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 - Wonder Woman Volume 2: Year One

With the outside world in peril, Princess Diana of Themyscira must leave her island paradise to do battle against Ares as he threatens to plunge Earth into darkness. She must depend upon the help of Steve Trevor, Etta Candy, and archaeologist Barbara Ann Minerva to navigate Man’s World and overcome the God of War’s malicious influence.

Wonder Woman Volume 2: Year One collects Wonder Woman issues 2, 4, 6, 8, 10, 12 and 14, written by Greg Rucka and illustrated by Nicola Scott.

When it comes to Wonder Woman, DC’s Rebirth initiative served as a much-needed palate cleanser for the character. Greg Rucka and artist Liam Sharp got the character back on track with TheLies, while Rucka’s partnership with Nicola Scott resulted in a revised take on the iconic character’s origins. Where The Lies was about undoing the damage done to Wonder Woman during The New 52, Year One is about providing a modern and definitive origin for her. There’s just one problem – she already has one. Though it’s been 30 years since George Perez rebooted Wonder Woman’s origins following the events of Crisis on Infinite Earths, it remains a classic and is thus difficult to top.

If there’s one thing that is consistent about Year One it’s Rucka and Scott’s acute understanding of Wonder Woman. It is a character-centric arc that plots her development as a naïve princess of a hidden island to a self-assured superheroine. Diana doesn’t have all the answers and she makes mistakes, but she also has the guts and bravery necessary to save the day. In a similar vein, Barbara Ann Minerva ends up being a standout character in her role as Diana’s pseudo-mentor. She’s really the one character who helps Diana understand Man’s World and it adds a really interesting dimension to her as she’d been consistently portrayed as a near-irredeemable villain prior to Rebirth. Rucka and Scott also incorporate Diana’s patron gods into the story, even going so far as to make them crucial to the final conflict. That said, Year One never quite manages to re-capture the magic of Perez’s iconic origins. Though the character work is strong and the overall tone is engaging, it’s remarkably light on action and the stakes are not quite as high as they were in the 1987 reboot.

Year One is buoyed by Nicola Scott’s flawless art. She draws readers in with her lush, detailed pencils. In many ways, Scott falls into the same titanic camp as George Perez and Phil Jimenez with her work. I’ve long said that Scott is one of the best when it comes to drawing Wonder Woman. She understands the costuming, the body language, and the optimism of the character better than most. She’s also adept at differentiating characters from one another, which is something many comic book artists often fail to do. I especially love how striking Queen Hippolyta is. I’d also be lying if I said I didn’t appreciate the fact that she gives us copious amounts of panel time of Steve Trevor in various stages of undress. It’s a really fascinating way of subverting the male gaze by catering more to a female (and gay male) gaze. It’s brilliant.

Wonder Woman Volume 2: Year One is a commendable redo of Wonder Woman’s origins. It’s accessible and entertaining with gorgeous artwork throughout. Though it’s light on action, it has a lot of great character moments that are enough to draw readers in. There have been many creators in recent years who have tried their hand at revising Wonder Woman’s origins – some have been successful (Renae De Liz), while others have been wildly off base (Grant Morrison). Thankfully, Rucka and Scott sit comfortably in the success end of the spectrum.

RATING: B+

Review: Wonder Woman '77 Volume 1

Special agent Diana Prince is hot on the trails of a Soviet scientist. With her trusted partner Steve Trevor at her side, she must go undercover at a disco where a certain silver-clad villainess throws a wrench in her plans. Then, she must do battle with the new Cheetah and contend with a wannabe Wonder Woman.

Wonder Woman ’77 Volume 1 collects Wonder Woman ’77 #1-2, written by Marc Andreyko and illustrated by Cat Staggs, Jason Badower, Matt Haley, Drew Johnson, and more.

