Review - Birds of Prey Volume 1

A series of horrific attacks on projects fronted by the charismatic industrialist Nick Devine prompts Oracle to hire Black Canary to investigate. With the terrorist group known as the Green Brotherhood claiming responsibility, Black Canary is charged with finding out why they’ve targeted Devine and stopping them before they can cause any further harm.

Birds of Prey Volume 1 collects Black Canary/Oracle: Birds Of Prey #1, Showcase '96 #3, Birds Of Prey: Manhunt #1-4, Birds Of Prey: Revolution #1, Birds Of Prey: Wolves #1 and Birds Of Prey: Batgirl #1, written by Chuck Dixon and Jordan B. Gorfinkel with art by Gary Frank, Matt Haley and Greg Land.

Birds of Prey Volume 1 chronicles the earliest adventures of the eponymous Birds of Prey, the superhero duo consisting of hacker supreme Oracle and then-former Justice Leaguer Black Canary. The issues collected consist of a variety of mini-series and one-shots that eventually led to the now-iconic ongoing series later made famous by Gail Simone. These initial stories are largely written by veteran Batman scribe Chuck Dixon, with assistance from editor Jordan B. Gorfinkel. Though the narratives vary from story to story, the overall common thread linking these comics is the blossoming friendship between the two lead characters. Through these stories, we’re able to track the evolution of their partnership from its uneasy beginnings to a place of mutual understanding and respect. Specifically, the rigidly logical Oracle learns to accept Black Canary’s impulsiveness and vice versa. It’s an unusual through line for an era that was admittedly light on friendships between women characters.

The quality of the stories themselves varies widely. The opening one-shot, Black Canary/Oracle: Birds of Prey #1, sees Black Canary acting as a bodyguard for businessman Nick Devine while he is being targeted by the Green Brotherhood. It’s an excellent introduction to the duo of Black Canary and Oracle, effectively establishing who they are, where they were at that point in their lives, and gives them a global crisis to address. This storyline presents Black Canary as a down-and-out superhero with mounting bills and a personal life that’s in the toilet. Oracle gives Canary the opportunity to pull herself out of this situation and go back to being the hero she was meant to be. This character work is quite smart and speaks to the resilience of Black Canary. With that said, there are some ickier elements to the story as well. Canary ends up going to impoverished countries, which are primarily populated by people of colour, and it taints the narrative with the whiff of the white saviour trope. We also get Lynx thrown into the mix as an antagonist and the Green Brotherhood are clearly coded as East Asian. As such, it feels like it’s pushing some kind of notion of Yellow Peril. This trend will continue with successive stories in Birds of Prey, especially since we get a lot of Dragon Lady-esque villains and international adventures where Canary is placed in a role of helping impoverished (mostly non-white) nations.

For the most part, the one shots collected in this trade are fairly unremarkable. Revolution sees Black Canary investigating a human trafficking ring based out of Santa Prisca. While the storyline itself tackles a very real problem in the world, it does so by framing white people as the victims at the hands of Latinx-coded individuals. Given that it takes place on Santa Prisca, the fictional island nation that is characterized by the worst stereotypes associated with Latin American countries, it should be expected that the narrative is going to be problematic. Wolves, by contrast, doesn’t even attempt to delve into real world issues. Instead, the entire thrust of the story is that men are trash (which is true) and that both Oracle and Black Canary needed to be convinced of this in order to bond as friends. Black Canary’s ex-husband comes back into her life and attempts to con her into helping him after he steals money from some gangsters. Meanwhile, Oracle gets targeted by a scam artist who seduces her with the intention of burgling her apartment. Wolves fails to feel like its story is of any import due to its day-in-the-life approach and uses men as the catalyst to the cementing of the characters’ friendship. Batgirl is the most engaging one-shot (aside from the opener). In it, Oracle is kidnapped by the illusion-casting villain Spellbinder in an attempt to manipulate her into giving away Batman’s hideout. As a villain, Spellbinder is dynamic and her motivation is quite clear. We also get to see Oracle’s determination and resourcefulness when the time comes to physically take down Spellbinder. However, the story hasn’t aged well particularly due to the evolving language around disabilities. There’s this pervasive obsession with Oracle being disabled in this one-shot. She’s consistently referred to in ways that aren’t appropriate by today’s standards and it’s really uncomfortable to read.

Amidst the one-shots in this volume, there’s a four issue mini-series (Manhunt) that sees Black Canary teaming up with Huntress and Catwoman. Canary forms an alliance with the anti-heroines due to their shared desire to take down the criminal Archer Braun. Canary and Huntress want to ensure that he is brought to justice for his misdeeds against women, while Catwoman is adamant about retrieving the money he owes her from a previous caper. At first glance, this is the kind of story that would appeal to me on every level since it’s starring three of my favourite DC Comics heroines. Unfortunately, the execution of the storyline is all wrong. First of all, the initial impetus for Canary and Huntress chasing down Braun is that he ghosted them after briefly dating them. Even the way they learn that he’s a criminal is pretty flimsy (they recognize his butt on security footage – really?). There’s even an inconsistency that doesn’t quite make sense. Namely, Canary and Huntress act as if they’re meeting each other for the first time even though they’d actually worked together before (in the 1993 series Black Canary #9-12). Manhunt otherwise features a ridiculous amount of incredible action and highlights just how mighty the trifecta of Canary, Huntress and Catwoman can be. I love their dynamic as a group, particularly how they act as a kind of gradient scale of morality. Under a better creative team, this would be an amazing trio whose adventures would be stellar.

