3 out of 5

Hrgrumble.  It took me a while to come around and admit that this series didn’t do anything for me, maybe because it seemed right, and shaboom, it was popular y’know, so.  Sure.

But while Brubes and Darwyn Cooke and Cameron Stewart seem like an ideal combo for a fast and punchy pulpy crime caper book, that’s not what Catwoman is about at all.  It’s not a Thomas Crown Affair series of fun thieverins, it’s a lady avenger book, and while Ed does a good job of digging into a character’s history to bring out some rewards for longtime readers, Selina Kyle just really isn’t – really hasn’t ever been – a defined enough character to properly work for this vigilante stuff.  I like her as the pseudo-lesbian protector of the lower class, giving her The East End as a little protectorate, but it’s like the series can’t settle on a vibe.  The first four issues that catapulted the series into public approval are totally animated series style cartoonish villains and big action.  The story doesn’t make too much sense, and Catwoman is sort of exchangeable for anyone.  It’s not a great story, but it’s fun and moves quick, and the revamp on Catwoman’s style (more leather, more sass) gives the whole thing a slicker flavor.  But this flavor is already problematic, as Brubaker whittled his way into Ms. Kyle’s life by rescuing Slam Bradley, an aging hard-as-nails P.I., from the DC vaults (no idea if his personality was always as written) for Detective Comics backups which… well, I dunno, the story again is somewhat non-sensical, but Bradley is hired to find Selina Kyle, and this is our reintroduction to Catwoman (after her comic book death and re-life).  These shorts are total pulp-lite, swearing and sex turned down but all the criminals and backroom deals and beatings we can deal with within a few short pages… so then suddenly the cat is back and battling sci-fi clayfaceish chuckleheads?  What?  From here on out, the series alternates between Selina as serious avenger and Selina as Selina, making both sides of the character flimsy – death death death and then let’s steal diamonds!  Yaaay!

It doesn’t help when Stewart leaves the book and is replaced by Pulido, who’s Howard Porter-esque blown-out proportions further complicate what feelings we’re supposed to get from the story and character.

I know I’m bashing it, but only because the book is still enjoyable, it just never can settle into a groove.  It works in fits and spurts.  It gets distracted by stupid DC crossovers.  The depressed, put-upon protector worked much better for Brubaker in Daredevil (though that was still too heavy feeling for a costumed hero, it was at least consistent…) and, man, I hate saying this, but I’ve yet to see Ed really knock a funny book outta the park, so the lighter take on Catwoman doesn’t really stick either.  From afar, from the covers, this seems like a good match.  Your crime guy, some pulpy artists, a thief who straddles the line between hero and villain… and then you pretty much write it like a straight hero book with some minor deviations.  The moments where it works are great!  …But they are too far apart and inconsistent to make this required reading.