In the same vein as DC Comics’ Batman ’66, Wonder Woman ’77 acts as a continuation of the iconic television series starring Lynda Carter. As someone who had watched the television series long after it had finished airing, I had mixed feelings regarding its quality. I thoroughly enjoyed the first season, which was set during World War II and saw Wonder Woman facing off against Nazis, but found the second and third difficult to sit through due its inconsistent tone and unmemorable writing. The latter two seasons failed to adapt any villains from the comics, so the titular Amazon Princess faced off against generic villains in topical episodes that seemed to replicate the formula that made Charlie’s Angels a ratings juggernaut instead of focusing on what made Wonder Woman unique. With that said, Andreyko and company give readers the series we deserved all along with Wonder Woman ‘77. This first collection is ridiculously fun and is perfectly suited for fans of the show, as well as comic fans and newbies to Wonder Woman, since it really captures the essence of the character while also giving her adventures worthy of her status. Additionally, the artists working on the issues in this collection are immensely talented. They manage to gloriously capture the aesthetic of the time period and the stunning beauty of Lynda Carter.

From its very first story, Andreyko begins reimagining Wonder Woman’s rogues’ gallery to fit the tone and setting of the series. For instance, Silver Swan becomes a demented disco singer (in a fierce stage costume, I might add) serving the Soviet Union. He also introduces Cheetah as a villain outraged by a Wonder Woman exhibit at her museum and Doctor Psycho, who conjures up a faux Wonder Woman to trick the Amazon Princess into believing she is powerless. I really like Andreyko’s approach because he seamlessly introduces these characters into this world in a way that is believable and works for the era, but is somehow also timeless and would work for any time period. He also gets creativity props for doing a story with Solomon Grundy, which I felt was unexpected in a really great way.

For anyone looking for a great read, Wonder Woman ’77 Volume 1 is all kinds of fun. It never takes itself too seriously and embraces the camp that was inherent in its parent series while also doing its own thing. Marc Andreyko has a firm grasp on Wonder Woman’s character and really nails her voice. Just as importantly, he doesn’t disappoint on the villain front. He gives us Silver Swan, Cheetah, Doctor Psycho, Solomon Grundy, and a great new baddie named Celsia. Hell, we even get to see Giganta and Golden Age Cheetah! Even though the artists rotate, the art is of a high caliber throughout. This is especially important as the illusion of Lynda Carter is kept consistent from start to finish.

RATING: A-

Review: Wonder Woman Volume 1 - The Lies

Unable to return home, Wonder Woman seeks the help of an unlikely ally to get back to Themyscira. Venturing deep into the jungles of Bwunda, the Amazon Princess makes a deal with her one-time nemesis Cheetah in the hopes that she may be able to aid her in her quest. But first she must do battle against the God Urzkartaga and free Cheetah from his divine influence.

Wonder Woman Volume 1: The Lies collects Wonder Woman: Rebirth #1 and Wonder Woman #1, 3, 5, 7, 9, and 11, written by Greg Rucka and illustrated by Liam Sharp.

Superficially, The Lies reads as a deliberate retcon disguised as a storyline. It seems designed to erase the stories that preceded it from DC Comics’ The New 52 initiative, slowly washing away Azzarello and Cliff Chiang’s divisive take on Wonder Woman. On a deeper level, Rucka and Sharp are restoring Wonder Woman’s mythos to a more faithful interpretation while also keeping some of the elements that helped to modernize the character. For instance, The New 52’s controversial take on the Amazons is excised while Cheetah’s past as Wonder Woman’s friend remains intact. Rucka and Sharp are to be commended for their efforts as they have a clearer understanding of who Wonder Woman is and what a great Wonder Woman story should consist of, which contrasts their predecessors who seemed more intent on changing the character to suit the tastes of their audience. Furthermore, they have the creative talent necessary for taking what amounts to a retcon and transforming it into a well-crafted narrative.