Art-wise Birds of Prey Volume 1 is all over the place. The opening one-shot is illustrated by Gary Frank, as are the covers for each subsequent one-shot and the Manhunt mini. His work is absolutely breathtaking. His composition is amazing, the costuming he provides Black Canary with is memorable, and the action sequences practically pop off the page. Matt Haley’s pencils for Manhunt are nearly just as gorgeous as Frank’s. There are plenty of fantastic panels worth remembering, chief among them a rather menacing Lady Shiva grinning while surrounded by flames. I’m also very enamoured with his Catwoman. I love how he draws her hair and the attention to detail on her mask. Beyond that, he seems to really inject a lot of dynamism into her presence and expressions. That said, Haley does include some rather unnecessary butt shots. Greg Land is one of the other artists who handle art chores in this collection. This is from an earlier point in his career, prior to his descent into infamy for his apparent tracing. I’m a bit embarrassed to admit that I really quite enjoy his work here. It’s not noticeably trace from anywhere and the women don’t all look like their waists are little more than toothpicks (they’re still small, but not as bad). Land actually appears to put effort into his art here. The other artists whose work is included are Dick Giordano (Wolves) and Stefano Raffaele (Revolution). Their art is mediocre at best here and doesn’t quite match the quality present in the other issues. Raffaele also has some issues with anatomy and includes unnecessary shots of Canary’s posterior.

Birds of Prey is one of those series that I grew up loving as a kid. I collected back issues like candy and remembered those stories through the lenses of rose-coloured glasses. In reading their earliest adventures via this collection, it’s easy to see the many cracks in the foundation of this series. There are a lot of great ideas present, especially when it comes to the development of Oracle and Black Canary’s friendship. Sadly, there are a lot of questionable elements that drag down the overall quality of the work. It should be a surprise to no one given who wrote these stories. Even from a narrative standpoint, Birds of Prey Volume 1 is inconsistent due to the fact that it is mostly one-shots and has no set artist on board. It’s worth a read for the sake of understanding how the team and series came to be, but there are still far better Birds of Prey trades out there.

RATING: C+

Review - Batgirl and the Birds of Prey Volume 1: Who is Oracle?

When a series of correspondences are attributed to Oracle, Batgirl teams up with Black Canary to uncover who is using her former moniker. Along the way they must contend with the interference of the enigmatic Huntress, who is hunting down the mobsters that Oracle appears to be helping.

Batgirl and the Birds of Prey Volume 1: Who is Oracle? collects Batgirl and the Birds of Prey #1-6 and Rebirth #1, written by Shawna and Julie Bension with art by Claire Roe and Roge Antonio.

Shawna Benson and Julie Benson do an impeccable job capturing the essence of what makes the Birds of Prey such an enduring comic book. Batgirl and Black Canary’s friendship is front and center. The dialogue features playful jousting between the two women throughout, but there’s a constant sense of sisterhood and trust between them. When Huntress is thrown into the mix, it adds a new dimension to their dynamic. With Batgirl on one end of the morality spectrum and Huntress on the other end, Black Canary fits in neatly in the space between them. The Bensons really understand these characters and they write them well, which is largely what makes this such an enjoyable read.

Where the book misses its mark is in its execution of its storyline. It follows two plot threads – one being the investigation into who is using the name Oracle and the other being the pursuit of the criminal mastermind Fenice. As we learn fairly early on, Fenice is a mobster who is chipping away at the competition in a bid to seemingly become the top boss in Gotham City. These two narratives are what link Batgirl and Black Canary to Huntress. The former two are searching for Oracle, while the latter is going after Fenice. Everything that’s done in relation to Fenice is well done and is quite intriguing, even if it was a little predictable, as it helps to add depth to Huntress’ character. Conversely, the reveal of Oracle’s identity left a lot to be desired. After all of the work put into Frankie Charles’ character in Batgirl, it was bound to be a disappointment to see anyone other than her using the name. Spoiler alert: it’s not Frankie and it is a huge disappointment. To add insult to injury, there’s a profound misunderstanding of what Oracle stands for and what that identity means to people. When it’s revealed that Oracle is not only a dude, but also an able-bodied person, it was a severe misstep in terms of acknowledging why Oracle was such a meaningful character. Regardless of whether this Oracle is meant to be a villain or even stick around very long, his placement in this book was unnecessary. The Bensons could have stuck with the Fenice plotline and it would have been just fine.

