Last year Will Brooker, along with his creative collaborators Sarah Zaidan and Susan Shore, published volume one of My So-Called Secret Identity through a successful Kickstarter campaign. Now they are doing it again.
My So-Called Secret Identity Volume Two takes place in the aftermath of Catherine Abigail Daniels’ — or Cat’s — encounter with the villain Carnival. Cat has gone from being a Do-It-Yourself amateur superhero that invited herself into “the theater” — the dynamic between heroes and villains of vast social means and damages done towards innocent bystanders — to becoming a celebrity and power in her own right.
But what does this ultimately mean for Gloria City, her rivals, her peers, the people who admire her, and Cat herself?
Then, to complicate matters further, the theater changes: or at least enters another Act. Most of the important top-tier male superheroes such as the Urbanite and the Major go off-world: leaving the majority of female superheroes and lower-tier heroes to their own devices in Gloria City. Carnival, Gloria City’s Joker analogue, is now in custody and at their mercy. Perhaps at any other time, Carnival would have “Joker immunity”: that no matter what atrocity he commits or incident he finds himself caught in, he will always survive and be captured only to escape yet again.
Yet now the superhero women of Gloria City are wondering the same thing: after everything he has done, should they kill Carnival? And Cat, one of his former victims and his recent jailer, ponders this and more. She came into the superhero scene to dismantle “the theater” from the inside, or not play by its rules altogether and save lives. Will she help make new rules, break old ones, or become a part of the system of violence, retribution, and collateral damage that she once wanted to destroy?
Smart is a superpower, but will it still be enough?
My So-Called Secret Identity Volume Two will explore these thoughts and themes and more. My only regret is that Will Brooker says that this will be the end of Cat’s story. As a fan, I feel there are many more stories that can still be told in this influential series. And they can be.
Among other goodies, such as pin-ups, sketches, exclusive T-shirts, and even personalized water-colours if the Kickstarter Campaign’s stretch goal of 12,000 pounds is exceeded, you’ll not only be paying artists for their work but also the inclusion of three extra short stories that will expand on the backgrounds of key characters.
My So-Called Secret Identity is important: in the way it looks at power dynamics, the superhero mythos, the mentality of practical DIY costumes branching into cosplay, and how it treats female superheroes. With accolades from comics artists such as Mary Talbot, Pat Mills, Trina Robbins and others, I hope you will consider backing this Kickstarter Campaign.
It’s been a few months since My So-Called Secret Identity‘s Kickstarter got funded and while the shipping of the physical Volume One has been delayed, backers have already received their digital copy. Now having my own copy and finally getting to read Issue #5 that resolves the story arc’s cliffhanger, I am going to review My So-Called Secret Identity.
My So-Called Secret Identity, a comic written by Will Brooker and drawn by Sarah Zaidan and Susan Shore, is a story that requires some attention to detail. It utilizes the aesthetics and tropes of the superhero genre and even possesses some characters that, on the surface, appear to be DC comics analogues.
The comic’s storyline takes place in Gloria City, perhaps an alternate version of New York City, where the Major and the seemingly super-powered Fleet fight to maintain order and security, while the black-garbed Urbanite and his side-kick Misper combat the twisted designs of Carnival. Meanwhile the feline Sekhmet steals items and Doll’s Eyes preys upon the hapless citizens of Gloria: leaving her signature flora calling cards.
But, as the protagonist Cat Abigail Daniels observes, it is all a front: all part of “the theater.”
The Major, who is also the Mayor of Gloria City — seemingly a combination of Superman and Captain America — maintains his power by fighting against the chaos of villainy with empty political slogans and promises. Urbanite is more extreme in some ways. As a parody of Batman’s vigilante justice, he terrorizes both citizens and criminals alike with contradictory rhetoric and ham-fisted violence: never understanding or never wanting to understand that he is just a tool in maintaining the political status quo set in Gloria between the Major and Carnival: the latter of whom seeming to be a wannabe worn-down Joker game show host. Kyla Flyte is a stereotypical blonde, beautiful, and sparkling superhero who seems to spend more time preening, conducting family business, and signing photographs than doing anything to help anyone.
