I often find myself in arguments about Catwoman: who played the best Selina Kyle in movies and who writes her the best in comics. I talk about her a lot. I mean, a lot. I’ve developed a really deep love for her as a character because she has never been easily pinned down or definable. She holds a special place for me because as a female character, she holds a lot of power for progressive and offensive representation and thought. She is not easily definable as good or bad, and this tension provides the room for her to become something more than just Batman’s love interest or Gotham’s ultimate femme fatale.
While I’ve felt this way about Catwoman in many different instances, Jeph Loeb and Tim Sale’s Catwoman: When In Rome really hits the nail on the head for me. It raises — whether intentionally or not — all these questions about Selina’s identity, but also the role of Catwoman as a feminist character in a world rife with problems when it comes to writing and representing women. Warning, I’m absolutely going to be spoiling the heck out of this run.
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