Birds of Prey: The Battle Within

Oracle sends Black Canary and Huntress on a series of missions to apprehend vigilantes who have crossed the line. First, they must contend with a teenage mage who is picking off criminals in her neighbourhood. Then, they venture to a backwoods town where a mysterious vigilante known as Harvest is meting out punishment against men who have evaded justice for their past crimes. Lastly, they investigate the murder of a metahuman gang member allegedly killed by the disturbed Thorn.

Birds of Prey: The Battle Within collects Birds of Prey #76-85, written by Gail Simone and illustrated by Ed Benes, Tom Derenick, and Joe Bennett.

The Battle Within contains two arcs. The first, “Hero Hunters,” features Black Canary and Huntress investigating morally corrupt vigilantes Black Alice, Harvest, and Thorn for their alleged involvement in criminal activity. Within this first arc, writer Gail Simone plays with genres and continues to push her characters to their limits. Black Alice’s introductory issue presents itself like a magic-themed teen drama a la The Craft, the Harvest issues are horror-tinged and read like an homage to Jeepers Creepers, and the Thorn investigation is gritty and noir-esque as it deals with a corrupt police force. Beyond the entertainment factor, I love that Simone uses this trio of stories as a means of having Huntress reflect on her past and reputation as one of the most infamously unorthodox vigilantes. She also uses it to create a rift between two characters, which leads to a rather explosive exchange.

The second arc, “The Battle Within,” sees Black Canary venturing to Singapore with Wildcat in order to orchestrate the takedown of a major drug running organization. Meanwhile, Huntress is acting independently to destroy Gotham’s mob scene from the inside out and Oracle is battling a cybernetic infection brought on by her past encounter with Brainiac. It’s very much a quintessential Birds of Prey storyline involving international intrigue and plenty of action. In addition to taking on a drug lord, Black Canary must face off against the Twelve Brothers of Silk, a band of martial artists whose abilities could very well rival those of Lady Shiva. It’s a neat addition to the narrative and reminds readers of just how much of a badass Black Canary is. Of course, we also get some great character moments as well. The dynamic between Black Canary and Wildcat is really fun. As her unofficial uncle, Wildcat fills the role of father figure without being portrayed as overprotective. He trusts her and allows her to be in charge. We also get some poignant scenes between Black Canary and Oracle while the former battles her Brainiac-induced illness. These exchanges are always very important and help to showcase what makes Birds of Prey such a special comic. It’s a reminder that their sisterhood is at the centre of all the hacking and Canary Cries.

Ed Benes returns to pencil some of the issues in this collection. He handles the art chores on the Black Alice and Thorn issues in the “Hero Hunters” arc. As mentioned in my previous reviews, I enjoy his artwork and feel it suits the series well. Tom Derenick provides the art for the Harvest issues in “Hero Hunters.” Sandwiched between Benes’ work, Derenick’s art comes across looking lazy and uninspired. It’s passable, but the characters are mostly unattractive and lack distinction. Their anatomy is also wonky, but not even in a way that feels deliberately stylized. Joe Bennett takes over the reins for the rest of the issues in this trade. While his art isn’t quite as electric as Benes’, it pairs well with Simone’s writing. He particularly excels in scenes that require a bit of comedic flare and he really injects a lot of vitality into Black Canary while drawing her.

From a purely biased perspective, Birds of Prey: The Battle Within holds a special place in my heart. It was one of the first Birds trades I owned and I’ve re-read it countless times. I really appreciate the way that Gail Simone employs a variety of genres to tell her stories. I love that she’s not afraid to go a bit dark, but always manages to find the funny when tension needs to be broken. The Harvest and Thorn issues are especially memorable to me, as are the scenes of Black Canary and Wildcat in Singapore. While the art varies in quality, the writing remains top notch and it really highlights why Birds of Prey is such a seminal comic book series.