The art throughout is consistent and helps to match the often light-hearted dialogue. As such, there’s an expressiveness that each character has. I’m especially fond of seeing how Black Canary’s sass and snark is conveyed visually through her expressions. Similarly, there’s a semi-poignant sequence of panels where Batgirl is being introspective about her identity. She questions whether she is Batgirl or Oracle. It’s a standout in this collection, largely in part due to the art that accompanies it. Additionally, the action scenes are rendered really well. There’s an especially memorable sequence that features Black Canary and Huntress on motorcycles. It’s badass. My one point of contention is Huntress’ design. For one thing, her new outfit is not cute. It seems heavy and looks cobbled together (which I suppose matches Black Canary’s rather uninspired Rebirth ensemble). The cut is unflattering and the lack of a belt certainly doesn’t help matters either. There also seems to be a lack of consistency with her ethnicity, which still requires some definition given how she appears to have gone from black in the pages of Grayson to being racially ambiguous here.

Who is Oracle? truly feels like a return to form for DC’s iconic all-female team. The camaraderie that made the Birds so compelling is on full display and the level of action matches that dynamism. Overall, I enjoy the direction that Shawna and Julie Benson are going in as I feel they have a firm grasp on who these characters are. What would push this book from being pretty decent to being stellar would be if they brought Frankie Charles in as the new Oracle and if Huntress was given a bit of a makeover since what she’s wearing now doesn’t come close to matching her personality.

RATING: B

Review: Birds of Prey Volume 2 - Your Kiss Might Kill

Having been infected with a toxin by Poison Ivy, the Birds of Prey are coerced into helping her in her campaign to rid the world of the most dangerous threats to the environment. There’s just one problem – Black Canary and the others aren’t willing to sacrifice the lives of innocent humans who will be caught in the crosshairs of Ivy’s crusade.

Birds of Prey Volume 2: Your Kiss Might Kill collects Birds of Prey #8-13 and #0, written by Duane Swiercynski and illustrated by Jesus Saiz and Travel Foreman.

After an explosive opening arc, Swiercynski finally reveals Poison Ivy’s motivations for her joining the Birds of Prey. She needs their help in bringing down corporations that are poisoning the Earth as she cannot do so on her own. It’s an interesting plot as it forces the team to confront the moral implications of their actions and tests their unity as a group. It’s evident that none of them trust Ivy, but there’s a spectrum on which each of them falls. Batgirl appears to be the least trusting and instead wishes to get Batman involved, while Katana sits on the other end clearly willing to go with whatever is expected of her. These dynamics are fascinating, but sadly Swiercynski only touches upon them superficially. He doesn’t dig deep enough with these characters and their feelings. In fact, he appears to have a difficult time giving each member of the cast equal focus. Black Canary is clearly the star and Poison Ivy obviously has quite a bit to do, but Batgirl, Katana, and Starling seem to be mere accessories to the narrative.

There’s an overall sense with Your Kiss Might Kill that Swiercynski was rushed or distracted while penning this batch of issues of Birds of Prey. It begins with an insular story that deals with the aftermath of the first arc, which ends on a shocking cliffhanger regarding something that happened in Black Canary’s past. The following issue is a tie-in for Night of the Owls, which derails the entire plot and flow of this collection. It feels unnecessary and disposable. The only decent thing about it is Black Canary’s antagonistic attitude towards Batman the following issue. We get to the meat of the story with the four-part Poison Ivy arc. While still an interesting storyline, it feels like a diversion from what Swiercynski should be dealing with – the truth about and circumstances around Black Canary’s past. It’s aided very little by Travel Foreman’s art, which is ill-suited to the overall aesthetic of this series. Sadly, even the origin issue that closes this collection fails to excite or offer much insight into these characters. In it, we learn that the Birds of Prey were formed while Canary and Starling were working as enforcers for the Penguin and joined forces with Batgirl to take down an operation by Basilisk. The problem is that the issue is too brief and doesn’t dig deep into the characters’ motivations or personalities.

There are indeed aspects of Your Kiss Might Kill that I enjoy. Starling is a standout and her dialogue is consistently witty and on point. The action sequences are also all top notch, particularly in issue #8 as illustrated by the incomparable Jesus Saiz. Even still, I’m uncertain this is enough to really get readers engaged in this title. Overall, I’m left with the feeling of wanting more. I want more character development and for the characters’ personalities to shine as brightly as Starling’s. I want more substance to the stories and more attention paid to resolving dangling plot threads. As it stands, Your Kiss Might Kill reads like a middling and confused entry into the Birds’ New 52 history.

RATING: C+

Review: Batgirl Volume 3 - Mindfields

When Batgirl begins to forget pieces of her past, she discovers that a mysterious foe known as the Fugue is responsible for her memory loss. With the help of Black Canary and her friend Frankie, Batgirl must retrieve her stolen memories in order to prevent her enemy from destroying her life.