And what’s truly awful is that in the midst of all the combat these heroes, villains, and anti-heroes it’s innocent civilians and properties that truly get caught in the crossfire. In the world that Will Brooker sets up for us, it seems as though both super-heroism and villainy are past times that belong to the rich and popular while very few ever care about the lives of those who they ruin in their play.
Of course, even this layer of “the theater” is not what it seems. Certainly it would be all too easy for Brooker to follow the examples of Alan Moore’s Watchmen and Garth Ennis’ The Boys: in showing us how superheroes would realistically not work.
Through Cat, a young literature and philosophy student who is tired of watching her city suffer, we see the fulfilment and promise of a different perspective. This is a woman who values her friendships, who calls people on their bullshit but who is perfectly capable of seeing the good and forgiving the bad. She isn’t particularly athletic, or rich, or possess any superhuman capabilities. But as Brooker and his team like to state:
Smart is a superpower.
It isn’t so much that Cat even has an eidetic memory. She actually does have to use memory aids to help her piece together names, events, backgrounds, and places in order to attempt to solve a crime. Even though it’s derived from the profiling that her policeman father might have passed on, along with the art of scrap-booking, Cat creates mnemonic devices known as MindMaps: collages that help her process information and reflect how her mind makes connections. Did I also mention that Cat is an excellent multitasker and can solve some problems as she is processing others?
Cat has also faced discrimination because she is a young woman and she is, in her own words, “Goddamned smart.” She has been mistaken for being a secretary, an academic cheater, and “just a young girl.” Just a girl. It’s at this point that she decides to enter “the theater” and definitely shake some things up.
Book One of My So-Called Secret Identity is divided into five parts. The first part, or issue, sets the scene of present-day Gloria City and Cat attempting to navigate through it. We get introduced to her friends and some of the main heroes. In Issue #2 “Love Lives!” Cat examines the “open secrets” of secret identities, gets a costume made for her by her friends Kit and Kat, encounters the brutality and cluelessness of Urbanite and infiltrates the latter’s mansion while in Issue #3 “Nine Lives!” Cat tries to talk to Sekhmet and by Issue #4 she, unfortunately, encounters the “Big Bad” Carnival. Finally, in Issue #5 “Second Life!” Cat deals with the aftermath of her decisions and sees a multitude of possibilities.
There were so many ways that Brooker could have taken this story: so many tropes into which it might have accidentally fallen. The setting keeps you on your toes. It makes you read and observe closely. If you are good enough, you can actually find “Easter eggs” and predict some revelations in the story. Also, if you are a veteran comics reader you might recognize not only the obvious heroes and villains, but also some of the influences behind Cat and her friends. The fact is, like Alan Moore and what he did with his Charlton Comics analogues in Watchmen, Brooker has some DC analogues as well: and like Moore’s, his become their own people while — unlike Moore — they deal with issues in an entirely different way.
For instance, just as Cat was a Barbara Gordon analogue she confronts her own casual mistreatment as a woman in a patriarchal society over-focusing on class by entering into “the theater” on her terms: to actually create change as opposed to feeding into the system. Her entrance into “the theater” is a dangerous one: and not just because of the very real threat of physical harm. Certainly, the hearkening back to Gail Simone’s Women In Refrigerators trope — of the death and crippling of female characters as targeted loved ones triggering the plot in general — is all too present: and it is more of a danger that Brooker himself, as the writer of this series, luckily manages to avoid on at least two counts. He does mention it being a very real possibility in the comics universe of Gloria City.
Also, it’s usually unfortunate to be a side-kick in this world as well.