RATING: A-

Review - Birds of Prey: Between Dark & Dawn

After three teenagers commit suicide while dressed as fallen superheroes, Oracle sends Huntress to investigate a religious cult that they were affiliated with. The crossbow wielding vigilante soon learns that the cult’s followers are under mind control, including a group of powerful metahumans that are unleashed on her to prevent her from leaving the compound. Huntress must use her wits and resources to break them free from their psychic bondage in order to survive.

Birds of Prey: Between Dark & Dawn collects Birds of Prey #69-75, written by Gail Simone and illustrated by Ron Adrian, Ed Benes, Eric Battle, Jim Fern, and Eduardo Barreto.

Between Dark & Dawn is a Huntress-centric arc that focuses on her first official solo mission for Oracle. It’s an admittedly twisted and dark storyline, further enhanced by moody artwork, which sees Huntress infiltrating a religious cult known as Second Heaven. Its leader, Mr. Brusaw, has instilled the belief that metahumans are angels and demons in his followers. Huntress’ objective is to prove Second Heaven’s role in the suicides of three of its followers, but she may not live long enough to do so as Mr. Brusaw tasks one of his superpowered charges with eliminating her. Given the setting and the use of a religious cult as the primary antagonist of this arc, Gail Simone employs a lot of intriguing themes that pair well with Huntress. Faith is integral to the overall storyline, with Simone smartly contrasting religious zealotry (Second Heaven) with religious antipathy (Huntress). As someone who was raised Catholic and subsequently turned her back on God, Huntress’ placement within a setting of religious extremism is truly riveting as it forces her to confront her beliefs. Simone also touches upon the unique vulnerability of teenagers and how easily they can be preyed upon during their formative years by authority figures. Though it’s not as fleshed out as I’d have preferred it to be, this aspect to the narrative is crucial and actually makes the case personal for Huntress (she is a teacher, after all!).

The dialogue, as should be expected from something written by Gail Simone, is impeccable. The thing that struck me with this arc in particular was just how funny Huntress is. Her sarcasm and penchant for throwing shade practically challenges the reader not to laugh out loud. What I love even more than that is that she meets her match in the storyline’s special guest star – Vixen. The pair trades some playful jabs and it’s quite entertaining. It’s a bit catty, but it’s done in a very light-hearted way. On the subject of humour, there are a couple instances where Black Canary pokes fun at Batman. They’re small and seemingly disposable, but it helps to emphasize her personality and illustrates how little she buys into the mythologizing of him as a hero. There are other great character building moments, particularly in relation to the subplot regarding Oracle being affected by a malicious force after hacking into Second Heaven’s website. She experiences an intense seizure and then begins acting strange once she’s recovered from it. During this time, we see Canary step out of her role as Oracle’s comedic foil and into big sister mode. We know that she’s an excellent caretaker and as someone who is incredibly empathetic, but it helps to emphasize just how deep and meaningful her friendship to Oracle is. It’s poignant and adds a touch of humanity to all the action.

Artists Ron Adrian and Ed Benes are the primary contributors to the issues collected in this trade. Adrian’s art style attempts to mimic Benes’, likely in order to maintain a sense of consistency across the arc. As such, you can bet that the action is full of energy and the characters are all gorgeous. However, Adrian does struggle to keep the work uniform. At times, the characters faces look a bit off and the Benes-esque aspects drop away to show something a bit more generic. The issues that Benes illustrates show a slight shift in his work. His anatomy has improved, but the lines are heavier and sketchier. Still, I’m really drawn in by his art. There’s a sequence in issue 75 that I find really evocative. It opens with Canary and Huntress consoling Oracle as she gazes upon the ruins of the Clocktower (it was destroyed outside of this series in the massive Batman event War Games). It’s pretty much devoid of dialogue and relies upon Benes’ ability to really convey the sense of grief and mourning through the body language of these characters. Eric Battle and Jim Fern also contribute art, but I’m not what you’d call a fan of their output. Eduardo Barreto pencils a Lady Blackhawk vignette that serves as a bit of a prequel to the events of issue 75. His art is more typical of the genre, but it suits the narrative since it’s centered on a character like Lady Blackhawk.