Then, after the terrorist organization Gladius returns to Gotham City with the intention of detonating a powerful bomb, Batgirl calls upon Bluebird, Spoiler, and Vixen to aid in her quest to dismantling Gladius’ operations for good.

Batgirl Volume 3: Mindfields collects Batgirl #46-52 and Batgirl: Endgame, written by Brenden Fletcher and Cameron Stewart with art by Babs Tarr, Eleanor Carlini, and Bengal.

Mindfields serves as the brilliant conclusion to Brenden Fletcher, Cameron Stewart, and Babs Tarr’s stellar run on Batgirl after they revamped the title in 2014. Its purpose is twofold – to tie-up the various plot threads established by the creative team and to introduce a new direction for the character for the next creative team. All of the Burnside era rogues return in a splashy high stakes showdown with Batgirl and her allies during the Fugue arc (and then once again to fight Gladius). It’s a really engaging read, though it admittedly feels a bit like déjà vu as it employs much of the same story elements as Gail Simone’s final arc on Batgirl. What stands above this familiarity is strong character work that unfolds over these issues and debuts new roles for the cast. Namely, Frankie becomes the tech-savvy hero Operator and Barbara launches a Gotham-based clean energy company. These are really fresh directions for both characters to take and ones that seem like organic evolutions.

Something I love about this creative team’s take on Batgirl is that they never once forget that the titular heroine has an eidetic memory. Though their references of it tend to appear in a visual manner, here they take shape in the story itself. Essentially, the plot hinges upon the question of what happens when a person with a photographic memory begins to forget large swaths of their past? The answer is both poignant and unique to Barbara Gordon. For the average person, losing a bit of our memory is natural, but for Barbara this becomes a full-blown crisis and puts her through the wringer. It’s impressive that this form of character exploration is then used as a transitionary tool to usher in the next path she’ll be taking for DC Comics’ Rebirth initiative.

Batgirl Volume 3: Mindfields was a satisfying way to end the so-called Burnside era of Batgirl. Fletcher, Stewart, and Tarr introduced a lot of great characters that had a lot of depth and interest, so it’s naturally bittersweet to be seeing Barbara bid farewell to them. The creative team pulls out all the stops by giving readers plenty of colourful villains and team-up action in a cohesive character-focused storyline. Major props should be given for Vixen snagging a guest spot and for Frankie’s promotion to hero status. Though I would have loved for this run to continue on a little longer, I’m very impressed with all of the work that went into creating such a great series. Additionally, artists Babs Tarr and Bengal deserve a rousing rounding of applause for their contributions. Their artwork created a distinct aesthetic for this run that gave it that little extra something special.

RATING: A-

Review: Batman Eternal Volume 3

Having captured Hush, Batman realizes that Gotham City's recent misfortunes have been orchestrated by another mastermind. As Gotham's mysterious antagonist nears his endgame, Batman must rely on rookie hero Bluebird and the rest of the Family to defeat his foe and return order to the city.

Batman Eternal Volume 3 collects Batman Eternal #35-52, conceived by Scott Snyder and James Tynion IV and with scripts by Tynion IV, Tim Seeley, Ray Fawkes, and Kyle Higgins.

In many ways, the concluding handful of Batman Eternal's issues is reminiscent of the iconic Knightfall storyline. Batman's most iconic enemies have been released from Arkham Asylum and are wreaking havoc on Gotham City as part of a mysterious mastermind's plan to defeat and humiliate Batman. What helps to set Batman Eternal apart is its utilization of the Batman Family, which goes to show how far Batman has come in his ability to trust others. As a result of this, we get to see some really great showdowns between the Batman Family and the rogues of Gotham. As a Batgirl fan, I'm especially happy about the fact that the male members of the Batman Family require help taking down their targets whereas Batgirl is able to do so solo. She's just that good. Beyond that, what makes the conclusion of Batman Eternal so memorable and distinct is its double twists during the reveal of the true mastermind behind all of Gotham City's tragedies. The revelation is absolutely brilliant as it really is a character that no one would have suspected, thus providing an unpredictable ending to what would otherwise be a fairly standard Batman story arc.

In my review of the previous volume in this series, I detailed my affection for the character development that became central to the narrative once the convoluted subplots were resolved. This collection continues this trend in spades. By this point, Catwoman has fully taken control of Gotham City as its new kingpin and she rather hilariously had Killer Croc as her enforcer. As I've said before, it's a really smart move for her character and it opens up a lot of great avenues for her to grow. What is also great about this is that it alters her dynamic with Batman and maintains an edge her character had been losing. Another standout character is Harper Row, who finally makes her debut as the vigilante Bluebird. Decked out in one of the coolest costumes we've seen in the 2010s, she makes quite the impression as she helps to rescue Spoiler from Catwoman and aids in the defeat of the Mad Hatter and Mister Freeze. Of course, what I like best is the interactions she has with the other characters. From her flirtations with Red Robin to her friendly rivalry with Spoiler, she comes across as a multi-dimensional character who fits in remarkably well within the Batman Family. Needless to say, she's an excellent edition to their team.