But there are two other factors to consider as well. First, the trope of gaslighting. On at least one occasion Urbanite threatens to “silence” Cat and Enrique even warns her that Urbanite would put her in Bedlam, that world’s Arkham Asylum, just to be rid of her. Not only does Brooker deal with the concept of women’s freedom being curtailed by the symbol of an authoritarian regime, but in putting Cat in a mental institution he is labelling her behaviour — her need as a woman and as human being to help others — as “crazy” and it has the potential to make her question herself. Certainly, much to my disappointment with regards to good villainy and relief on Cat’s behalf, it is a good thing that Carnival didn’t see the uses of gaslighting: as that may be Cat’s few potential weaknesses.
Hopefully we will not see a villain named Gaslight in the near-future: though hopefully Cat should have a good support base at this point to deal with that and keep her from going at this alone.
Of course, there is the other problem: of perpetuating the system. Cat is attempting to play in the same “theater” as all those other heroes. Certainly her falling into the Refrigerator could be part of maintaining this flawed system of control and death, but celebrity status — the bane of all the heroes and villains involved — could be the subversive force that might undermine Cat’s own resolve in a different way. Just look at Kyla Flyte for instance, or even Connie Carmichael — Sekhmet — to a somewhat lesser extent. In a way this is also Brooker’s challenge as well as Cat’s: to make sure she doesn’t become merely a symbol, a rebellious force co-opted into another old guard, or a seemingly “exoticized” element that only props up the system.
However, at the moment Cat seems to bring something else into all of this: namely the Do It Yourself indie attitudes, with some influence of geek cosplaying love, of creating your own costumes and trading favours — interacting through a gift economy associated by some scholars with female fandom — with friends to support herself. Perhaps this will catch on in later Books and, certainly, even Issue #5 mentions that there are already lower income heroes. Maybe this will be an impetus for change.
This same subversive mentality is used to examine other issues in My So-Called Secret Identity as well. For instance, we see that even Cat cannot speak for all experiences: and she is honest about this. Her look at the racism that Connie Carmichael has to deal with as a person of colour in addition to being a woman potentially in contention with other women — that motivated her in a large to become Sekhmet — is very intersectional and it shows that even though she might be aware of it, she even knows it is outside of her personal experience.
There is also the fact that The Major and Urbanite, as well as Carnival are two sides of the same coin. The Major and Urbanite police the citizens of Gloria City into accepting their patriarchal rule, even if they do have good intentions. Urbanite himself violates Cat’s personal space, rough-handles her and threatens her even while downplaying her concerns and actions: making her vulnerable to the violent misogyny of Carnival. And somehow, it’s even worse that someone like Urbanite believes — or wants to believe — that he is doing the right thing. You have here an authoritative system that punishes but also perpetuates with violence. When what happens to Cat seems to become public, this might force the citizens of Gloria to truly look at this issue and I wonder if this will indeed play a role in the next Book.
My So-Called Secret Identity attempts to place homosexuality as part of a norm in this world — through perhaps Kit and Kay’s relationship — and even seems to have an alternate version of Cat who is transgender. Dahlia Forrester, who is actually a superhero in hiding named Ultra Violet and an analogue of Black Orchid, even tells Cat that she tried to “pass” and it only perpetuated the system. I like that there is a Black Orchid analogue: as Neil Gaiman’s iteration of her deconstructed superhero expectations of violence in a very clever and meaningful way.
And Will Brooker manages to combine all of these elements with the premise of a world that had superheroes since 1945: not unlike the superhero comics history timeline of our world. I do wonder, though, if it might not have happened as early as 1938.
Quips aside, I do think that some sequences were fast-forwarded a little too quickly. I would have liked to see the evolution of Cat’s relationship with her friends and perhaps more about the world. Certainly, I would have liked to see an actual conversation between Connie and Cat take place during Issue # 5: because obviously they came to some kind of agreement after Cat’s horrific experience. But this one criticism is minor considering how all five issues of Book One fit incredibly well together.
