arkham sirens: selina kyle (catwoman)
Warning: Spoilers for the entirety of the Arkham franchise
”You stick with the brooding. I’ll handle the wisecracks.”
The last member of the Gotham Sirens has not appeared in as many titles as her sisters-in-crime, but her role has been one of the most prominent, and publicized, due to her appearance as the primary playable female protagonist in the franchise. Starting with Arkham City Selina Kyle aka the Catwoman has become an important- and much discussed- member of the cast. Her inclusion was one of the catalysts for the discussion on how the women in the Arkham franchise are portrayed among the gaming media circuit.
Though we haven’t discussed the handheld title Blackgate, primarily due to my own lack of experience with the game, we must mention it here as it is Catwoman’s first chronological appearance in the franchise. As an added twist, this is the only title where the Joker does not act as the Big Bad. Instead, Catwoman is actually the primary antagonist in a surprising move.
The original claim to fame for the seductive antihero comes in City where she is the protagonist of her own DLC side-story (played in four ‘episodes’) that occur congruent with the main plot. Prerelease material focused heavily on the ability to play as Catwoman in her own scenario, and a majority of the promotional images featured Catwoman with Batman in situations that hinted at their mutual attraction, and their oft-times antagonistic relationship.
When compared to the redesigns for Harley and Ivy, Selina looks mostly identical to her modern comic counterpart. She wears a leather catsuit, goggles, and has a zipper on the front of the suit. The zipper is pulled down to show off Selina’s ample breasts, which is something she’s done before in the comics, but it comes off as ridiculous when the city is blanketed with snow and the (completely bundled up ) mooks won’t stop complaining about how cold they are.
Thus our first point of contention.
Some have made the argument that Catwoman exposes her body to distract her (99.9%) male foes. It’s a practice not completely unheard of, nor without merit (the traditional idea of the kunoichi plays with it) but when it comes to the weather conditions that plague Arkham City the justification becomes far too weak. The advantage she would receive from a distracted foe wouldn’t do her that much if she froze to death, or got frostbite on her chest. The pros and cons don’t match, and it can take the player out of the gameworld when they take a breather from scaling the buildings of Gotham only for the camera to pan across Selina’s chest while snow flurries around her.
Perhaps the most controversial element, even over Selina’s newfound imperviousness to cold, is the mook chatter the player hears when controlling her. There’s a notable difference to how the thugs roaming the streets refer to our protagonists: When playing at Batman the thugs react with fear, panic, and aggressive declarations of violence. Their insults usually give way to cries of mercy, and most of their dialogue refers to being intimidated by Batman’s strength, or his exploits.
The thugs express some fear when playing at Catwoman too…just notably less. They retain their violent proclamations which have the charm of being paired with frequent references to sexual violence. There are a lot of cat related sex puns made as the thugs try to frighten her with the insinuation that if they beat her she may face rape at their hands. And there are a lotof uses of the word ‘bitch’. If Catwoman isn’t being referred to by name then it’s definitely going to be by the moniker ‘bitch’, and she is referred to by name far far less.
The justification offered for such behavior is all in the context. The thugs don’t possess the mental capacity to think up anything other than gendered epithets and threats of sexual violence. In their small minds it is the most efficient way to ascertain power over their foe.
The difference between the treatment of Batman and Catwoman is both plot, and also a truth in fiction. When people look at Batman’s physical stature they see ‘strength’. His muscular body is intimidating, his costume strikes fear into the hearts of criminals, and his reputation as the Dark Knight precedes his every encounter.
Catwoman’s muscular body is sexualized. It’s something to want not fear Her appearance is smaller and more fragile than her male counterpart. Her infamy as a jewel thief does less to strike fear into the hearts of criminals- she’s a criminal herself!
