Back in November 1999, as I made my way across the United States for an ill-advised promotional tour for the now-defunct Psycomic.com, I met up with a number of comics pros in San Francisco at Comix Experience, and among them was Darick Robertson. He mentioned one of his forthcoming projects was a Batgirl/Catwoman project for DC. Here we are, more than three years later, and it's finally made its way to the printers. Fans of Robertson's work will not be disappointed, but those looking for a compelling plot might be. Still, there are some strong bit of characterization to be found in this cookie-cutter story.
Early in her career as a crimefighter, Batgirl happens upon the body of a dead girl, and the effect of the discovery on her sparks her into action. Her investigation leads her to uncover a series of similar deaths involving electrocution, the victims all young party girls from Gotham's underground night-club scene. Meanwhile, Catwoman sets out to pilfer stolen artwork from one of Gotham's most respected men, but she soon finds herself rushing to the rescue of another potential victim. It brings her face to face with Batgirl, and an uneasy partnership arises.
Robertson's art is the book's greatest strength. He captures Batgirl's awkward inexperience in the earlier scenes quite well, and he does the same for Catwoman's sly, seductive nature. The action scenes are often laid in a dynamic, off-kilter that really makes the visuals stand out as something other than typical super-hero fare. The over-the-top facial expressions are a Robertson trademark, and I was struck by how much they remind me of the work of Shawn (Sandman Presents: The Thessaliad) McManus.
Moore's script brings with it some strong characterization, notably for Batgirl. The bits of narration presented in her voice boast a genuine feel, and her attempts to connect with her adoptive father ring true as well. Mind you, Moore's take on the young Batgirl pales in comparison with what we're seeing in Batgirl: Year One, written by Scott Beatty and Chuck Dixon. I also enjoyed the murder victim's diary entries, as they paint a picture of her rapid descent from hope and optimism into despair.
Ultimately, though, the book is a victim of its more generic qualities. The villains of the piece are generally uninteresting, and I never really felt vested in any sort of retribution for them. Furthermore, the Kitten sidekick thing comes from out of nowhere, and Valerie's jealously -- and, I'm guessing, motives for being the antagonist in the next chapter of this story -- are unconvincing as well.