I especially like how Will Brooker presented the alternate timelines in Issue #5, how he so casually introduces real superpower into the world without being as blatant as making a Superman or a Doctor Manhattan (the Deleted Scene included in the Book, however, would have revealed this aspect earlier on through more than just talk and it’s just as well it got excised), and how, despite the fact that I strongly suspect Carnival did more to Cat than leave that scar on her face, he didn’t give into the spectacle of violence or turn her into another Oracle while, at the same time, Brooker narrowly escapes making Cat a Mary Sue for which little bad can occur: exposing her to the realities of her world and its physical and emotional consequences. He lets her play out the role she sought and, upon risk of making light of went through which is not my intention, Cat wears her scar and her newer costume well.
There are some questions I’m left with however. Is Cat’s father still alive at the end or was it just part of a mess of truths and hallucinations? What happened between them seven years ago? How did Enrique initially join Urbanite? And is there importance to the Wallace Twins newspaper clipping in this entire story?
I really want to find out what happens next and, perhaps if I further train my superpower, I might be able to get more details from the comics issues that I have. Be on the look out for My So-Called Secret Identity, my friends. It is clever, poignant, it has some subtle social commentary intermixed with a fascinating plot, and it’s like looking at old friends in an entirely new way. Some of them might be a little more uncomfortable to be around, or more pitiable, in other cases a whole lot more bad-ass.
And some, in another persona, another guise, may well finally get to be themselves.
My So-Called Secret Identity, the comic series in which a young woman named Cat takes on the terrorism and false superheroes of Gloria City with merely the power of her intelligence, ended last issue on a cliffhanger. According to Will Brooker and his co-creators Suze Shore and Sarah Zaidan, Issue #5 will be the final part of the story that completes MSCSI Volume One which we won’t be seeing online until 2015. Talk about one very long “to be continued …”
It seems as though “smart” isn’t solely limited to Cat. If you back My So-Called Secret Identity, not only do you — at the bare minimum — get access to the next issue far sooner than 2015 (around October 2014), but in addition you have the potential to gain deluxe copies of Volume One, unique art work, your own name listed as a sponsor and even the signed and unreleased script for Issue #6.
Think about that: not only do you get the next issue of MSCSI in advance, but you can be listed as one of those people who aided a work that represents women in comics as three-dimensional individuals, promotes the inclusion of more diversity into the medium and, in your own way, become part of comics history. From all this, you can obviously see the minds from which Cat gets her intelligence.
I also want to make one other thing very clear. While I had criticisms with regards to some of MSCSI’s pacing, you also have to consider this. What we are looking at right here, right now, is the development of a story from its early stages all the way until the saga’s very end. As a creator in my own right, I can tell you that you can plan out everything and even follow it, but you will develop and change over time. And not only does My So-Called Secret Identity continue to have great characters, concepts and potential, it is also my opinion that it is — and other works with strong and realistic female characters are — important.
It is very important.
And understand this. You all have a superpower. It is called being intelligent. It is called being smart.
This is going to be a review of issue #4 of the comic My So-Called Secret Identity by Will Brooker, Suze Shore, and Sarah Zaidan. There will be spoilers and, as such, please read the series on their website first: it’s still ongoing and definitely worth the read.
Unfortunately and as you can see, as this latest issue of the series starts off, both of these qualities are called into question. In Issue #3 of the comic it becomes very clear that Carnival, one of the main antagonists in Gloria City’s “theatre of heroes and villains” created a public ad in a newspaper addressed specifically to Cat and her method of linking different ideas and elements together.
As personal responses go, I felt a chill go down my back as I began to wonder what this meant and if there was some link between Carnival and Cat: especially given how he seemed to know how her mind works. Feliciano Carnival, as a villain, is something of a mixture between the Joker, an old-style crime boss, and a game show host with a Spanish background. He is the direct antagonist towards two of Gloria City’s celebrity superheroes: the Major that rules the City as Mayor and the black-masked Urbanite, seemingly both Captain America and Batman analogues respectively. In my last article on My So-Called Secret Identity, I compared its heroes to those in Garth Ennis’ The Boys when, in fact, they and their antagonists also have some nice resonance with the ironic and public superhero parody team the Five Swell Guys and their nemesis the Painted Doll in Alan Moore’s Promethea series. They too play the same parts, the same hero and villain cycle over and again which Moore lampoons and subverts.