The premise for this arc is simple enough. Wonder Woman discovers that something is amiss in her life and uses the lasso of truth on herself to figure out why only to find out that many of her memories are false. Now unable to return to Themyscira, she allies herself with Cheetah to find her way home. Along the way she does battle against a God and reunites with her former flame Steve Trevor. It’s a remarkably breezy arc that moves along at breakneck speeds, teasing out the mystery surrounding Wonder Woman’s manufactured memories in a way that keeps the reader engaged. Rucka impresses throughout, especially when it comes to the dialogue he writes for Wonder Woman. There are very few writers out there who truly “get” her and it’s thrilling to read. While there’s a lot of action in this arc, some of my favourite moments are the quieter ones. I love the exchanges between Diana and Etta, as well as the romantic interlude between Diana and Steve upon their return from Bwunda. Though I’ve never been a big fan of Steve and Etta is rarely given much to do by contemporary writers, I found myself genuinely interested in seeing more of them. The same could not be said for Cheetah and Veronica Cale. The former I felt was compromised and neutered, becoming an ally ended up diminishing why she’s such an effective villain for Wonder Woman. With Veronica Cale, it’s essentially an instance of Rucka trying to make fetch happen with her character. Wonder Woman doesn’t need her own Lex Luthor. If he was intent on having a strong, independent woman pulling the strings behind a shadowy organization, he could have gone with someone like Baroness von Gunther or Doctor Cyber.

Liam Sharp’s art really elevates The Lies and enriches the reading experience in a way that perhaps hasn’t been celebrated enough. Even without the words on the page, Sharp’s work tells a distinctive story. The way he composes his pages is cinematic and makes the reader feel as if they are watching a movie rather than reading a comic. For one thing, his settings are awe-inspiring. From the lush green jungles of Bwunda to the ominous ruins of Themyscira, there’s a richness and depth to this trade that is rarely found in comics. Sharp should also be applauded for his character work. While there are some issues with consistency, I’m sufficiently impressed by how unique everyone looks in this arc. Wonder Woman is vaguely reminiscent of Lynda Carter, Etta Candy receives a much-needed makeover, and Veronica Cale looks positively Emma Frost-ish.

Wonder Woman Volume 1: The Lies is a great jumping on point for new readers. It’s an accessible storyline that sheds the past few years of continuity in favour of re-establishing who Wonder Woman is and should be. Rucka and Sharp focus on the essential elements of the character’s mythos, trimming down her supporting cast, and giving us an engaging and straightforward narrative. It’s certain to please both new and old fans for this very reason.

RATING: A-

Review: Justice League vs. Teen Titans

After disobeying orders during a mission with the Justice League, Robin is reprimanded and sent to learn about teamwork from the Teen Titans. Though he clashes instantly with the group of teenage heroes, Robin is drawn to the enigmatic sorceress Raven. It’s through this connection that Robin is convinced to help the team as they are drawn into a battle with the demonic villain Trigon.

Justice League vs. Teen Titans is a 2016 animated film directed by Sam Liu and features the voices of Stuart Allan, Taissa Farmiga, Jerry O’Connell, Jason O’Mara, and Rosario Dawson.

The storyline for Justice League vs. Teen Titans is loosely adapted from The New Teen Titans #4-6 by Marv Wolfman and George Perez. In both versions, the Teen Titans race against the clock to prevent Trigon from entering into our dimension and turning the planet into a hellish wasteland. Where they differ is in the film’s lack of cohesion and the divergence from the canon. Justice League vs. Teen Titans essentially tries to be a sequel to Justice League: Throne of Atlantis and Batman: Bad Blood and a spin-off for the Teen Titans. The product that director Sam Liu and screenwriters Bryan Q. Miller and Alan Burnett put together feels like a cobbled together mess of two films crammed into one. The presence of the Justice League throughout feels unnecessary, especially since there’s a forced continuation of the relationship between Superman and Wonder Woman that takes away precious screentime from the film’s true stars (the Teen Titans). Furthermore, the absence of Aquaman, Green Lantern, and Shazam isn’t addressed in a satisfying way.