As a fan of Huntress and as someone who loves Vixen, Birds of Prey: Between Dark & Dawn was a really enthralling read for me. I thoroughly enjoyed the dynamic between Huntress and Vixen, so much so that I wish there were more team-ups between them. The set-up and overall thrust of the story is pretty standard (going undercover at a cult), but writer Gail Simone puts a neat superhero twist to it and makes the story relevant to its lead protagonist. The two standalone issues that proceed the primary arc serve to wrap up loose ends and do so effectively, particularly with issue 75. It begins amidst the aftermath of a major crossover and pivots that into a new beginning for the characters. Between Dark & Dawn is an excellent collection that I recommend highly. It’s not quite as suspenseful as Of Like Minds or as epic as Sensei & Student, but it’s an impressive arc nonetheless.

RATING: A-

Review - Birds of Prey: Sensei & Student

Black Canary and master assassin Lady Shiva travel to Hong Kong to visit their ailing martial arts teacher. When he and his students are abruptly poisoned, the clues lead the pair to the venomous villain Cheshire. She claims she’s being framed by an American senator that she’s determined to eliminate, which prompts Canary and Shiva to investigate the veracity of her claims. Then, Oracle is seemingly kidnapped by government agents on charges of terrorism. With Canary out of the country, it’s up to Huntress to find and rescue Oracle.

Birds of Prey: Sensei & Student collects Birds of Prey #62-68, written by Gail Simone and illustrated by Ed Benes, Cliff Richards, Michael Golden, and Joe Bennett.

Sensei & Student is one of my all-time favourite comic book storylines and is one that I’ve re-read many times over. Writer Gail Simone and artist Ed Benes take us to the colourful streets of Hong Kong, where Black Canary and Lady Shiva form an unlikely alliance in order to locate Cheshire. Though they’re reluctant to believe that she’s innocent, they allow her to lead them towards the evidence that will allegedly absolve her of the crime. Meanwhile, Oracle is held captive by individuals claiming to be with the US government. She’s one of nine women they’ve kidnapped in an attempt to determine the true identity of Oracle. Without her usual partner to help her out, everyone’s favourite redheaded hacker has to rely on Huntress to save her. As with most of her work, Simone blends together seemingly disparate genres to craft an action-packed story that’s filled with intrigue and plenty of interesting twists. She’s gives us a bit of Hong Kong action cinema mixed with political thriller and a bit of film noir. It’s beautifully layered and quite brilliant.

As with Of Like Minds, there’s a dynamic energy to how Simone portrays her characters. She’s truly one of the best in the industry when it comes to character building and writing dialogue that sparks to life. I love the way her characters interact, especially in this arc. The relationship that Canary and Shiva has is absolutely riveting to me. They’re positioned in the story as seemingly two opposites –one is an apprentice and hero who cherishes life, the other is a master assassin who dishes out death like a grandma gives out Werther’s Originals. Despite this, they’ve managed to form a sort of kinship through their shared grief over the loss of their former mentor. It’s very poignant and helps the reader to see Shiva as a three-dimensional character, which is admirable since most other writers portray her as a stereotypical dragon lady. Shiva is actually my favourite character from this arc. I find it really neat that Simone is able to add a comic element to her character without actually making her funny and I’m obsessed with just how much of a boss she is overall. You really don’t want to mess with this woman. Of course, there’s no shortage of great women worth rooting for and laughing with. Oracle shows off just how resourceful she is, Huntress comes to the table with bravery and some fantastic quips, and Black Canary remains as clever as ever. We even get some cameos from Catwoman, Katana, and Cindy Reynolds. With that said, there’s some uncomfortable dialogue in issue 68. Oracle and Canary both make mean-spirited comments that come across as judgmental towards Huntress’ sexual activities. Though both characters later acknowledge that they’re being harsh and unfair, the fact that they use her penchant for casual sex as a weapon to chastise Huntress is not a good look for either character.

