughter Spider-Girl).
These three comics, while perhaps not overtly judgmental themselves, offer up Motherhood in the Superhero Community for public scrutiny. Dinah, Sue, and Selina are all of them available for judgment, acceptance, and yes, Friends, even scorn. Readers can judge them as fit or unfit mothers based on how they balance life and career.
After I struggled with this, with social indoctrination, with gender expectations drilled into me from the moment of birth (gratitude, Ms. Butler), I discovered that I did judge Selina, but not for leaving her child at home, and certainly not for putting on the Cat costume again. I like Selina as Catwoman; I like Holly, too, but Selina Is Catwoman for me. There can be no other. And Selina will put the costume on thousands of times between now and retirement, and I applaud every single one of those times.
But here's the thing: I found her nonchalant, laissez-faire attitude about the value of her life to be off-putting, even more off-putting than last issue's sex-with-Sam scene. More off-putting than the Sam-telling-Slam scene of this issue. Because it stings of the previous, near-suicidal incarnation of Selina that I thought we'd overcome. She fought, so long and so hard, to be who she is, to treasure her own life, to believe in herself and her self-conversion to The White Hats again. And in one sentence, all of that comes crashing down.
Perhaps it was meant as a sign of confidence, or perhaps a taste of nihilistic flair. Perhaps it was meant as all of those things and more. But I didn't read it that way. I read it as the Return Of The Repressed. I read it as The Taste Of Things To Come. And always, always the future smacks of the past, because no matter how far we shove it down, it always, always comes back.
posted by Amy Reads @ 11:17 AM
CATWOMAN #60: Similarly, what I like about this title currently is what's also driving me crazy--like many of my beloved Marvel titles in the '70s, this title appears to be so far under people's radar that it's free to do all kinds of quirky, crazy crap. But it's also unfocused, draggy and almost all about the villain who, while entertaining, is really, really one note. It's Eh , unfortunately, and I'm frustrated I'm not having as much fun reading it as the writer seems to be writing it.
Admittedly, I can’t make up my mind about Catwoman #60 . The script is certainly suspenseful, with the two questions of whether or not the GCPD detective will manage to nail Selena for the death of the Black Mask, and the question of who is Helena Kyle’s father (my money is still on Batman). However there are a lot of little details that are beginning to bug me. First off the inking this issue looked rushed to me, and I’m not sure I see the point of the subplot involving Slam & Son – unless Selena’s surprise move last issue is her way of distancing herself from Slam (God knows why – esp. if he is the father). Also, didn’t it seem as though Holly’s I.Q. dropped a few points between this issue and the last? She never was the brightest bulb in Gotham’s East End certainly, but she isn’t the near moron of her first appearance in Batman: Year One either. Finally, while Film Freak was interesting at first, he is beginning to wear out his welcome. I honestly hope Selena kills him next issue.
1. Catwoman #60
Unlike our esteemed thread starter, I know which side of the fence I'm standing on. This title continues to be one the better if not the best of the Bat universe titles. The storyline is so compelling and just a great pageturner. I'm loving what Will Pfeifer is doing to Selina and her supporting cast. The readers pretty much know who the father is to baby Helena, I'm more worried about what's going to happen to Selina now that the Film Freak (who is just so much fun to read!) really turned it 11 with the craziness factor. While I'm loving David Lopez's artwork on this, it seems on certain pages that the coloring, not the inking, hindered this issue. It seems very stagnant. How can you not love the opening page of this issue and get a good hearty laugh in your body?