There's very little to nitpick about Batman Eternal Volume 3. The payoff that the conclusions offers us far outweighs the messy subplots that dragged down the quality of the first volume in this series. This collection shows how a storyline can build and improve despite having a weak foundation. The personalities and decisions made in this volume are all on point, particularly with standouts like Catwoman, Spoiler, and Bluebird. The ultimate reveal is really great and the writers manage to pull off at least a couple twists that will leave any reader impressed. While the art of this trade is handled by a rotating assortment of artists, it's much higher in quality. Of those who contributed pencils to this volume, Joe Quinones, David Lafuente, and Juan Ferreyra are my favourites due to their colourful and dynamic styles that offer a kinetic energy to the narrative and characters. Overall, Batman Eternal is worthy of being regarded as a great storyline in spite of its faults and should be read by any fan of Gotham City's Dark Knight and his costumed allies.

RATING: B+

Review: Batman Eternal Volume 2

With Jim Gordon behind bars and Alfred Pennyworth recovering from an injury, Batman must enlist the aid of SAS operative Julia Pennyworth to track down the villain Hush. Meanwhile, Spoiler continues her crusade against her father Cluemaster and Catwoman is targeted by the gang lord Louis Ferryman after she interferes with his operations.

Batman Eternal Volume 2 collects Batman Eternal #22-34, conceived by Scott Snyder and James Tynion IV. It features scripts by James Tynion IV, Ray Fawkes, Tim Seeley, and Kyle Higgins, with art by such artists as Fernando Pasarin, Jason Fabok, and Dustin Nguyen.

Just as with the previous collection, volume two of Batman Eternal is densely plotted with an oversized cast and numerous subplots. Thankfully, it's been refocused to concentrate on three central narratives - Batman's pursuit of Hush, Spoiler's actions against her father, and Catwoman's involvement with Gotham's criminal underworld. However, it does also tie up the loose ends of plots from the previous collection as well. 

Of the primary storylines presented here, the bulk of the action is concerned with Batman and Julia's burgeoning partnership as they work in unison to uncover the truth about the recent events in Gotham City. Batman believes it to be the work of his old foe Hush, which leads him on a hunt across the city. The most engaging aspect to this narrative is the dynamic between Batman and Julia, as well as the overall development of her character. As an operative of SAS, she's used to working in the field and seems out of place working behind the computers in the Batcave. Even still, her ability to adapt and fill the role her father once filled is quite remarkable. Similarly, there's quite a bit of development done with Catwoman as well. The purpose of her inclusion in this particular chunk of Batman Eternal is to shift her character from independent thief to queen of Gotham's underworld. It's a bold new direction for the Feline Fatale that works really well and that I find to be absolutely brilliant. 

While the story has been streamlined, the art in this collection is inconsistent. Since Batman Eternal employs a variety of artists to provide the pencils for the series, it creates an uneven tone that lacks a uniform aesthetic. There's a lot of lacklustre art, particularly early on, that is muddy and lacks dynamism. However, there are some artists whose work stands out tremendously. Javier Garron, Meghan Hetrick, and Jason Fabok all contribute memorable art that shows just how magnetic the series could be visually.

Batman Eternal Volume 2 is an improvement over the previous collection, which was admittedly quite stuffed. The emphasis placed on character development is refreshing from the more action-oriented issues that preceded this volume. The storylines presented here are still quite involved and requires a working knowledge of the Batman mythos, especially since there are some lesser known characters who appear here. Fans of Spoiler and Catwoman are sure to enjoy this trade, though those who enjoyed Jeph Loeb and Jim Lee's Hush are likely to find this to be an unfavourable rehash of it.

RATING: B-

Review: Batgirl Volume 2 - Family Business

Tasked with solving Gotham City's vigilante problem, Jim Gordon (as the new Batman) begrudgingly sets his sights on apprehending Batgirl. This proves to be a major inconvenience for Burnside's fearless defender as he begins hindering Batgirl's pursuit of the recently escaped Livewire. Then, Batgirl must deal with a series of mysterious tiger attacks on some of the city's most prominent tech firms.

Batgirl Volume 2: Family Business collects Batgirl #41-45, DC Sneak Peek: Batgirl #1, and Batgirl Annual #3, written by Cameron Stewart and Brendan Fletcher with art by Babs Tarr.

Family Business is an energetic continuation of the revamped Batgirl series set in Gotham City's trendy Burnside neighbourhood. This collection brings it with colourful villains and guest stars galore. It begins with Batgirl's conflict with her father in his new mantle as Batman and focuses on their subsequent team-up to bring down Livewire. These issues are frenzied and colourful, with plenty of action and gorgeous art done by Babs Tarr. Liveware's inclusion feels like a throwback to The New Batman Adventures episode "Girl's Night Out." She's a character who visually and thematically works as a villain for Batgirl and would be a welcome addition to Batgirl's relatively modest rogue's gallery. The latter half of the book focuses on Batgirl's investigation of a series of tiger attacks led by a Catwoman/Cheetah knock-off named the Velvet Tiger. Despite its somewhat uninspired villain, these issues feature Batgirl doing some fantastic detective work and highlight how effective she is as a hero.

