“High Noon in Alleytown”
Artist: Fernando Blanco
Color Artist: Fco Plascencia
Letterer: Tom Napolitano
Review by Adam Ray
It should have been apparently obvious in the last issue, but in a place called Alleytown, which is full of hardened criminals, no one can be trusted. Last time we saw an allegiance struck, only to have the rug pulled out under Catwoman. It’s a good thing cats always land on their feet, because seeing a trick like that left her prepared. Catwoman #28 gives the satisfying answer to the question “can we live to talk about double crossing Catwoman?”
Wonderful, layered crime thriller tropes are just about everywhere in this issue. We get the witty responses of the questionable cops, alongside Catwoman’s acrobatics and stern delivery of her own justice. The claws are truly out.
We also get two different looks at comic book action in Catwoman #28, as Fernando Blanco sets the speed of Catwoman’s graceful flips over shipping containers so well. I’m personally a sucker for a double page spread. Then we’re given the claustrophobic, tight panels of the kids back in Alleytown, where we get a feel for the close quarters fighting in a tenement building. That sequence somewhat reminds me of the SWAT raid from the infamous Batman: Year One and it’s a great way to show off the forward planning Catwoman needed for her people to resist the raid, and all the tricks that she learned from Batman. We’re dealing with creative masters if they can show off a connection like that just by making their action so tight.
Conclusion
My two favourite characters in the arc meet face to face in the dramatic conclusion of this issue. Cryptic threats meet the strongest, cat-like indifference. It’s so true to their forms and it puts an unexpected dynamic in the mix, making me all the more eager to read on.
Images Courtesy of DC Entertainment