Batman Inc #4

Grant Morrison seems to be a writer who divides fans down the middle; there's those who think he's a stone cold genius, and can only admire his complex creations with open mouths - and then there's those who read his work with knitted brows and cries of "No seriously, what the fuck is going on." A certain amount of Morrison's charm comes from his belief that everything that's ever been written in comics is canon, but at the same time, his work can be so heavily referential that it is impossible for anyone who isn't Grant Morrison to parse. His characterisation ranges from the brilliant to the bizarre. His writing is intricate, but often ultimately confusing. He is, essentially, an acquired taste.

With all this in mind, I picked up the latest instalment of Batman, Inc. with some trepidation. I knew going in that Morrison was not only going to be using fan favourite Kate Kane - the current Batwoman - in this issue, but also retelling the story of Kathy Kane, the original Batwoman, whose existence was erased Post-Crisis. I needn't have worried - the story showcases Morrison's talent in the very best way.

Kathy's new origins stay somewhat true to her Silver Age counterpart. She becomes Batwoman to help fight crime; she has her own sidekick, Bat-Girl; she has a romantic relationship with Batman. However, Morrison has as always given her rather more complicated motivations, and allowed her to be more than just another love-interest for Bruce. She has a fierce independence, and has faced a lot of personal tragedy - there are more than a few parallels with her male counterpart, and yet despite the names and the history, it never feels as though either of them are encroaching on the other's identity.

Kate Kane is also well developed, with characterisation clearly drawn from Rucka's recent Detective Comics run. It is certainly a relief to see her kicking arse and taking names here, as her own title is yet again delayed 'til date unknown. Kate finds herself chasing an unknown villain through the very same circus once owned by Kathy, and as we find out more of Kathy's story, it's obvious to the reader - and to Kate - that this is more than mere coincidence.

Chris Burnham's art is satisfying, if not brilliant. Where he really shines in this issue is in the flashbacks to Kathy's time as Batwoman, where the style manages to catch the Silver Age feel without being cheap or cheesy. He also captures the power of his female heroes, without resorting to t&a or dressing them in clothes that don't suit their personalities.

Are we going to see the return of Kathy Kane? It seems unlikely. What will we see, hopefully, is Kathy finally assume her rightful place in Bathistory - not as a joke or a footnote, but as a strong, capable woman, the forerunner of Babs, Cass, Kate and Steph. Kathy Kane should be remembered as the woman who dared to be Bat.