Ed Benes continues to excel as Simone’s partner in crime with this arc. He pencils the majority of the issues collected here, which contributes a lot of vitality to the story. It’s really neat to see how his compositions help affect the overall tone, especially when it comes to adding humour or heightening drama. There’s a sequence on an airplane that’s fairly memorable, as well as a bar brawl that takes place early on in the arc. Part of what makes these sequences so memorable is how he uses Shiva’s expressions and body language to both convey how badass she is, as well as get a little comedy out of it. Truthfully, I’m really fond of his Shiva. She’s very striking visually due to her sternness. Of course, it wouldn’t be Benes without a bit of cheesecake. There’s a rather gratuitous sequence where Canary and Cheshire duke it out in a pool while the latter is wearing a flimsy nightie. Its inclusion is odd and quite jarring. Benes is aided by Cliff Richards in some issues. Richards drew Oracle’s abduction and interrogation scenes. They’re pretty standard and don’t quite match the energy of Benes’ panels. Michael Golden provides the art for the flashback issue (66). Ordinarily I’d criticize the style, but it suits the tone of the issue. It’s set in the past and is stylized as if it were taken place sometime within the ‘40s or early ‘50s. It’s not quite as polished as the art in the other issues and has a slight muddy quality to it, but it really works in its favour. My one issue is that I wish that the scenes set in the present that bookend the issue had been done by Benes. The final issue in this collection is done by Joe Bennett. His style differs from Benes’, but still pairs well with the story. It’s an epilogue of sorts that deals with Huntress’ date with a parking attendant, as well as Canary sparring with Wonder Woman to work through her issues with Huntress joining the team and Oracle getting some advice from her father. It’s a quiet issue that requires Bennett to get creative with drawing the reader in via expressive character interactions and some low-stakes sparring. Overall, I quite like his style.

Birds of Prey: Sensei & Student is an absolute must-read. From its art to its punchy dialogue, it’s an engaging arc that challenges its characters on many levels. There’s some really intriguing interpersonal drama between the series’ heroines, which helps to show us that they’re far from perfect. Writer Gail Simone also engages with morality, particularly with whether murder is ever justified. Even on a superficial level of action, this arc delivers that in spades. Honestly, Sensei & Student perfectly illustrates why Birds of Prey is so frequently cited as a gateway comic. Gorgeous art? Check! Dynamic character interactions? Check! A twisty, turny plot? Check! Action galore? Check!

RATING: A+

Review - Birds of Prey: Of Like Minds

When Black Canary is kidnapped during a mission gone awry, she is used as leverage in an attempt to get Oracle to divulge one of the most precious secrets in the world. Canary’s captor – the handsome yet dangerous Savant – wants the hacker supreme to tell him what Batman’s true identity is or he will kill her partner. With time running out and Savant’s patience wearing thin, Oracle enlists the help of the unpredictable Huntress to find and rescue Black Canary before she is executed.

Birds of Prey: Of Like Minds collects Birds of Prey #56-61, written by Gail Simone and illustrated by Ed Benes.

As the introductory arc to Gail Simone’s seminal run on Birds of Prey, Of Like Minds is a tense and tightly crafted story that is entirely character-driven. It begins with Black Canary in the middle of a mission. After Oracle gains intel that a CEO is intending to cheat his employees out of their retirement funds, she assigns Black Canary to scare him straight. Everything appears to go well until the target goes home and sends suicidal messages to Oracle. Before Oracle can talk him down, Black Canary goes to his house to intervene. When she arrives, she discovers that the whole thing was a set-up. She is attacked by the criminal Savant and his assistant Creote, then held hostage at another location. This initiates an anxious tête-à-tête between Savant and Oracle as the pair negotiate for what they want – Batman’s secret identity and Canary’s safe release, respectively. Unwilling to give away such an important secret, Oracle recruits Huntress to save Canary from Savant’s clutches.