Catwoman #60: This Issue: WILL PFEIFER GIVES YOU WHAT YOU WANT! Yes, last month's promise of Catwoman fighting a giant monkey on a rampage is fulfilled, and it reads like everyone involved is having an absolute blast with it. Even David Lopez's pencils--which I've enjoyed more and more every month since I first saw him back when Fallen Angel originally came out--seem looser and more energetic in this one, right down to Holly's lopsided grin when she's on the phone with Wildcat. What really clinches it, though, is the ending sequence, which is structured exactly like last month's , right down to the big last-page reveal, and while there's a feeling of repetition when it starts off, by the end it comes off as Pfeifer just using the same structure to raise the stakes one more time. Except this time, he's using one of my all-time favorites
Catwoman 60 - This isn't Catwoman. I really don't think it is. I'm probably even going to be dropping this book. Lopez's art is a huge part of why I've enjoyed this title, and a large part of the rating--I fell in love with Lopez on Fallen Angel, and he's one of my favorite artists. 2.5 stars.
Re: October 18, Rank the comics you read this week
Posted: Oct 21, 2006 11:43 PM
1.Catwoman #60 - 4.5 Stars - After revealing the father last issue, I swore never to buy an issue of Catwoman again. Nedless to say, a month later and I've folded like a beach umbrella, and I'm glad I did. Selina was in top form
Wednesday, October 11, 2006
But Seriously... Catwoman is a Great Read!
Newsarama just posted the first five pages of Catwoman #60 for preview. Incorrigible cover aside, I really find myself looking to this book every month. Writer Will Pfeifer and Artist David Lopez have created an exciting, eye-catching book that hits the mark.
The "One Year Later" premise of Selina Kyle becoming a mother and handing over the Catwoman reigns to her friend Holly is intriguing to say the least. Add the speculation as to who the father of darling baby Helena is, and there is a slew of mystery going on to top it off.
As a huge Silver Age Huntress fan, I love the fact that the Catwoman of continuity has had a baby girl and named her so aptly. I see it as a shout out of sorts to Huntress creators Paul Levitz and Joe Staton. It is absolutely too good to be true.
Above and beyond the Silver Age nod, I appreciate the high quality scripting done by Pfeifer. He has kept the momentum going started at the reboot of the Catwoman series. She is a much more gray character then I had thought possible, and the fact that one day she could turn back to a life of crime makes her edgier then most conventional DC females. Infinite Crisis brought out the deep secret that Zatanna had zapped her mind. Instead of leaving it at that, Selena brought Zatanna back to get some payback, and I loved that.
Artwise, I absolutely drool for Lopez' art. I loved it on Fallen Angel, and adore it here. Portraying Selena realistically after the birth of her baby was a nice change. Seeing her struggle with her weight and not be at her best fit the story well. Pfeifer and Lopez are a great synergistic team.
If you haven't been reading Catwoman, give it a try. Issue #60 features a jail break and a serial killer running amok. Excitement is sure to follow!
posted by Heidi Meeley @ 6:53 PM
At 8:44 PM ,Chris Laffoon said...
Now this I agree with. I've always liked Catwoman. I know, generally I don't like many DC comics but this is one I've never been able to put down. Someone help me or my Marvel bias award might be taken away.
At 11:26 AM ,Ragtime said...
I agree that Catwoman has been great. I was completely turned off, though, by the revelation of Helena's father. It seemed very rushed, out of place, and inexplicable.
I know it's only one minor point, but there was a lot of "build up" without a lot of follow through.
Still looking forward to #60, though.
At 6:19 PM ,Heidi Meeley said...
Chris, I think that we can definitely make an exception to the rule for Catwoman. She is an edgier character, whose next move is unpredictable. Having that whole "will she or won't she" vibe makes reading Catwoman pretty darn exciting!
One DC book does not unmake a Marvel fan to be sure!
At 6:20 PM ,Heidi Meeley said...
Ragtime- do you think that the revelation of Helena's father is done? I was really hoping that it was just a starting point, and that other fellas would come forward to make things more exciting (hint, hint Dark Knight!).
I agree that it is a letdown of sorts, so here is to crossing our fingers that there is more to it.
Issue #60 looks to be an action-packed one, so I am looking forward to it also.
At 8:53 PM ,Ragtime said...
There certainly COULD be more, I guess. I'm not expecting, and certainly am not going forward risking disappointment if there is not more.
One would assume that if Bruce were involved, he would providing the kid more protection than necessary to avoid third-stringer villains like Angle Man and the Film Freak.