This film is at its best when it focuses on the Teen Titans and is actually really entertaining when it actually explores the interpersonal relationships between the characters. The rivalry between Robin and Beast Boy proves to be rather amusing, which culminates in a (somewhat dated) scene where they compete against one another in a game of Dance Dance Revolution. Similarly, Robin and Raven make for an interesting duo. The sullen bird-named heroes both have villainous father figures (an actual father in Raven’s case). There’s also a sense that Robin may have the inklings of romantic feelings for Raven, which is admittedly kind of cute. Unsurprisingly, Robin and Raven are the standout characters of this film, the latter especially due to her having a fully developed character arc. That said, there is an uncomfortable exchange between Raven and one of the male members of the team when she retells the story of her conception. Whether it was Miller or Burnett who wrote the dialogue, their flippant approach to making a punchline out of an instance of implied sexual assault is disgusting.

The same, however, cannot be said about Blue Beetle and Starfire. Blue Beetle is a rather obvious stand-in for Cyborg, whose status as a Titan was nullified by being a founding member of the League instead. He’s given very little to do throughout and there’s not much to convey that he has a personality. With Starfire, who has a couple of eyeroll worthy fan service moments, she comes across as a glorified babysitter who seems to be constantly hovering around the team. In fact, it was a major misstep to have her serve as the team’s mentor. This is probably more of a personal preference than an objective criticism though. For one thing, Starfire is portrayed in this film in a rather dippy manner, especially giving the lilting tones that Kari Wahlgren uses. As such, it seems her characterization draws more from the 2003 cartoon than the comics. Furthermore, all of her lines and the role itself would have been more effective had they been given to Donna Troy. She’s a better leader, a far more nurturing individual, and would likely not have been portrayed as if she had nothing but air rattling around between her ears. Quite frankly, the continued mistreatment of Donna at the hands of Warner Brothers and their employees is irritating and is disrespectful towards the legacy and importance of Wonder Woman. The legal red tape is no more, so stop leaving her in the dustbin. She’s an amazing character, one of the best you all have, so start putting her in adaptations!

Justice League vs. Teen Titans is one of the weakest entries into the DC Animated Movie Universe, which is a shame because it’s adapted from such a seminal comic book series. The character designs, performances (Rosario Dawson in particular continues to shine as Wonder Woman), and direction overall is quite good, but it’s the writing that drags the quality down. It juggles one too many subplots and has an unwieldly large cast that is woefully underdeveloped. It would have been more effective as a film had it stuck closer to the source text (this means having both Donna and Wally as part of the cast) and if it kept the Justice League members to cameos. As it is, Justice League vs. Teen Titans is a bit of a mess with occasional stints of compelling character moments.

RATING: C+

Review: Earth 2 - The Tower of Fate

Having been spirited away to another dimension, the Flash must work together with the newly minted Doctor Fate in order to rescue his mother from the clutches of the nefarious sorcerer Wotan. Then, Green Lantern seeks out Hawkgirl’s help in investigating the death of his fiancé.

Earth 2 Volume 2: The Tower of Fate collects Earth 2 #0 and 7-12, written by James Robinson and illustrated by Nicola Scott.

This trade opens up with the prequel comic Earth 2 #0, which provides exposition for the (apparent) Big Bad Terrence Sloan. As one of the original wonders, he betrays Earth’s heroes and commits a grievous crime before eventually being appointed as the head of the World Army. It’s an issue that provides some much-needed context for the character, but is largely diversionary and does little to actually establish the origins of Earth 2’s heroes (which is what the New 52 #0 issues were intended to do). The art is provided by Tomas Giorello, whose style isn’t quite as detailed as series regular Nicola Scott.