The action in Family Business is undeniably engaging. We get to see Batgirl team up with the likes of Spoiler and Batwoman, while also flexing her own investigative muscles. What is even more remarkable though is the character work that Stewart and Fletcher lay down over the course of the issues collected in this trade. Amidst the insanity of Barbara's career as Batgirl, we see her take on the role of maid of honour when her best friend Alysia becomes engaged. Through this subplot, the writers explore how difficult it is to be a good friend and perform normal tasks when you live a double life. It's a nice little glimpse into how Barbara is as a friend and her loyalty throughout is endearing. There's also a subplot involving Frankie Charles' evolution from a supporting civilian character into a hero in her own right. There are several really cool hints at her becoming Oracle as she involves herself actively in Batgirl's investigations and begins using her impressive technological skills to help. Batgirl's reluctance to accept Frankie's help, largely out of concern, add depth to this ongoing development. Finally, Stewart and Fletcher indulge in a little matchmaking as they give Batgirl a new boyfriend in the form of Luke Fox (AKA Batwing). He's a really great match for her and the two have palpable chemistry. Even still, there's the added complication of Dick Grayson, who just can't seem to keep himself out of Babs' life for too long. I appreciate the exchange Stewart and Fletcher write for the pair when they're forced to confront the fact that Babs is now dating someone new. It's a standout scene that is reminiscent of one Gail Simone wrote during her tenure on the book as it solidifies Babs' need for independence and freedom from the drama that follows her relationship with Dick. It also gives the writers the opportunity to orient readers towards her new beau and accept that change is sometimes necessary.

Family Business is enjoyable from beginning to end. The dialogue is snappy and the character development is consistent throughout. The art is almost always on point, with Babs Tarr and Bengal being the major aesthetic innovators in this collection. Their art is dynamic, distinct, and has a youthful flare that visually distinguishes this book from most other traditional superhero titles. Stewart, Fletcher, and Tarr's Batgirl is light-hearted and is far more concerned with the interpersonal relationships of its cast than on superhero antics. For some, this may be a drawback. Aside from Livewire, this series hasn't had any memorable villains under their tenure and the action is always quite brief. From my perspective, it's a welcome change and it's just a whole lot of fun. It brings a kinetic energy and youthfulness back to the character, while also giving readers a really fantastic supporting cast we can become attached to.

RATING: A-

Review: Batgirl Volume 1 - The Batgirl of Burnside

Having moved to the trendy Burnside, Barbara Gordon must start anew after a fire destroys her Batgirl equipment. With a new roommate, new costume and a new enemy, the scarlet-haired vigilante finds fame in her new surroundings and embraces her role as the beloved heroine of Burnside. However, when the citizens begin to turn against her after a motorcycle chase gone wrong, it becomes clear that fame might not be all it was cracked up to be. Welcome to Burnside Batgirl, we hope you survive the experience.

 Batgirl Volume 1: The Batgirl of Burnside collects Batgirl #35-40, written by Brenden Fletcher and Cameron Stewart with art by Babs Tarr.

It’s been no secret that I absolutely adored Gail Simone’s run on Batgirl during the New 52 initiative. She breathed new life into the character, tackled some heavy issues and created a colourful cast that I came to adore. When it was announced that she’d be leaving the title and a new creative team would be taking over, it became clear that the book would undergo a massive makeover that was intended to bring more of a lighthearted and accessible feel to the title. The art in particular emphasized a hipper and much more colourful aesthetic. It was an understandable and even admirable decision to make given the criticisms that had been heaped upon DC Comics for being too dark and gritty. Though much was gained in this process, there were also great losses. The supporting cast that Simone had so carefully cultivated was axed and the reader was now thrown into the often superficial world of college and social media. Indeed, the first few pages of issue 35 are tough to get through. The slang and dependence on forcing the title to be relevant to Millennials left me with an overall sense of a dumbing down of the series. Thankfully, that feeling would not stay with me.

There hadn’t been this big of a tonal shift on a female character at DC Comics since Ed Brubaker and the late Darwyn Cooke reinvented Catwoman for her 2001 relaunch. Much like with Brubaker and Cooke’s beloved turn on the feline fatale’s title, The Batgirl of Burnside proves that a strong creative team can transform and elevate a comic book into something truly special. There is an insane synergy between Fletcher, Stewart and Tarr here that is actually quite magical. From a strictly aesthetic standpoint, I absolutely love what they’ve been able to do with this book. They’ve made Batgirl into something that marries writing and art. The rough layouts Stewart provides and the gorgeous pencils that Tarr lays down are brilliant. For example, the use of the visual recreations of Barbara’s memories is an absolutely genius device for a character with eidetic memory. Tarr also does an impeccable job of distinguishing each character from one another. Her style is gorgeous and I’m in constant awe of each page. Her take on Black Canary in particular is especially stunning.