At 9:30 PM ,Heidi Meeley said...
Ragtime- yeah, it probably is the dreamer in me that is hoping for more. I just hate being disapointed!!
You have a good point in that if Selena's child was also Bruce's, that he would have been watching much closer. Thank you for pointing that out.
atom t. kirk Newbie: joined: Sep 2006 Posts: 32
I love Catwoman.
Will's writing is top notch. Lopez's art is purrfect(sorry).
And the film freak is my kind of movie guy. Take away his homicidal tendencies and I could see him on TCM with Robert Osborne co-hosting the Essentials...
Which, come to think of it, is the purrfect (again, sorry) to describe this comic.
Unfortunately... it doesn't get a lot of love. Thank you DC for keeping this title going. Quality is appreciated by few.
Drink Neo Geoffan: joined: Aug 2006 Posts: 381
Love the book, it's turned out to be a surprise hit for me.
Some might not like the Film Freak, but I can't get enough. The last page was both awesome and chilling.
Icon Geoffan: joined: Jul 2005 Posts: 545
I love Catwoman.
Will's writing is top notch. Lopez's art is purrfect(sorry).
And the film freak is my kind of movie guy. Take away his homicidal tendencies and I could see him on TCM with Robert Osborne co-hosting the Essentials...
Which, come to think of it, is the purrfect (again, sorry) to describe this comic..
atom t. kirk
You do know there's a special corner of Hell reserved for people who use the term "purrfect" in relation to a Catwoman story don't you? One where you're used as a scratching post by large clawed demons for all eternity.
Piper Advanced Geoffan: joined: May 2005 Posts: 2,121
Some might not like the Film Freak, but I can't get enough. The last page was both awesome and chilling.
When he first showed up, I admit that I rolled my eyes, but Pfeifer has done a great job with his characterization.
Catwoman is usually a great read, but I have to admit I didn't find this issue as enjoyable as I would have expected. It's definitely still a good read, but something felt off. Thoughts...
SPOILER. Highlight below text to read
I loved the way Pfeifer had Catwoman make a movie reference given Film Freak's involvement in the story.
I was kind of disappointed that Holly wanted to leave the giant gorilla to get killed. Maybe it's the animal lover in me, but I really wanted her to convince Selina to rescue it.
Lopez's artwork is really back and forth. I love the way Holly looks when she answers her cell phone on the roof top, yet she looks really bad in the panel right after it.
Film Freak's scene with Slam was, no pun intended, "classic."
On the one hand I thought it was interesting that it was Karon, not either of the Catwomen, who realized that all of the weird things happening were from movies. On the other hand the revelation seemed to come out of nowhere. I would have rather it had taken Karon a minute or two to figure it out instead of instantly doing so.
"Love the bomb." Sweet.
Fletcher Hawke Geoffan: joined: May 2006 Posts: 629
I have to say, I think Film Freak may be one of the best new villains since Ra's (though obviously in a completely different vein). Really liking this run.
HushedRuin The Original Gangsta: joined: Oct 2005 Location: Reppin St. Louis to the fullest Posts: 2,413
Film Freak is one odd little dude. I dig him a little bit though. As far as villains are concerned, he's a good one. So far gone, yet not exactly 'bwahahaha'/trigger-happy...
I don't know... That whole "I'm gonna save the gorilla" scene... I took it as Selina using reverse psychology. "I can handle it Holly. You just go home." What I THOUGHT was gonna happen was Holly being all "Oh no you DON'T" and the two rescue the gorilla.
About a week ago, I found out Holly & Karon were... um... together. Good thing. Never would've seen that one coming (read the 'War Games' tie-ins and the pre-OYL arc). I just thought they were best friends...
It's been a pretty sweet ride so far. I'm enjoying it.
Adam Hughes, dissatisfied with drawing one Catwoman hanging out of her costume, goes for two this month! Still, that’s a nice cover. I just find it humorous.