The situation with Cat and Carnival is different. Cat is different. Whereas Carnival’s other opponents have their agreed upon script with him, she actually wants to stop him from, presumably, blowing up the World Trade Center. The fact that this story seems to take place in a different but parallel world from our own aside, while Cat seems to disrupt the scripts of the heroes — the “theatre” that they have created for two decades — she greatly intrigues Carnival: to the point where you really begin to wonder what’s actually going on.
Where Urbanite symbolizes a rough and authoritative patriarchy that threatens citizens and spouts out empty platitudes for everyone’s “own good” — to the point of his chest monitor displaying some ridiculous words and onomatopoeia, Sekhmet represents a woman attempting to survive a male-dominated profession to the point of becoming viciously competitive with other women in addition to her status as a woman of colour, and the superheroine Kyla Flyte is more of a shallow and empty doll — a token symbol of female empowerment — Carnival is the opposite side of the coin that is patriarchy: violent, misogynist, casually racist and having no regard for human life. The only difference, of course, is that he is a lot more honest about these traits compared to his heroic counterparts.
After all, as Dahlia — Cat’s landlady and fast friend — pointed out in Issue #3, women in “the theatre” tend to become permanently injured, or die. DC’s Oracle, formerly Batgirl, is an antecedent that comes to mind along with all those who become women in refrigerators. I also admit that I almost forgot who Dahlia even was and considered her a superheroine herself when heard her name: confusing it with the historical figure of Black Dahlia. After the events that unfold in this issue of My So-Called Secret Identity, I wonder if this was intentional: and I truly hope I’m wrong.
The fact of the matter is, when it comes down to it, after Cat manages to disable Carnival it is Urbanite who takes him away — who threatened to “silence” Cat “permanently” a few times if she got in his way again and who wants to do “things by the book” and not let his organized “war descend into anarchy” — who ultimately loses Carnival on his way to the asylum of Bedlam (where he usually “escapes” from anyway). At best, this is what happens when a lunatic is allowed to exist in, or is even created by, a world of superhero and villain culture in the place of guns with blind-spots towards their overall behaviour. At worst, it is complicity: especially when you begin to wonder just where Carnival gets his resources from and how he recruits his cell-agents. Either way, it is useful to remember that Urbanite and Carnival are ultimately two sides of the same coin.
It should also be noted, again, that Will Brooker is a Batman scholar and it does make me wonder just how much his studies and perspective on Batman have informed his creation and psychology of characters like Urbanite.
Cat goes back to her home only to find it in burned ruins along with Carnival, who was supposed to be in custody by the authorities, waiting for her with a knife. Dahlia even warns Cat earlier in this issue that not only does she endanger her life in participating in this “theatre,” but the lives of all those around her as well: including Dahlia’s young daughter. But it becomes very clear that this “theatre” means something very different to both Cat and Carnival.
For Carnival, the addition of Cat is just another excuse to treat the “theatre” for what it is: a game with hers and other people’s lives. In this case, he doesn’t even need to keep on script to deal with her. Her continued life isn’t necessary. It isn’t even made clear if he even meant to go for the World Trade Center or just left that threat to lure Cat to him. And as for Cat, this entire situation is her life writ large. After having spent most of her life with her intelligence and insights ignored or disparaged, she enters a world she has no other resources to draw on ruled by men who maintain power through violence and silence. If she hides, she and the people she cares for might get injured or die in this power-struggle. If she participates or speaks out, she will definitely make herself — and others around her — vulnerable.
She can’t win.
