Catwoman has left Batman at the rooftop altar and moved to another city where Catwomen impostors are committing crimes and framing Selina Kyle. Can Kyle clear her name?
If you read Batman #50-51 at the same time as this issue, you will feel that that Joëlle Jones’s script is not as strong as Tom King’s work. This is not a problem as the story puts Catwoman in a new setting and gives her a new villainess and problems to deal with. The relationship with Batman is barely mentioned. As a first issues, it feels more like a spinoff, which it is, instead than a spectacular return to Catwoman. Hence, unlike the previous series, this one feels less like it is capable of standing on its own or even has its own genre. There is no crime noir here.
Jones is an illustrator extraordinaire for Catwoman. I like her depiction of many characters. Jones uses a lot of inks which defines her individual style. The colouring is mostly flat colours with grey tint making Jones’s work seem like it’s happening in a rainy environment. Catwoman’s gestures and body language are gracious. She is very sexy and attractive.
I am a bit disappointed that Jones’s Catwoman, being created by a unique cartoonist is not more profound but then again, she is jumping in just after Tom King’s Batman run.