In the real world it’s a fact that there is an element to the sociology of male pride where many men are unable to view women as equal. Even a physically unfit man may be under the impression he could outperform and overpower a female Olympic gymnast, no matter how incorrect he may be. Society as a whole teaches that men are physically strong, while women are physically weak. Men are hunters, providers, and warriors while women are caregivers, healers, and damsels. This mindset is why so many people look at female characters with such a critical eye, and why we find it disheartening to have a woman reduced to “breasts with a reliance on men” compared to a ‘weak’ male character (and very few people discuss ‘weak male characters’ which is mostly a non-entity whereas ‘strong female characters’ is a common topic of discussion)
But the question remains: just because the behavior perpetrated by these mooks towards Catwoman can be justified with both world-context within the story, and the context of the real world, does it mean it is acceptable to use in the game- and furthermore- are the people who become upset over its usage being overly sensitive?
No.
In our look at Harley Quinn’s portrayal we discussed how a majority of Harley’s stories involve both physical and mental abuse, and how the usage of such elements in a story does not make the story misogynistic just by existing. Just because a bad thing happens to a female character (extending all the way out to what the media often deems ‘acceptable female tragedies’ such as faulty pregnancy and sexual violence) it does not mean the character is weak, nor does it mean the writer is untalented and only able to rely on stock tropes. If implemented well such terrible events can be used to cause a change in the character, give her agency, or drive her plot. It could be used to say something about her, the story, or even the world at large. It could have meaning, or on the opposite end of the spectrum could represent how meaningless events can be in life. It can give her purpose or empowerment- something that can be then felt vicariously through the audience.
When done poorly the tragedy is used to belittle or demean the female character for no clear goal (and a thematic show of meaninglessness can be a story telling goal, ironically enough), or worse yet to further a male character’s story. It can be used as a cheap thrill or scare, with the hope of instilling fear in female viewers while making the males in audience want to protect the object of the threat. It does not empower. It lacks a point.
While the example of the Thugs vs. Catwoman is not as extreme an example it does feel problematic. It’s almost mean-spirited, and though contextually it works, it would work a lot better if used more sparingly. A thug calling Catwoman a ‘bitch’ isn’t a surprise. If anything, it may be expected (see again the male perception of female power), but from a player standpoint it falls flat. When we play Batman we get to feel powerful. He is masculine power fantasy; the perfect combination of brawn, intelligence and badassery.
Playing as Catwoman feels different. Sure, she is a great combatant, fun to play, and she can kick tail and take names just as competently as Batman. But the way she is treated takes away the aspect of the power-fantasy and reminds the women in the audience who wanted the same affirming, powerful experience the male players received, that even in this fictional realm they are potential victims of gender belittlement and rape threats.
Out of the gameplay, Catwoman’s storyline in City is handled better. While the length of the DLC is somewhat short, it is both enjoyable and necessary to understand the plot to its full extent. Catwoman’s first episode sets the scene for one of the very first missions Batman undertakes, and involves her becoming captured by Two-Face after trying to steal a rare valuable from him.
Her first appearance in the prime storyline has her suspended over a vat of acid and at the mercy of Two-Face. As unimpressive as her instant damseling is, there is a karmic reasoning behind it as seen later. After her rescue she and Batman part ways so she can steal some things from Hugo Strange’s vault, while making his life a little more miserable in the process. She encounters Poison Ivy and is momentarily ‘captured’, but quickly frees herself. The two have one of the longest conversations between two women in the franchise, and it is decided that Selina will commandeer Ivy’s coveted plant while she is in the vault in return for her aid.
She manages to get her things (while also destroying Ivy’s plant- let it not be said she is not vindictive!) and is faced with a dilemma: Batman has been crushed beneath some rubble and is unable to rescue himself. If he doesn’t escape there will be no one to stop Protocol 10 and thousands will die. If she goes to him then she will leave herself a target for Strange and his TYGER guards, and have a much more difficult time escaping the compound. If she leaves him then he will likely die along with Gotham’s refuse, and Strange will be able to exert his influence into the city at large.
The player is given the option of which course to undertake. Giving in to Selina’s self-interest leads to a nonstandard game over, while choosing the more altruistic path continues the plot as it is intended. Catwoman comes to Batman’s aid, and thanks to her, he is able to continue his mission and save the city.