When we return to the present, we meet Khalid Ben-Hassin, a young Egyptian man who is struggling to accept his fate as the vessel for the ancient mage Nabu. He is reluctant out of fear of losing his sense of self in this new mantle. In the midst of this personal crisis, Khalid is forced into battle against Wotan after the sorcerer kidnaps the Flash and his mother. The Tower of Fate thus functions as a neat character arc for Khalid and examines the themes of identity and insanity. It also serves to further develop the Flash and establishes him as the runaway star of the title (pun intended). Jay’s growth from screw-up to full-fledged hero makes him relatable and easy to root for. The dynamic he has with his mother is also quite touching and adds an additional layer to his character.

As far as villains go, Wotan is a step up from Solomon Grundy. His motives are flimsy, but there’s at least an attempt made to establish a history for the character. Wotan is a fairly standard vengeance-seeking antagonist who is further motivated by the pursuit of infinite power. I do wish a more credible and personal vendetta had been established between Nabu and Wotan in order to better solidify the mad sorcerer’s centuries-old grudge as what we got was a bit lazy. Robinson also fails to develop Hawkgirl any further. She gets a couple of great scenes, but aside from that she’s largely absent from the action throughout this arc. As the only female wonder, the optics of her exclusion is really bad. What we do get of her I love, so we really need more.

The Tower of Fate is a satisfying continuation of the Earth 2 line. I appreciate the fact that it furthers the diversification of the (mostly white) JSA cast and brings them into the 21^st century. Khalid Ben-Hassin is a great addition to the cast and is shown to be quite complex as a character. The story itself is entertaining and features a lot of great action sequences. As always, Nicola Scott’s art is on point and is a major selling point for this title. That said, given how small the cast is, I wish that Robinson would spend more time actually developing these characters. He does excellent work on Jay and Khalid, but everyone else falls to the wayside. Of course, the Steppenwolf subplot is really intriguing, especially with the usage of Fury as his right-hand woman. It’s not difficult to become invested in this world and to wonder how Robinson and Scott will further reinvent the JSA, so The Tower of Fate is still a great read for that reason alone.

RATING: B

Review: Earth 2 Volume 1 - The Gathering

On an Earth without Superman, Batman, and Wonder Woman, a new age of heroes rises up against the threat of the monstrous Solomon Grundy. Green Lantern, Hawkgirl, the Flash, and the Atom are the only ones who have a chance of preventing their foe from turning the planet into a barren wasteland. Having only recently come into their powers, these heroes must learn to master their abilities and work together as a team to save the Earth.

Earth 2 Volume 1: The Gathering collects Earth 2 #1-6, written by James Robinson and illustrated by Nicola Scott.

Earth 2 is conceived as an updated take on the Justice Society of America and the concept of the Silver Age multiverse. Its traditionally multi-generational cast is revamped as a singular group of young heroes coming into their own shortly after acquiring their unique abilities. Alan Scott (Green Lantern), Jay Garrick (the Flash), and Kendra Saunders (Hawkgirl) form the nucleus of this book. For decades, Alan and Jay have been depicted as middle-aged veteran heroes, so seeing them as 20-somethings is both jarring and refreshing. It’s exciting to read stories about these characters at that age from a modern perspective, even if it does negate part of what helped distinguish them from their Silver Age successors. Thankfully, we get a clear sense of their personalities and Robinson makes it easy for us to relate to their struggles (Alan has just lost his partner, while Jay’s girlfriend has dumped him). Kendra is not nearly as developed as they are, but there’s a mystique about her character that makes her intriguing.

The arc itself features a creative reimagining of Solomon Grundy as the Big Bad and who is the agent of the Grey (similar to the Rot from Jeff Lemire’s Animal Man run). With an origin more grounded in mysticism and natural forces, it contrasts nicely against the Justice League’s foundation (which was based around a conflict with alien forces). The resolution of the conflict is smart and the usage of the characters throughout is managed rather well. That said, there is a bit of a pacing issue. Given that the cast is on the smaller side, it’s disappointing that Robinson only ever scratches the surface of who they are. He introduces them in relatively quick succession, provides a bit of contextualization, gives them powers, and then has them face off against the Big Bad almost immediately. As such, there’s this sense of something being missing from this first arc.

