Batman/Catwoman #8: Trimming the Tree

I have to admit that although the Intentionally obfuscating three-tiered narrative structure of this story is growing more than a little bit tiresome, I do love the exploration of the Batman/Catwoman/Joker trinity as a variety of romantic threesome. Rather than portraying Selina as an interloper in her own relationship, as someone who comes between (haha) the true romance of Joker and Batman, she is waltzing with them both in a manner that resembles something like love.

It’s frustrating that this story couldn’t pass the bare-minimum Bechdel Test if Tom King’s life depended on it (especially since this is ostensibly a story focused on Catwoman) but if you accept that the author just isn’t that interested in portraying one of the majority genders on this planet, it’s a fun read. Seriously though, why can’t this writer understand that it doesn’t matter how many female-identifying characters a book has — if those characters exist solely to further the story of a man? And that’s the major problem, here. This isn’t about Selina. This isn’t about future-Batwoman. It’s not about Andrea. The story centers around Batman and the repercussions of his failures. 

Selina is a sexy tool, garnished with a modicum of internal life (one which solely revolves around her man) who exists only to offer redemption for her dead lover.

And that sucks. Profoundly. Because this story could have been so much more.

Liam Sharp’s art is absolutely fantastic. His dark, expressionistic line work focuses on emotions rather than realism, and that’s absolutely perfect for the kind of story that King is telling. I particularly loved the expressions on the faces of the people who were only just realizing that they’ve become collateral damage. There’s a haunting, horrid beauty here that’s worth the cover price all on its own.