Her final ‘episode’ takes place right after she leaves Batman to do his thing, and makes the decision to return to her apartment to collect some of her possessions before she leaves the city. Unfortunately her apartment is rigged with explosives and she is badly injured. Without a chance to recover she must fight off some thugs and then hunt through the city for her personal effects.
Despite the marketing of the game, the relationship between Batman and Catwoman is mildly flirtatious but lacks any substance. The expected role of love interest goes to Talia, while Selina’s plot hinges solely on her own agency. Every decision is hers to make, and even taking into account the problematic display of cleavage and questionable mook interactions, Selina’s plot is a great example of a independent storyline, as she is reliant on her own ability.
What of the damseling in the beginning of the game? Well, as mentioned before, there is a karmic factor involved. It is true that Selina must be rescued in an eye-rolling mission that leaves her fate in in the hands of Two-Face and Batman, but the situation is reversed when it is Catwoman who must rescue Batman towards the end of the story. This is a karmic use of the hostage trope, and allows the tables to turn so that it is Catwoman whom gets the chance to save Batman in return for his rescue of her. The act reaffirms her competency and makes the earlier situation where she relies on him much more palpable.
In Knight Selina’s design is changed less than that of the other women, though her proportions are notably far more realistic (while still very generous). Some fans were upset at the downsizing of her chest- a ridiculous notion considering she is the definition of stacked- and her facial structure was changed a little to make her appear more realistic as well (and was notably modeled after her lovely voice actress Grey DeLise).
She appears during the Riddler’s Most Wanted Mission where she has been captured by the Riddler and outfitted with an exploding collar that- if Batman refuses to play the Riddler’s game- will detonate. The frustration of Catwoman’s return to the damsel situation is played up in-universe with her own agitation over her predicament. Clearly she resents being confined to the orphanage at the mercy of a madman, and the situation is referenced a number of times- primarily by Selina herself.
As discussed in Oracle’s post, nearly all of Batman’s allies are placed in a hostage situation at some point (Oracle, Nightwing, Catwoman, Robin, Gordon, Ivy to a degree) though it does little to assuage the knee-jerk reaction at seeing nearly every female character in Knight placed in peril. Catwoman’s predicament is especially egregious as 95% of her screentime is spent as the Riddler’s captive.
There is a subtextual reason that can, depending on your mileage, may serve as ample justification. Knight is all about exploiting the fears of the heroes in a bid to destroy them. The game focuses on Batman’s fears (losing those close to him once again, powerlessness to cause change, losing the city, losing to the Joker, becoming a monster), as well as those of Oracle (helplessness due to her handicap), Robin (betrayal of Batman, inability to protect those close to him), Gordon (loss of his city, loss of his daughter, betrayed by Batman) as well as others.
Though not outright stated, if the audience looks for their context clues (or have familiarity with the comics incarnation) then we see Catwoman also is forced to face her fear- being trapped in a world where she is reliant on Batman to save her over and over again. The sudden loss of her agency is jarring when compared to her (mostly) independent portrayal in City. Arguably this was the point. She has been forcefully placed into a role that robs her of power, one that is classically made for women, as a prize to won once Batman accomplishes his goal.
This is a role that Catwoman does not savor.
During the mission the player is given the chance to switch between characters to complete puzzles in one of the more rewarding uses of the team-up mechanic. During these missions Catwoman and Batman converse and flirt, and a lot of the loss of romantic tension in City is more than made up for. It’s the stellar writing for Catwoman- often a personal point of contention for myself- that really sells the situation she’s in. While reliant on Batman for survival, her entire demeanor lacks that of the ‘damsel’, and her plotline serves as an example of a trope being used against a female character, but not being used to define her.
Note that having Catwoman involved in a different, more proactive, story would have probably been preferable for many. The fumble with Harley’s involvement in the plot (and arguably Oracle’s) can make those who would have accepted Selina’s predicament with a grain of salt finding themselves hanging their heads in exasperation instead and asking why the women in Arkham seem to get the short end of the agency stick.