The other thing Batgirl has with Brubaker’s Catwoman is its distinctive ability to build a world for its lead character that gives her a purpose and an identity. Of course, unlike the poverty-stricken East End setting in Catwoman, Batgirl’s Burnside is a trendy borough of Gotham City populated by college students and party-minded twenty-somethings. Technology, education and social media all play crucial roles in the makeup of Burnside and its inhabitants, which does a fairly adequate job of mirroring our own world. Though I was gutted by the removal of Alysia from the supporting cast, I was overjoyed by the diverse group of characters that was brought in to fill that void. Frankie is Babs’ stylish roommate who works as a developer for a dating app called Hooq, Nadimah is a fellow student helping Babs with her thesis and Nadimah’s brother Qadir becomes Batgirl’s equipment provider. I fell for each one, particularly since they were all very distinctive and thoughtfully conceived characters that served a purpose to the overall narrative. That said, I do feel Black Canary was misused throughout. She seemed out of character, sulking and being antagonistic towards Babs for much of this collection. The Black Canary I know, at least the one written by Gail Simone, would never harbor a grudge as long as she does here.

The overall narrative structure of The Batgirl of Burnside is extremely solid. The story itself revolves around Barbara’s move to Burnside and the mysterious presence of someone’s knowledge of her exploits as Batgirl. Over the course of each individual issue, she faces off against some heavily stylized (but ultimately amateurish) bad guys who are all part of some larger plan by her unseen foe. Meanwhile, Babs struggles to recover an algorithm she lost that was necessary for her schoolwork and must mend her relationship with Black Canary after it becomes frayed. As such, there’s a sense of direction and purpose to the book. It’s well-done and the issues themselves are very engaging.

I greatly enjoyed The Batgirl of Burnside. Though it was a sharp turn away from the world Gail Simone had built for the character, it was still entertaining and makes great strides in proving that DC Comics isn’t all doom and gloom. Despite OOC moments from Black Canary and slight issues with dialogue here and there, the creative team on this book is simply sensational. The characters are loveable, the setting is distinctive, the tone of the book is consistent and the art is jaw-droppingly beautiful. For fans of Bryan Q. Miller’s Batgirl, this book will capture the excitement and youthful exuberance that Batgirl represented while Stephanie Brown was under the cape and cowl.

RATING: A- 

Review: Birds of Prey Volume 1 - Trouble In Mind

Having uncovered a secret web of sleeper agents under the control of a man known only as Choke, Black Canary assembles an elite special ops team to free them from his command. Her ragtag group of would-be heroines must overcome internal strife in order to defeat this unseen menace.

Birds of Prey Volume 1: Trouble In Mind collects Birds of Prey issues 1-7, written by Duane Swierczynski and illustrated by Jesus Saiz.

Out of all the launch titles from DC Comics’ New 52 relaunch, Birds of Prey was one of the riskiest and most unique. Following on the heels of Gail Simone’s short-lived return to the team Post-Brightest Day, writer Swiercynski did everything right in his reinvention of the Birds. Rather than use the same cast from Simone’s fan-favourite runs on the group, he opted for a far more unusual roster consisting of Black Canary (a must for any Birds team), the sword-swinging Katana, new heroine Starling, and villainess Poison Ivy. These four have an electric chemistry and aesthetic that pops off the page, which is largely due to Swiercynski’s memorable dialogue and Saiz’s gorgeous artwork.

One of the most interesting aspects to Swiercynski’s Birds is the shift in the dynamic of the concept of the team when Oracle is removed from the equation. Without the computer savvy hacker backing them, the Birds become more active protagonists who are constantly thinking and reacting. Black Canary is now the de facto leader and, as such, does a whole lot more detective work than the Pre-Flashpoint character had done while working with Oracle. In other words, she’s not just the muscle anymore – she’s the brains of the operation. The other characters on the team similarly fill distinctive roles. Starling is the fast-talking, impulsive sharpshooter, Katana is the silent warrior, and Poison Ivy is the not to be trusted wild card. These character types work incredibly well together, particularly when tossed into the high stakes world of espionage and anti-terrorism. The tension is heightened and it allows you to become more invested in the story because the characters are so layered.

Of all the characters present in this collection, none stands out quite as much as Starling. She’s an absolute riot as the edgy gun-slinging Rockabilly badass of the group. Her quippy dialogue peppers the story quite well, particularly due to her penchant for mocking Poison Ivy and sarcasm towards Katana talking to her sword. Beyond the humour, there’s also a really beautiful friendship between her and Black Canary that ultimately becomes the nucleus around which everything else builds upon. This is extremely important as Birds of Prey, above all else, has always been about the importance of friendship. Canary and Starling’s friendship fills this niche rather well, which thankfully shows Swiercynski’s understanding of what makes Birds of Prey such a fan-favourite concept.