She just can’t win. This isn’t a drama. This isn’t a mythic cycle. Rather, Gloria City has become a game which — by the nature of its creators and participants — Cat cannot win. Even Urbanite’s sidekick — the Misper — warns her that his boss will take her to Bedlam, effectively gaslighting her if she gets in his way again. This is, of course, assuming that he won’t actively or passively kill her by letting Carnival do the job for him. In some ways, however, gaslighting is even worse for Cat than death: as it would be a method of making her doubt the source and question her sanity with regards to her true powers: her intelligence, her memory and her sense of agency.
In the meantime, though, Cat finds herself at the mercy of a system where patriarchal officials turn their heads and cluck their tongues as a madman holds a knife to her face: making her into another play piece, another statistic. For someone who values literature and philosophy, this is the ultimate dehumanization. This is the structure of fear and debasement — this coerced choice between becoming a symbol or death — that she wanted to save Dahlia’s young daughter Daisy from growing up and living in. And, right now, it’s iffy if Daisy will even grow up and if Cat will continue to be.
So Issue #4 of My So-Called Secret Identity leaves us with a lot of questions. I won’t lie. I do think that there are areas of this story that I feel need improvement. Pacing in comics panels can be a very tricky business and sometimes I felt that Brooker’s storytelling was rushed and condensed at times. I’m talking about the entire series so far in addition this current issue. For instance, I wanted to see more interactions with Cat and Enrique — also known as The Misper — and see the growing relationship with her, Dahlia and her housemates.
Sometimes Brooker repeats himself as well: such as when Cat repeats the thoughts she narrates about Carnival and the other heroes. And I am really curious as to what Cat thought she was going to accomplish walking into Carnival’s lair without weapons, backup, or seemingly even a plan. Was she simply hoping to scan her surroundings for more information to use against him in a form of logical argument or manipulation? I don’t really know. Perhaps this will be addressed in later issues.
But I will say that I love the characterizations and the mysteries that Brooker continues to keep in reserve. For instance, that whole flashback dating thirty years ago to that children’s show. Was that host Carnival? Why are his sclera black? Is there some kind of relation between him and the current Misper? Is there any significance to the fact that this show occurred ten years before Gloria City’s “theatre” began? Is Carnival as responsible for the Meta and Trans drugs as The Major’s family?
In the reverse of what Painted Doll turned out to be for Alan Moore’s Five Swell Guys but no less a parallel, when I saw Carnival sitting on those crates like they made up his throne, it gave me this eerie feeling — in addition to Cat’s words about him being the “King of Gloria” — that I was looking at the real power in Gloria City: with all heroes as his figureheads and all civilians his playthings.
Because make no mistake. Carnival is no longer an actor: if he ever was. But while he is not an actor, he is definitely a player.
There are other questions too. Are there real superpowers in this world or just more smoke and mirrors? Also, who is Doll’s Eyes? Are Cat’s friends still alive? For that matter, where is Cat’s policeman father? We know that her mother is dead, but he is left ambiguous: though the fact that she wants to avoid his old colleagues might say something about this matter.
And, more importantly, how will Cat get out of this? Will there be long-term consequences for Cat as a result of this? It’s doubtful that The Misper will save her again, or at least it would be very repetitive. Will Brooker kill her off and have someone else learn her method and continue her work years later? Like Daisy (if she has survived)? Perhaps Cat’s character arc might go the Oracle route and teach other younger women to listen to City beyond merely recognizing its dangers: to actually save it.
I have to say that I doubt that Brooker will go all G.R.R. Martin or DC Comics on us given how much work and his collaborators put into Cat and how much that would border on the refrigerator woman trope: just as much I highly doubt as Carnival will kill her right now. At the moment, she is entertaining him. Her presence is, as he put it sickeningly enough, “porn”: an object to entertain and titillate him even in a non-sexual way. Is this the point where this story truly branches into a reality not unlike Mark Millar’s Kick-Ass: where a would-be hero truly and physically suffers, and dies for trying to be a superhero in an unforgiving reality?
Or will she survive and realize that she will need help and a different way to approach this game? Is there is another way of approaching this game? Is there a way to go beyond the mentality of losing and winning to deal with reality?