After being rescued, Selina flees the scene to do a little pillaging and, as per Batman’s usual MO, he allows her to escape. In a callback to City’s story, she returns to assist Batman when he is on the verge of being defeated by Riddler and his mecha-army. The two are able to be switched between once more in easily the best boss fight in the game, and together they take the Riddler down.
Afterwards they discuss their future- or lack thereof. Continuing from the romantic subtext early on, the two share a final kiss and Catwoman refers to Batman as ‘Bruce’- whether the world at large has learned his identity or not. This is one of the more deft handlings of an interpersonal relationship in the series. The pseudo-romance between the two is not a priority of the story, nor is it Selina’s sole reason for existence. Instead the romance is supplemental to both characters’ goals and personalities. It’s refreshing to see a female character involved in a romance that doesn’t consume her entire being.
Worth noting is though Catwoman does not encounter any random mooks on her own* she is still referenced to by the thugs in the streets. Likely the studio took to heart some of the complaints made as not a single utterance of ‘bitch’ in regards to Catwoman is made, and the dialogue is certainly more respectful.
*As of this writing the Gotham City Stories side mission starring Catwoman has yet to be released, so this is subject to change.
The games themselves have not always been considerate to Catwoman. Flimsy justification for objectification became the original catalyst for the discussion of the women in Arkham and a major talking point for the representation of women in video games as a whole as more feminist fans and critics caught wind of the way the game portrayed both Catwoman and the world around her.
There were many legitimate complaints; the absurd decision to bare cleavage in below temperatures, the threats of sexual violence, overuse of the word ‘bitch’, a lack of empowerment when facing basic mooks- to a disproportional level to what is experienced when playing the male character- it would seem that Catwoman would be doomed to be taken at face value as a poor depiction of a beloved female icon.
It is only with luck that each negative is met with a positive: in gameplay Catwoman is just as capable as any other playable character. She is treated well within the story itself, and in City drives her own plot with agency and goals independent of the male character’s goals. She interacts with other women in (more or less) positive ways, and rescues Batman as often as he rescues her. Her romance is not central to her character, but used to supplement her characterization in other areas.
Do these cancel one another out, or does one side supersede the other in terms of weight?
What are your thoughts?
”You stick with the brooding. I’ll handle the wisecracks.”
The last member of the Gotham Sirens has not appeared in as many titles as her sisters-in-crime, but her role has been one of the most prominent, and publicized, due to her appearance as the primary playable female protagonist in the franchise. Starting with Arkham City Selina Kyle aka the Catwoman has become an important- and much discussed- member of the cast. Her inclusion was one of the catalysts for the discussion on how the women in the Arkham franchise are portrayed among the gaming media circuit.
Though we haven’t discussed the handheld title Blackgate, primarily due to my own lack of experience with the game, we must mention it here as it is Catwoman’s first chronological appearance in the franchise. As an added twist, this is the only title where the Joker does not act as the Big Bad. Instead, Catwoman is actually the primary antagonist in a surprising move.
The original claim to fame for the seductive antihero comes in City where she is the protagonist of her own DLC side-story (played in four ‘episodes’) that occur congruent with the main plot. Prerelease material focused heavily on the ability to play as Catwoman in her own scenario, and a majority of the promotional images featured Catwoman with Batman in situations that hinted at their mutual attraction, and their oft-times antagonistic relationship.
When compared to the redesigns for Harley and Ivy, Selina looks mostly identical to her modern comic counterpart. She wears a leather catsuit, goggles, and has a zipper on the front of the suit. The zipper is pulled down to show off Selina’s ample breasts, which is something she’s done before in the comics, but it comes off as ridiculous when the city is blanketed with snow and the (completely bundled up ) mooks won’t stop complaining about how cold they are.
Thus our first point of contention.
Some have made the argument that Catwoman exposes her body to distract her (99.9%) male foes. It’s a practice not completely unheard of, nor without merit (the traditional idea of the kunoichi plays with it) but when it comes to the weather conditions that plague Arkham City the justification becomes far too weak. The advantage she would receive from a distracted foe wouldn’t do her that much if she froze to death, or got frostbite on her chest. The pros and cons don’t match, and it can take the player out of the gameworld when they take a breather from scaling the buildings of Gotham only for the camera to pan across Selina’s chest while snow flurries around her.