Next month’s issue is “to be concluded,” and I hope Pfeifer sends the Film Freak somewhere and doesn’t use him for a while, because even though I think he’s nifty, I fear overuse of the character. This issue is quite good, as the GIANT GORILLA from last issue rampages through Gotham, but I have a feeling the filmic nods will get annoying after too long. The first page of the book is a clever homage to Kane’s death scene in Citizen Kane , and at the end, Edison has decided to skip from the 1930s to the 1960s and redo a scene from Dr. Strangelove (he’s crazy, so I’ll let you decide which one), but this schtick, like any other, can only last so long. Know when to fold ‘em, Mr. Pfeifer!
In the meantime, Selina breaks Holly out of police headquarters. It’s a fine rescue, as Selina thinks to herself what a fine time for a distraction this is, just as Edison unleashes the GIANT GORILLA on the cops. As they try to escape, Selina goes all “protector of the innocent” and decides she has to stop the GIANT GORILLA’s rampage before the cops kill it. The scene allows Pfeifer to get in some wonderful comic booky dialogue: Holly says, “What the hell is it?” and Selina calmly answers, “It’s a GIANT GORILLA, Holly. What does it look like?” Holly wonders where it came from, and Selina has a retort: “We live in a strange world, Holly. There are a lot of GIANT GORILLAs out there.” You know, despite the fact that the chances of you getting killed probably rise exponentially, I want to live in a comic book world! Selina saves the day, naturally, and heads for home, where her babysitter figures out that these events are all related to movies.
The subplot of the baby daddy continues a bit, as Slam shows up very drunk and Edison points out how clichéd he is, which is kind of funny. The baby thing is weirding me out, as several people have jumped Pfeifer’s shit because “Helena” (Selina’s kid) should have been Helena Wayne, who later became the Huntress. Jesus, people, get a grip. I think it’s neat that Pfeifer named the kid Helena as a nod to those long-ago, not-only-did-they-never-happen-but-back-then-they-weren’t-even-”real” stories. This kid has nothing to do with the old Earth-Whatever stories, and if it did, I would be seriously disappointed in Pfeifer. As for Sam (possibly) being the kid’s father, so what? Selina got busy with a friend one time and got pregnant. Isn’t that probable? The reaction has been weird, I think.
Anyway, another solid issue from Pfeifer and López. It’s a pleasure to read a nicely put together comic book like this.
KKGlinka ( kkglinka ) escribió en cat_scratches: @2006 -10 -19 20:20:00
Review: Catwoman #60
It was slightly better than the last issue, and certainly had a couple of good bits, but the read on the whole was lukewarm. The cover is pretty, as usual and an improvement over the solicited preview image. Much more dynamic, active pose, direct eye contact breaks the male gaze generated by the partial undress of both characters. Yeah, I liked the cover best. I guess I should open the book. Fun fact, nineteen pages of ads, twenty-two pages of story.
King Kong references I get, though I'm going from the most recent one not the original. It probably doesn't matter because the ending is the same: the gorilla dies. So clearly Selina must foil this plan, even if her motive must be shoe-horned (which it is). The gorilla fight was cute but I'm still doing a whiskey tango foxtrot over her motive. Since when did pragmatic Selina buy into superhero idealism? The one who has lectured other heroes about how naive, simplistic and unrealistic, their approach is? It was as if she found a little superhero instruction book and was fighting the gorilla because "this is what heroes do" which...
Oh, right. I guess there was another Prime!Punch in there somewhere that shifted her from the anti-hero who understands someone's gotta get blamed for doing the dirty work to little miss hero protecting the presumed innocent, batman-style. Never mind that gorilla was probably sedated for a good reason. Maybe it ate people, you know? I get Selina was trying to send a good message to Holly, and maybe work off some steam, but heck if that entire scene didn't come across as politically correct showboating. I guess now that she's a mommy she needs to be a good girl, with all the appropriate trappings and naive behaviors of a proper hero. For instance, you can break into places but only so long as you're rescuing someone. I think the super-heroic mentality is swamping out the last dribble of film noir in this title, despite the campy Film Freak insisting the opposite.
