Catwoman has walked into a room full of women dressed like her. They immediately show themselves not to be friendly, so Selina must fight her way out of this one. After the brawl, Selina interrogates one of the false Catwomen and gets a lead. Meanwhile, Creel punishes the false Catwoman that killed the police officers. Later, Selina continues to have trouble sleeping and decides to bulk up on her arsenal.
Catwoman #2 opens with a gorgeously-crafted fight scene between Selina and those false Catwomen. Joelle Jones makes Selina’s fighting look elegant and graceful in a way few artists could accomplish.
After that, the book turns back to plot-building, and this is where some problems begin to arise. We’re into our second issue, and we know very little about the antagonists despite spending about half of each issue with them. Hell, I’m kind of going out on a limb in guessing that the lead antagonist’s name is Creel. I mean, the comic all-but says it, but it wasn’t explicitly stated.
The comic comes to life again when dealing with Selina’s emotional state. We’re seeing a character who thrives on her ability to guard her emotions dealing with devastating heartbreak, and it’s hard not to feel for her.
I still think the explanation from Batman #50 is still a bit bull, but I can compartmentalize that when talking about this comic.
Jones’ artwork is probably the highlight of the comic. Her work is a mixture of grit and beauty. The world looks harsh, but it has an elegance in its design that makes it almost serene. Catwoman moves with a grace few can match. Laura Allred puts together a blue and gray color palette that adds to this feeling of cold beauty.
Catwoman #2 is a decent read. The opening fight and the quieter moments with Selina gel with ease, but the plot and villain are too vague and nondescript to be interesting yet. Hopefully that will change with subsequent issues. That said, the art is so good that I can still recommend this one. Feel free to check it out.
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