Perhaps the most controversial element, even over Selina’s newfound imperviousness to cold, is the mook chatter the player hears when controlling her. There’s a notable difference to how the thugs roaming the streets refer to our protagonists: When playing at Batman the thugs react with fear, panic, and aggressive declarations of violence. Their insults usually give way to cries of mercy, and most of their dialogue refers to being intimidated by Batman’s strength, or his exploits.
The thugs express some fear when playing at Catwoman too…just notably less. They retain their violent proclamations which have the charm of being paired with frequent references to sexual violence. There are a lot of cat related sex puns made as the thugs try to frighten her with the insinuation that if they beat her she may face rape at their hands. And there are a lotof uses of the word ‘bitch’. If Catwoman isn’t being referred to by name then it’s definitely going to be by the moniker ‘bitch’, and she is referred to by name far far less.
The justification offered for such behavior is all in the context. The thugs don’t possess the mental capacity to think up anything other than gendered epithets and threats of sexual violence. In their small minds it is the most efficient way to ascertain power over their foe.
The difference between the treatment of Batman and Catwoman is both plot, and also a truth in fiction. When people look at Batman’s physical stature they see ‘strength’. His muscular body is intimidating, his costume strikes fear into the hearts of criminals, and his reputation as the Dark Knight precedes his every encounter.
Catwoman’s muscular body is sexualized. It’s something to want not fear Her appearance is smaller and more fragile than her male counterpart. Her infamy as a jewel thief does less to strike fear into the hearts of criminals- she’s a criminal herself!
In the real world it’s a fact that there is an element to the sociology of male pride where many men are unable to view women as equal. Even a physically unfit man may be under the impression he could outperform and overpower a female Olympic gymnast, no matter how incorrect he may be. Society as a whole teaches that men are physically strong, while women are physically weak. Men are hunters, providers, and warriors while women are caregivers, healers, and damsels. This mindset is why so many people look at female characters with such a critical eye, and why we find it disheartening to have a woman reduced to “breasts with a reliance on men” compared to a ‘weak’ male character (and very few people discuss ‘weak male characters’ which is mostly a non-entity whereas ‘strong female characters’ is a common topic of discussion)
But the question remains: just because the behavior perpetrated by these mooks towards Catwoman can be justified with both world-context within the story, and the context of the real world, does it mean it is acceptable to use in the game- and furthermore- are the people who become upset over its usage being overly sensitive?
No.
In our look at Harley Quinn’s portrayal we discussed how a majority of Harley’s stories involve both physical and mental abuse, and how the usage of such elements in a story does not make the story misogynistic just by existing. Just because a bad thing happens to a female character (extending all the way out to what the media often deems ‘acceptable female tragedies’ such as faulty pregnancy and sexual violence) it does not mean the character is weak, nor does it mean the writer is untalented and only able to rely on stock tropes. If implemented well such terrible events can be used to cause a change in the character, give her agency, or drive her plot. It could be used to say something about her, the story, or even the world at large. It could have meaning, or on the opposite end of the spectrum could represent how meaningless events can be in life. It can give her purpose or empowerment- something that can be then felt vicariously through the audience.
When done poorly the tragedy is used to belittle or demean the female character for no clear goal (and a thematic show of meaninglessness can be a story telling goal, ironically enough), or worse yet to further a male character’s story. It can be used as a cheap thrill or scare, with the hope of instilling fear in female viewers while making the males in audience want to protect the object of the threat. It does not empower. It lacks a point.
While the example of the Thugs vs. Catwoman is not as extreme an example it does feel problematic. It’s almost mean-spirited, and though contextually it works, it would work a lot better if used more sparingly. A thug calling Catwoman a ‘bitch’ isn’t a surprise. If anything, it may be expected (see again the male perception of female power), but from a player standpoint it falls flat. When we play Batman we get to feel powerful. He is masculine power fantasy; the perfect combination of brawn, intelligence and badassery.
