Retro reviews offer a unique lens through which to examine the evolution of comic book artistry and storytelling. When we delve into the annals of DC Comics, few issues hold as much historical weight as Batman #1 from 1940. This landmark comic isn’t just significant for being the first standalone Batman title; it also marks the debut of a character who would become one of the most iconic and complex figures in the Batman universe – the enigmatic femme fatale initially known as “The Cat,” a precursor to Catwoman, and a key figure in the early “Cat Batman” narratives. However, revisiting this issue through a modern lens reveals a stark contrast between the character’s initial portrayal and the sophisticated anti-heroine we know and love today. While Batman #1 is a crucial piece of comic book history, its depiction of “The Cat” leaves much to be desired, highlighting the vast changes in storytelling and character development over the decades.
The narrative of “The Cat” unfolds around a high-society yacht party where a cunning thief, known only as “The Cat,” makes off with Mrs. Danvers’ prized emerald necklace. Dick Grayson, operating undercover on Batman’s behalf while the Caped Crusader handles another case, is present at the party, tasked with uncovering the culprit. As Dick investigates, focusing on a shifty nephew and a gambling-addicted doctor, a separate group of robbers boards the yacht, also seeking the necklace, only to find it already gone. Batman swiftly arrives, apprehends these secondary criminals, and then sets a trap to expose “The Cat,” who has cleverly disguised herself as an elderly, frail woman. In the ensuing confrontation, Batman and Robin capture “The Cat.” In a bizarre turn of events, she attempts to seduce Batman into a criminal partnership. However, Batman’s response is lackluster; he apprehends her only to inexplicably allow her escape on the way to the police, concluding a storyline riddled with inconsistencies and questionable character motivations.
Image alt text: The Cat unmasked as a young woman in Batman #1 (1940), a pivotal moment in early cat batman stories.
Bill Finger’s writing in “The Cat” suffers from a profound lack of narrative drive and tension. Despite the premise of a jewel heist, the story feels remarkably low-stakes. Unlike the Joker’s chaotic and life-threatening schemes featured in the same issue, “The Cat’s” robbery is devoid of genuine peril. Even the arrival of the additional robbers is depicted as a rather tame affair, with their secondary theft occurring without any significant conflict or danger. The only character placed in harm’s way is Robin, and this is directly orchestrated by Batman himself. Despite being entrusted with a solo mission, Robin competently subdues the fleeing robbers. Yet, upon Batman’s arrival, he inexplicably forces Robin to re-engage these already apprehended criminals, creating an unsettling and illogical scenario. This bizarre “human cock-fighting scenario,” as the original review aptly describes it, serves no clear narrative purpose and only adds to the story’s disjointed feel.
Image alt text: Batman instructing Robin to fight apprehended criminals in Batman #1, showcasing early and questionable cat batman and robin dynamics.
Further undermining Batman’s character is his baffling behavior during “The Cat’s” escape. The story attempts to attribute Batman’s lapse in judgment to “The Cat’s” alluring charm. However, this supposed seduction is rushed and unconvincing, unfolding in mere panels. This hurried portrayal makes Batman appear either incompetent or, worse, complicit in aiding a criminal’s escape. Unlike later interpretations where a complex, romantic history exists between Batman and Catwoman, justifying a degree of leniency, this initial encounter offers no such foundation. This unearned complicity severely damages Batman’s credibility, both as a formidable crime fighter and as a figure of moral authority in these early “cat batman” comics.
The problematic portrayal of Batman is further compounded by the deeply embedded misogyny evident in his dialogue concerning “The Cat.” While some might excuse lines referencing her physical attributes as products of the 1940s societal context, one particular panel stands out as unequivocally offensive. After apprehending “The Cat,” Batman, as she struggles against him, utters the appalling line, “Quiet or papa spank!”
Image alt text: Batman’s offensive “papa spank” line to The Cat in Batman #1, highlighting the problematic early cat batman interactions.
This phrase, even when considered within the historical context of 1940s comics, is jarringly inappropriate. It transcends casual sexism and descends into aggressive misogyny. It’s dismissive, disrespectful, sexually suggestive, and overtly threatening. This single line casts a dark shadow over Batman’s characterization in this early “cat batman” story, revealing a disturbing undercurrent of chauvinism. While the Golden Age Batman was known for his lethal methods, as seen in Detective Comics #33/34, this verbal aggression is arguably more unsettling in its implications about the character’s attitude towards women.
However, the shortcomings of Batman’s portrayal pale in comparison to the abysmal characterization of “The Cat” herself. To consider this initial depiction as the genesis of the iconic Catwoman is almost inconceivable. Selina Kyle, Catwoman, has evolved into one of the most compelling female figures in comic book history, rivaling Wonder Woman and Lois Lane in her enduring appeal and cultural impact. Her strength lies in her independent agency, her moral ambiguity, and her complex relationship with Batman. She embodies a unique sense of freedom – physical, moral, and sexual – rarely afforded to female characters of her era. This multifaceted nature is precisely what makes her such a captivating foil and, at times, romantic interest for Batman. The modern Catwoman is strong, independent, morally gray, and in control of her own destiny, a stark contrast to her debut.
Image alt text: The Cat attempting to seduce Batman in Batman #1, an early example of the cat batman dynamic, yet lacking the complexity of later portrayals.
None of these defining traits are present in “The Cat” of Batman #1. She lacks any discernible agency; she is not even granted a real name. She is reduced to a stereotypical “pretty face,” and even Bob Kane’s artwork, while competent, cannot compensate for Finger’s superficial characterization. She is consistently reliant on male characters – to facilitate her entry onto the yacht, to access the target room, and to orchestrate her escape from custody. The only redeeming aspect is the absence of her real name and signature catsuit and whip, allowing for a sliver of hope that this character is not truly intended to be the Selina Kyle of future, richer narratives. This initial “cat batman” encounter fails to capture the essence of the dynamic that would later define their relationship.
In conclusion, “The Cat” in Batman #1 is a deeply flawed story. Within a comic titled Batman and featuring a story named “The Cat,” Robin emerges as the most relatable and well-developed character, almost serving as a stand-in for the discerning reader. He observes the hollow characterizations of Batman and “The Cat” and the nonsensical plot with a sense of bewildered detachment that mirrors a modern reader’s likely reaction. Sandwiched between the iconic first and second appearances of the Joker, “The Cat” is an inexplicable misstep. It offers neither engaging entertainment nor significant contributions to the Batman mythology, save for the tenuous introduction of a character who would later evolve into someone far more compelling. If you happen to possess Batman #1, “The Cat” is a story best left unread, a relic of a bygone era best appreciated for its historical context rather than its narrative merit in the ongoing saga of “cat batman” and the burgeoning Batman universe.
Batman #1 is available for digital download on the DC Comics website.