Which brings me to the most painful, tacky scene in the book: Film Freak confronting Slam Bradley and breaking the fourth wall to explain to us (dim-witted) readers what kind of pastiche he is. Please. One cliche calling another a cliche? Not exactly witty; clunky and awkward. I abhor when a writer feels compelled to use a character as a cipher to speak directly to the audience, like that. It's pretentious and guts his attempt to pry Film Freak out of his plot device status. As for a third act, I've yet to see Slam exit his first (being a sorry drunk). We get a Butler-Maid scene with Selina, Holly and Karon explaining the movie references for us and then back to Film Freak and his black and white movies.
Selina rescuing Holly? Now that was great. It was swift, competent, efficient and brutal where necessary. While it was very nice to see Selina handle the prison break with the casual aplomb she ought to have, the solicit for #63 indicates the obvious problem: the paper trail, chiefly, the signed confession. I recall past stories that involved jail-breaks in which Selina seemed well aware that the paper trail either needed to be destroyed or replaced by a facade. In fact, we were shown the latter method just recently, although I'm not sure why Selina was convinced it would be a resilient solution in this day and age. Back to the subject and why I can't be as pleased as I want.
Either Selina doesn't immediately remember this rudimentary aspect of prison breaks or it takes her several issues of failure attempting to eliminate the confession and related evidence surrounding Black Mask's murder. Putting aside that she should have dealt that that electronic paper trail last year - her complacency is mind-boggling - why can't she do it? Is there a good reason why she must turn to a "devil" and broker a deal that reveals vulnerability to a dangerous opponent? I guess we could assume it's Lex Luthor, but Selina should be smart enough to realize that giving him a foot in the door will have permanent consequences. Whatever future payment he demands in exchange will never be enough. I wouldn't find that scenario clever or interesting so much as just plain dumb. The solicit also indicates that this scheme will backfire in some way that will require Superman to rescue Selina from her foolhardy incompetence.
At the core, either Selina is complacent because she didn't kill Black Mask, hence Batman's cavalier attitude toward her, or she's complacent out of sheer short-sighted stupidity. Ie; she thought she got away with it and successfully hid from everyone forever and ever. In which case, she's delusional and that doesn't have me on the edge of my seat. Slam may not have known what was going on, but Lenahan proves the evidence existed even if the rest of the GCPD were content to ignore it.
It's not that I can't understand why Selina would turn to Lex (assuming it's him). If she's dropped the ball this badly, she would need a rich and powerful person to apply financial and political leverage against the GCPD; she would need to bribe her way out. She can't ask Bruce because he wouldn't protect Catwoman from a legitimate murder rap, whereas Lex would have a vested interest in blocking Bruce Wayne on a matter of principle. It's the whole careless and short-sighted thing that makes Selina look like a rank amateur that grates on my nerves. Hopefully, it won't be that bad. After all, solicits are almost always grossly misleading.
kevenn 2006-10-20 05:57 pm UTC (vínculo )
I agree, Selina brekaing out Holly was great. I felt like we really got Catwoman back. If only for a little bit. :)
Re: Catwoman #60
kkglinka 2006-10-20 09:37 pm UTC (vínculo )
Yeah, it was. There was this great, unspoken, "Dude, I'm not Batman. I wouldn't leave my friends to rot just because they didn't meet my standards." There's no condemnation from Selina toward Holly over this, which is right on. Also notice how much more Holly enjoyed watching Selina work than being Catwoman herself. It was nice seeing her active again, but the motivation felt forced, is all.
Written by: Will Pfeifer
Drawn by: David Lopez
Catwoman has been pretty good since the "On year later" thing that DC has going on. We have seen Selina Kyle is now the Mother of a baby girl. We have seen the mantle of Catwoman handed over to someone else. We have seen Slam Bradley devolved into a stumbling drunk. We have seen the villain Film Freak take a extreme interest in Catwoman's life, and lastly we have seen obsessive Detective Lenahan hot on the trail of Selina in hopes of bringing her to justice for what he believes is the murder of the Black Mask. All in all it's been a busy year for Ms. Kyle...