Playing as Catwoman feels different. Sure, she is a great combatant, fun to play, and she can kick tail and take names just as competently as Batman. But the way she is treated takes away the aspect of the power-fantasy and reminds the women in the audience who wanted the same affirming, powerful experience the male players received, that even in this fictional realm they are potential victims of gender belittlement and rape threats.
Out of the gameplay, Catwoman’s storyline in City is handled better. While the length of the DLC is somewhat short, it is both enjoyable and necessary to understand the plot to its full extent. Catwoman’s first episode sets the scene for one of the very first missions Batman undertakes, and involves her becoming captured by Two-Face after trying to steal a rare valuable from him.
Her first appearance in the prime storyline has her suspended over a vat of acid and at the mercy of Two-Face. As unimpressive as her instant damseling is, there is a karmic reasoning behind it as seen later. After her rescue she and Batman part ways so she can steal some things from Hugo Strange’s vault, while making his life a little more miserable in the process. She encounters Poison Ivy and is momentarily ‘captured’, but quickly frees herself. The two have one of the longest conversations between two women in the franchise, and it is decided that Selina will commandeer Ivy’s coveted plant while she is in the vault in return for her aid.
She manages to get her things (while also destroying Ivy’s plant- let it not be said she is not vindictive!) and is faced with a dilemma: Batman has been crushed beneath some rubble and is unable to rescue himself. If he doesn’t escape there will be no one to stop Protocol 10 and thousands will die. If she goes to him then she will leave herself a target for Strange and his TYGER guards, and have a much more difficult time escaping the compound. If she leaves him then he will likely die along with Gotham’s refuse, and Strange will be able to exert his influence into the city at large.
The player is given the option of which course to undertake. Giving in to Selina’s self-interest leads to a nonstandard game over, while choosing the more altruistic path continues the plot as it is intended. Catwoman comes to Batman’s aid, and thanks to her, he is able to continue his mission and save the city.
Her final ‘episode’ takes place right after she leaves Batman to do his thing, and makes the decision to return to her apartment to collect some of her possessions before she leaves the city. Unfortunately her apartment is rigged with explosives and she is badly injured. Without a chance to recover she must fight off some thugs and then hunt through the city for her personal effects.
Despite the marketing of the game, the relationship between Batman and Catwoman is mildly flirtatious but lacks any substance. The expected role of love interest goes to Talia, while Selina’s plot hinges solely on her own agency. Every decision is hers to make, and even taking into account the problematic display of cleavage and questionable mook interactions, Selina’s plot is a great example of a independent storyline, as she is reliant on her own ability.
What of the damseling in the beginning of the game? Well, as mentioned before, there is a karmic factor involved. It is true that Selina must be rescued in an eye-rolling mission that leaves her fate in in the hands of Two-Face and Batman, but the situation is reversed when it is Catwoman who must rescue Batman towards the end of the story. This is a karmic use of the hostage trope, and allows the tables to turn so that it is Catwoman whom gets the chance to save Batman in return for his rescue of her. The act reaffirms her competency and makes the earlier situation where she relies on him much more palpable.
In Knight Selina’s design is changed less than that of the other women, though her proportions are notably far more realistic (while still very generous). Some fans were upset at the downsizing of her chest- a ridiculous notion considering she is the definition of stacked- and her facial structure was changed a little to make her appear more realistic as well (and was notably modeled after her lovely voice actress Grey DeLise).
She appears during the Riddler’s Most Wanted Mission where she has been captured by the Riddler and outfitted with an exploding collar that- if Batman refuses to play the Riddler’s game- will detonate. The frustration of Catwoman’s return to the damsel situation is played up in-universe with her own agitation over her predicament. Clearly she resents being confined to the orphanage at the mercy of a madman, and the situation is referenced a number of times- primarily by Selina herself.
As discussed in Oracle’s post, nearly all of Batman’s allies are placed in a hostage situation at some point (Oracle, Nightwing, Catwoman, Robin, Gordon, Ivy to a degree) though it does little to assuage the knee-jerk reaction at seeing nearly every female character in Knight placed in peril. Catwoman’s predicament is especially egregious as 95% of her screentime is spent as the Riddler’s captive.