Is Cat another casualty, or has her presence changed the game?
Will Brooker, Suze Shore and Sarah Zaidan have some questions to answer and I look forward to finding out the answers to these questions, and more, in “Second Life.” It is a fitting title: as My So-Called Secret Identity is being launched soon on June 16. So please support it and remember to Like the series on its Facebook page.
“Well, if you don’t like how women are portrayed in comics, why don’t you make your own comic?”
You can substitute the subject of this knee-jerk reaction in the form of a question to other media such as film, television, or video games, but the gist of it is pretty much the same. Usually this question is “asked” in an attempt to silence critics, or to reduce their observations about pop culture into “nitpicking” or something completely non-constructive. Most critics ignore this loaded question because creative works — at least in the area of fiction — are not their focus or area of expertise.
Brooker and his fellow artistic collaborators the illustrator Suze Shore and PhD in superhero art Dr. Sarah Zaidan, realized that while it wasn’t nearly enough to criticize the portrayal of women in mainstream comics, it would definitely be a step forward to create a comic that could represent them as three-dimensional human beings. They, along with an extensive and predominantly female creative team, are managing to accomplish this and more.
So what is My So-Called Secret Identity about? It is a comic about Cat: a student of philosophy and literature and daughter of a policeman. She is a young woman who sees and understands the links between different subjects and is sick and tired of pretending to lack the intelligence that she truly possesses: that many have underestimated or believe that she fakes.
Cat, also known as Catherine Abigail Daniels, loves her home of Gloria City and wants to do her part to save it from the terrorism of the supervillains that also dwell within it. Unfortunately, her other obstacles seem to be the self-styled “superheroes” of Gloria City: posturing and brittle celebrities not unlike those you might see in Garth Ennis’ The Boys that, along with their villainous counterparts, use the City and its citizens as “a theatre” (complete with “a backstage” metaphor reminiscent of Neil Gaiman) and props respectively in their “morality war.”
What I really like about Cat as a character are three elements. First, she is a woman that knows what and sometimes even who she wants and will pursue them with assertiveness instead of over-exaggerated aggression. Second, she will call people out on their actions and words but also be reasonable enough to forgive and recognize that same person as a human being. She is a person that cares about people and it shows. But lastly, I am very intrigued by how Brooker and his team handle her genius. Without spoiling too much of the comic, Cat seems to have a very Humanities or interdisciplinary approach to how she attempts to solve crime: linking ideas, geography, culture, history, and facts all together in the form of a “mind-map”: in a style of collage reminiscent of Dave McKean, Eddie Campbell, or even Daniel Vallely.
It’s very psychogeographical. God, I love that word.
In a sense, Cat’s method of learning is actually through creating art: synthesizing different elements and their connections together as opposed to analyzing and taking details apart. It is, in my opinion, simply beautiful. Unfortunately, you can also see why other people — especially her teachers and bosses throughout her life — underestimate her or simply do not recognize her genius for what it is. It is frustrating to watch and understand that this stigma against her is not merely because of her unorthodox thinking: but there are unspoken gender expectations she keeps breaking because she is smart and female.
But Cat doesn’t let the expectations of others stop her. At this stage in her life she is determined to live her life and keep Gloria City safe: even if it means becoming an actor in the theatre of villains and heroes and especially, I suspect, when she ignores, subverts, and outright discards their rules by her very nature. I myself suspect that Cat’s story isn’t about the chic of “a secret identity” or playing the hero, but rather doing the right thing and being accepted for who she is and what she can do. Cat is not a secret. She just is, and she should be.
According to its Facebook Page, not only will My So-Called Secret Identity have a June 16th Kickstarter Campaign, the fourth issue of My So-Called Secret Identity Volume One will be coming out Sunday June 8, 2014. You can also buy hard-copies of the issues so far or read them online. So please, Like this comic on Facebook and read it. I look forward to seeing where Cat, and Gloria City’s story, goes.