We left off with the New Catwoman captured and being interrogated by detective Lenahan. The detective is coming on strong trying to get Holly to crack and give up the real Catwoman so he can continue his obsessive mission to take Selina down. Selina gets word that her protégé has been apprehended and stuffs her new mom baby fat into the leather suit once again and infiltrates the Police Dept doing what she does best... Being sexy and sneaky.
Meanwhile Film Freak who was recently driven even more insane from a mind wipe courtesy of another foxy DC chica... Zatana, has infiltrated Star Labs and has stolen a giant ape to let loose on the city. (Hmmm what film could he be paying homage to here? I wonder)... The ape arrives in time to draw out almost all of the East end's law enforcement and thus giving Selina apt time to steal her protégé right out from under the cops noses. Of course in process Selina decides to save the giant ape from the cops and itself.
Like I said... Catwoman has been a good read since I started picking it up again. Selina doesn't have a very deep rogue's gallery compared to Batman and the Film Freak is teetering on kinda lame... I can see Selina beating the tar out of his next issue and ending this nonsense but for now this is what we get and it has been good. That couple with the dead sexy Adam Hughes covers and you really can't go wrong. Is Catwoman the best book out there right now? No... it's not, but it has been solid for a long time now...
Edison (aka the Film freak) sets a bomb to explode at STAR Labs, allowing him and a giant gorilla to escape into Gotham City. At police headquarters, Detective Lenahan is attempting to get Holly to reveal the identity of Catwoman. Before she can talk, Lenahan is pulled away to deal with a giant gorilla stalking the streets. In the meantime, the real Catwoman is able to break into the interrogation room and free Holly. Outside the prison, Selina sends Holly home and then takes care of the giant gorilla. Nearby, a very drunk Slam Bradley sees the ape and falls down. In his stupor he recalls a conversation he had with his son about his relationship with Catwoman. Later, at her home, Holly reads from the newspaper the recent rash of weird events, which Karon connects to the movies being referenced. Selina realizes it is the film freak. Elsewhere, the film freak uncovers a nuclear bomb.
This issue features a reference to one of the greatest movies of all time, a reference to one of the best satires of all time, and a giant ape creating Mayhem in Gotham. What about it is there not to like? With each passing issue I am loving this series more and more. Hell, the ending to this issue is exactly the same as the previous issue, except for a different movie being referenced. Otherwise, pretty much the same. Yet it did not bother me at all, for two reasons. One, the stakes are raised, the threat is different and much more deadlier. Two, movies ape (pun intended) each other all the time, stealing shots and lines, so seeing it here just adds another level to the zaniness that abounds.
I am not sure who said it, but it is someone out in the comics blogsphere but essentially this person suggested that because Catwoman sells poorly compared to other heroes (but well enough to stay in print), Pfeifer has been allowed to go wild and do what he wants without much interference. If that is the case (and it sounds logical) then I hope Pfeifer is given free rein for a long time. This is some good stuff he has got going (although I may be prejudiced because I love film so much).
One of the things I am finding interesting about this series is the general hatred aimed at Will Pfeifer and DC Comics for the storyline related to Selina’s baby. Essentially, Batman fans are pissed off that the baby’s father is not Bruce Wayne. It is almost as if there should be no other father but Bruce Wayne and if it isn’t, well, then DC should just go to hell. Not being a big Batman fan, I really don’t care on way or the other, but from what I can tell, there are a lot of bat-freaks who have dropped this title simply because Bruce Wayne ain’t the daddy. I actually find this amusing but at the same time terrifying; it is this type of reaction that gives nerds/geeks/whatever a bad name. It is like they have a picture in their head of their favorite characters and lord have mercy if the writers and creators deviate from that script. It is that kind of attitude that will cause disappoint more than joy.
I absolutely agree with the Film Freak on his assessment of Easy Rider . -- Review by MRB
a las 16:43:00