There is a subtextual reason that can, depending on your mileage, may serve as ample justification. Knight is all about exploiting the fears of the heroes in a bid to destroy them. The game focuses on Batman’s fears (losing those close to him once again, powerlessness to cause change, losing the city, losing to the Joker, becoming a monster), as well as those of Oracle (helplessness due to her handicap), Robin (betrayal of Batman, inability to protect those close to him), Gordon (loss of his city, loss of his daughter, betrayed by Batman) as well as others.
Though not outright stated, if the audience looks for their context clues (or have familiarity with the comics incarnation) then we see Catwoman also is forced to face her fear- being trapped in a world where she is reliant on Batman to save her over and over again. The sudden loss of her agency is jarring when compared to her (mostly) independent portrayal in City. Arguably this was the point. She has been forcefully placed into a role that robs her of power, one that is classically made for women, as a prize to won once Batman accomplishes his goal.
This is a role that Catwoman does not savor.
During the mission the player is given the chance to switch between characters to complete puzzles in one of the more rewarding uses of the team-up mechanic. During these missions Catwoman and Batman converse and flirt, and a lot of the loss of romantic tension in City is more than made up for. It’s the stellar writing for Catwoman- often a personal point of contention for myself- that really sells the situation she’s in. While reliant on Batman for survival, her entire demeanor lacks that of the ‘damsel’, and her plotline serves as an example of a trope being used against a female character, but not being used to define her.
Note that having Catwoman involved in a different, more proactive, story would have probably been preferable for many. The fumble with Harley’s involvement in the plot (and arguably Oracle’s) can make those who would have accepted Selina’s predicament with a grain of salt finding themselves hanging their heads in exasperation instead and asking why the women in Arkham seem to get the short end of the agency stick.
After being rescued, Selina flees the scene to do a little pillaging and, as per Batman’s usual MO, he allows her to escape. In a callback to City’s story, she returns to assist Batman when he is on the verge of being defeated by Riddler and his mecha-army. The two are able to be switched between once more in easily the best boss fight in the game, and together they take the Riddler down.
Afterwards they discuss their future- or lack thereof. Continuing from the romantic subtext early on, the two share a final kiss and Catwoman refers to Batman as ‘Bruce’- whether the world at large has learned his identity or not. This is one of the more deft handlings of an interpersonal relationship in the series. The pseudo-romance between the two is not a priority of the story, nor is it Selina’s sole reason for existence. Instead the romance is supplemental to both characters’ goals and personalities. It’s refreshing to see a female character involved in a romance that doesn’t consume her entire being.
Worth noting is though Catwoman does not encounter any random mooks on her own* she is still referenced to by the thugs in the streets. Likely the studio took to heart some of the complaints made as not a single utterance of ‘bitch’ in regards to Catwoman is made, and the dialogue is certainly more respectful.
*As of this writing the Gotham City Stories side mission starring Catwoman has yet to be released, so this is subject to change.
The games themselves have not always been considerate to Catwoman. Flimsy justification for objectification became the original catalyst for the discussion of the women in Arkham and a major talking point for the representation of women in video games as a whole as more feminist fans and critics caught wind of the way the game portrayed both Catwoman and the world around her.
There were many legitimate complaints; the absurd decision to bare cleavage in below temperatures, the threats of sexual violence, overuse of the word ‘bitch’, a lack of empowerment when facing basic mooks- to a disproportional level to what is experienced when playing the male character- it would seem that Catwoman would be doomed to be taken at face value as a poor depiction of a beloved female icon.
It is only with luck that each negative is met with a positive: in gameplay Catwoman is just as capable as any other playable character. She is treated well within the story itself, and in City drives her own plot with agency and goals independent of the male character’s goals. She interacts with other women in (more or less) positive ways, and rescues Batman as often as he rescues her. Her romance is not central to her character, but used to supplement her characterization in other areas.
Do these cancel one another out, or does one side supersede the other in terms of weight?
What are your thoughts?