Jesus Saiz’s art is a major draw for this title. His illustrations paired with Swiercynski’s dialogue are a match made in heaven. I absolutely loved Saiz’s art on the acclaimed Manhunter series written by Marc Andreyko and I love it just as much in this collection. It’s sharp, it’s colourful and it’s stylish. He draws each character so distinctively, perhaps moreso than he’d done in Manhunter. His Canary is absolutely gorgeous and his Starling always appears super sassy, but it’s his Poison Ivy that leaps off the page. He draws her New 52 look like a master, making her appear as this vaguely otherworldly creature. Additionally, his action and splash pages are something to behold. For example, the opening scene from the first issue where Starling crashes through a church is forever seared in my mind. He really knows how to stage and choreograph a fight on a page, allowing the characters just the right amount of space in a panel and draws it in a way that is pure, unfiltered storytelling. Of course, it certainly helps that Swiercynski’s minimalist writing style (i.e. not cluttering pages with verbose dialogue and narrative) gives him the room to really tell the story visually.

At its core, Birds of Prey Volume 1: Trouble In Mind is a riotous wild ride. The titular team must stop Choke from activating his unwitting suicide bombers, while learning to trust one another in the process. This book features amazing dialogue and stunning artwork, perhaps some of the best from DC Comics’ New 52. For fans of action, espionage and/or female-led comics, this is a must-read trade. It’s exciting, engrossing and features some of the most distinctive characters circa 2011.

RATING: A-

Review: Batman Eternal Volume 1

After cornering a criminal in the train tunnels beneath Gotham City, Commissioner Gordon appears to shoot the unarmed man. Now stripped of his rank and facing a criminal trial, Gordon is sent to Blackgate. It’s up to the Dark Knight and the newly transferred Police Lieutenant Jason Bard to prove Gordon’s innocence. Meanwhile, a turf war is brewing between Penguin and the mobster Carmine Falcone.

Batman Eternal Volume 1 collects Batman: Eternal #1-21, written by Scott Snyder, James Tynion IV, Ray Fawkes, Tim Seeley and John Layman.

Batman: Eternal is an expansive series with an impressively large cast, which makes it feel like a modern update on the classic Batman Family series from the 1970s mixed with Gotham Central. It’s a title that is complex and focuses on the interwoven narratives of the most iconic Gotham City-based characters. From Spoiler to Red Hood, just about every fan-favourite Gothamite shows up and contributes a little something to the story. This is both a pro and a con. It’s great because you’re getting to see a wide range of diverse characters in one place, but is disappointing because some feel misused or fail to contribute anything substantial to the narrative. An example of this would be Catwoman. She shows up early on and is featured rather prominently in the first quarter of the story, but disappears for the rest. Something similar can be said for Spoiler. Eternal was hotly anticipated for re-introducing her to the DC Universe, but her origins are shoehorned into the book and a lot of time passes between the scenes featuring the character.

The narrative quality of Batman: Eternal is varied. There’s a lot to love, but just as much to dislike. My biggest issue was the overabundance of subplots, which also ties into the massive cast. The main plot seems to be that of Commissioner Gordon’s unjust imprisonment and the investigation to prove his innocence. This includes Batman’s alliance with Jason Bard, as well as Batgirl going rogue and being intercepted by Batwoman and Red Hood while following a lead in South America. These are the two most noteworthy and character building plots. In fact, the scenes with Batgirl and her allies are perhaps my favourite. Red Hood’s explanation of Batgirl’s motives shows tremendous depth for both characters, as do the exchanges he has with her after she turns against him. 

Then there’s Falcone and Penguin’s turf war, Red Robin’s trip to Japan, the origins of fan-favourite Spoiler, Alfred tending to his injured daughter Julia, and Batwing’s team-up with Jim Corrigan to investigate the underground. Some of these subplots are better than others, but for the most part they all feel unnecessary. While it’s evident that each one is hinting at something bigger to come, there’s zero pay off due to a lackluster cliffhanger. If you don’t give your readers some sense of closure or direction after having them read 21 issues of a series, then why should they keep reading?

Batman: Eternal is at its core a companion series to Scott Snyder’s run on Batman. There are many moments of brilliance, but these are often dimmed by a meandering narrative that goes nowhere for over 20 issues. Overall, the quality of the dialogue is above average and the potpourri of art styles functions quite well for this type of vignette-style storytelling. This book is a mixed bag. For fans of Stephanie Brown, it serves as her much awaited return to comics. Sadly, you have to drudge through a bunch of other stories to even get to it. The same can be said for just about every character or plot. I really want to like Batman: Eternal because it features a lot of characters I love and many of the storylines have potential. Unfortunately, the execution is messy and by the end of the first volume I had to wrack my brain to even remember every subplot. If you’re intending to pick this one up, be ready to take notes so you can keep track of everything.

RATING: C+