There are two different types of comic writers. The first attempts nothing more than to tell good stories month after month by understanding the characters, the world they inhabit, and working within that framework. The second attempts to deconstruct the existing reality of a hero in an attempt to create a definitive version. Grant Morrison is the later. And that’s why he so often pisses me off.
This comic has at least three separate stories going on (actually more, counting the multiple flashbacks of Kathy Kane) and is presented in the twisted half-assed teasing manner Grant Morisson thinks makes great storytelling, but, at least for me comes off as a fanboy who has seen Momento way, way too many times.
The story involves Batwoman, flashbacks to the early (and late) days of the original Batwoman, Batman caught in a death trap, and a villain who is somehow connected to it all. Oblique storytelling isn’t terrific in and of itself. If it were Grant Morrison might be the best author of all time.
Like most of Morrison’s tales, he gives us only enough of the story to make it harder than necessary to follow before an anti-climactic finale. That’s not to say their aren’t good moments. The flashbacks of Robin’s griping about Batwoman are fun, as are the different art styles focused on the various periods on display.
Had this story been told the way a normal human being might tell it, this might be fairly enjoyable. Sadly, Morisson’s reluctance to let the plot stand alone and instead rely on cheap theatrics and convoluted storytelling works against him here. But then again, Grant Morrison really pisses me off. Those who like his increasingly maddening style of writing may find more here than I did. Hit-and-Miss.