Despite the simple set-up, this story arc is absolutely gripping. Simone has such a firm grasp on who these characters are and teases out their personalities in a way that makes them very palpable to readers. Black Canary and Oracle are presented as near polar opposites. The former is impulsive and thinks with her heart, while the latter is methodical and incredibly rational. This causes friction, particularly in the aftermath of Canary’s capture, as Oracle fears that her partner’s rashness could get her killed. The reason this is such a riveting conflict is not simply because these characters are opposites, but because of how much they love one another. This sense of sisterhood permeates this arc (and the rest of Simone’s run) and makes Canary’s captivity that much more distressing. Of course, while the situation may be distressing, our girl Canary is never a damsel in distress. Unlike in Green Arrow: The Longbow Hunters, her kidnapping is intended as motivation for the male character. Here, Canary is actively working towards rescuing herself by manipulating her captors and slowly freeing herself from her bonds. Simone makes it very clear that Canary is not a passive victim.

While there’s a lot of strong character work done on Black Canary and Oracle (and the villain Savant), the true standout for me was Huntress. I absolutely love her voice as a character. Her dialogue drips with sarcasm and wit, while her unpredictable nature makes her an incredibly dynamic and engaging heroine. The banter between Canary and Huntress is especially hilarious. The way they playfully make fun of one another is really cute and displays a certain level of comfort between them. She isn’t all sass either. There’s a lot of heart behind her stomach-less outfit. Simone does something really neat with Huntress’ introduction that really shows the vulnerability of the character. When Oracle contacts Huntress, she’s tracking down a kidnapped baby. Oracle helps her out and Huntress successfully rescues the baby. We get an adorable scene where Huntress takes off her glove and gives it to the baby to play with. It’s a seemingly innocuous moment, but it shows her soft spot for kids. We see a lot of her tenacity as well. Huntress is not the most skilled fighter, a fact even Canary points out, but she’s unwilling to admit defeat and won’t give up until Canary is safe. She’s a boss.

Ed Benes’ art is really stunning. His characters are absolutely gorgeous – men and women alike. I like the slight anime influence to his work and the effort he puts into musculature, facial expressions, and hairstyles. He also really knows how to draw fantastic action sequences (of which there are a few rather memorable ones in this collection). In fact, his art from this arc has become so ingrained within me that those images still pop up in my head when I think of the Birds. However, his art is not without its flaws. The women all seem to have the same face, there’s some awkward perspective here and there, and there are some strange things about characters’ anatomy (Black Canary’s torso seems overly long and her waist far too thin). Aside from that, Benes’ work is also known for its cheesecake-like quality. There are a lot of butt shots and we see Canary’s derriere hanging out of her costume a little too often.

Of all the comic book runs I’ve read (and re-read!), very few fill me with joyful exuberance quite like Gail Simone’s Birds of Prey tenure. Her opening arc is clever, emotional, and filled with a lot of fantastic character moments. Simone really knows how to make you love the characters she writes by giving readers electric dialogue and relatable interpersonal interactions. Ed Benes makes for a great creative partner for Simone (despite his T&A tendencies) as his attractive and vibrant art really enhances the story. Birds of Prey: Of Like Minds is a stellar read and is an essential trade for anyone’s collection.

RATING: A

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: 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: Birds of Prey Volume 2 - The Death of Oracle

After years of being the superhero community’s 411, Oracle realizes that her visibility and prominence poses too great of a risk to herself and her allies. So, she comes up with a solution – Oracle must die! What follows is an elaborate ruse that depends entirely on the involvement of her often unpredictable foe Calculator. Will he play along? Or will the Birds get caught in the crossfire?

Birds of Prey Volume 2: The Death of Oracle collects issues #7-15 of Birds of Prey (Vol. 2), written by Gail Simone and Marc Andreyko, with art by various artists.

Following a shaky start in End Run, Gail Simone settles into familiar territory writing the characters that made her a fan-favourite. The espionage-tinged stories collected here feature the Birds doing what they do best – saving the world and kicking plenty of ass while doing it. The four-part “The Death of Oracle” helps to re-establish Oracle as the powerhouse she is. Though initially introduced as a mysterious benefactor to the superhuman community, the former Batgirl eventually became just about everyone’s personal hacker to the point where it was a farce to imagine that she had any free time. This completely diminished her cool factor, as well as her overall impact as a character. It also makes her a big target. The solution to this problem? Oracle needs to fake her death, of course.

The execution of this plan leads to many surprising twists and turns. Simone writes the characters involved with such conviction, showing them not only as capable hand-to-hand combatants but also as fantastic improvisers. Throughout the course of the story, Simone plays with the power struggle that happens between heroes and villains. The Calculator, the arc’s primary antagonist, constantly appears to be one step ahead of the Birds. He kidnaps them, leaves Canary to die while trapped in a state of mental disarray and seemingly succeeds in killing his nemesis Oracle. Even still, Simone manages to flip the script, showing that our heroines are in complete control and that everything has been pre-planned. It’s brilliant and it highlights just how incredible these characters are. What is most satisfying, however, is the fact that the whole story is a set-up for Oracle to give the superhero community the finger. After years of taking advantage of her help, she rips the crutch from under them and teaches them all a valuable lesson – be your own hero. Perhaps even more pressing is just how prophetic this story was. After all, just a few short months later Oracle was "killed off" to make room for Barbara to return to her roots as Batgirl as part of the New 52.

Simone concludes her time on the book with a Huntress-centric arc that sees her reuniting with her off-and-on love interest Catman and teaming up with the Question. “Hostile Takeover” is truly brilliant and features all the earmarks of what makes a Gail Simone-penned story so fascinating. It’s funny, witty and has plenty of electric moments between the characters. The Huntress and Question moments are so fun, in fact, that it makes me wish there could have been an ongoing starring those two. We get some great moments with Dove as well, who had been vastly underused prior to this. Simone also infuses the story with her trademark dark twists, introducing an utterly terrifying villain that leaves an imprint on the readers.

Andreyko takes over the reins for the final two issues that close out this volume of Birds of Prey. The story is filler and feels a little too familiar, but his focus on characters like Manhunter, Lady Blackhawk and the original Phantom Lady make it worth it. Like Simone, he excels at writing character interaction and he completely nails the sass these heroines are capable of dishing out. It also proves that Andreyko would have been perfectly capable of being a permanent writer for this team.

There’s not a whole lot of bad stuff to say about The Death of Oracle. Simone and Andreyko both pull out all of the stops with their writing, giving us plenty of memorable moments. Still, the art is a bit of a distraction. More specifically, how inconsistent it is. As Birds shifted into its final stretch, it became a host to rotating artists. Meaning, each issue featured a different penciler. This makes it rather jarring for the reader and makes it that much more difficult to actually be able to view this collection as one seamless narrative.

The Death of Oracle is all about new beginnings. Barbara gets a newfound lease on life without the burden of being Oracle to everyone in a cape, Black Canary has come to terms with her impending divorce and Huntress has rightfully earned her place as the field leader of the Birds of Prey. Sadly, all of these exciting developments were swept away in order to make room for the New 52. As a supporter of that particular initiative, I will admit that the loss of Gail Simone’s Birds continuity was a casualty of the New 52 that I took pretty hard. It’s still a shame that after really hitting her stride with this collection that she had to switch gears. I’m not too mad though, since she ended up penning one hell of a run on Batgirl.

RATING: A-