The most consistent and praise-worthy work in The Gathering is done by artist Nicola Scott. She’s perennially impressive in her output. It’s expressive, dynamic, and distinctive. She really knows how to set a scene and illustrates textiles in such a way that they feel tactile. While she didn’t come up with all of the designs for this book, the ones she did are those that stand out the most. Hawkgirl’s is especially fierce in both its colour scheme and functionality. Similarly, I admire what she came up with for Jay’s Flash seeing as he’s basically only ever worn one costume prior to this. Her Wonder Woman redesign is quite possibly superior to Jim Lee’s New 52 look (which I adored), though I could do without the lobster tiara and the overly ornate gauntlet. There’s very little I enjoy seeing more than Nicola Scott’s Wonder Woman, so it’s a real treat to have that in the series’ first issue.

Earth 2 Volume 1: The Gathering is sure to be contentious amongst fans of the Justice Society. On the one hand, it gives us the opportunity to see these characters from a new and fresh perspective by seeing them reimagined in a way that takes us back to the beginning of their careers. On the other, doing so erases a lot of what made them so unique in the world of comic books. Regardless, this volume is enjoyable and is further elevated by the quality artwork done by Nicola Scott. For those looking for a more diverse alternative to the Justice League, Earth 2 is worth a read.

RATING: B

Review: DC Comics Bombshells Volume 2 - Allies

As the otherworldly Tenebrae descends upon England, the Bombshells are dispatched to eliminate the evil force once and for all. With the combined might of Baroness von Gunther, Edward Nygma, and Nereus on its side, it becomes quite clear that lives will be lost and sacrifices must be made in order to defeat the Tenebrae.

DC Comics Bombshells Volume 2: Allies collects DC Comics: Bombshells #7-12, written by Marguerite Bennett and illustrated by Laura Braga, Mirka Andolfo, M.L. Sanapo, and Marguerite Sauvage.

Allies is the thrilling conclusion to the first year of DC Comics: Bombshells and finally sees the title’s heroines assembling together to fight the Tenebrae. Writer Marguerite Bennett builds towards this final confrontation through a series of interconnected vignettes that develop the protagonists’ arcs and establish the villains. For instance, Stargirl learns the truth about her parentage while Supergirl and Mera team-up to do battle against the Tenebrae beneath the waters surrounding London. Meanwhile, Catwoman and Huntress free Batwoman from the clutches of Brother Night and Wonder Woman does battle against Baroness von Gunther. Each of these narratives are brimming with action and punchy dialogue, particularly the segments featuring Batwoman. Bennett is to be commended for being able to give these characters distinctive voices and for reinventing them for the time period this book is set in.

I am continually impressed by and engrossed in the character work that Bennett does in Bombshells. Mera and Stargirl prove to be the runaway stars of this particular collection, as both are given important arcs and contribute greatly to the final fight against the Tenebrae. We learn that Mera has effectively misrepresented her past, which comes back to haunt her and it threatens to harm the people she cares most for. With Stargirl, she vacillates between her unshakeable desire to be a hero and her deepening insecurities over being a human in a world of superhumans. For both characters, they demonstrate heroism in through selflessness and determination. It’s both endearing and poignant, particularly during the climax (which left me rather teary-eyed). Beyond the inspirational aspects to these characters, Bennett also injects a lot of fun into them as well. Mera’s dialogue is very playful and she even reveals herself to be Wonder Woman’s first kiss. She’s also written to speak in song, which is a really unique quirk.

Mirka Andolfo provides a highly stylized aesthetic that is vibrant and whimsical. It has a vague shoujo-like quality to it, which pairs really well with the tone of Bennett’s dialogue. Marguerite Sauvage’s art is comparable to this as well. It’s very cute and feminine, but she really nails the toughness of these characters (especially Batwoman). Laura Braga’s art is more traditional for the superhero genre, but is certainly amongst some of the best in contemporary comics. I absolutely adore the way she illustrates Wonder Woman and admire just how beautiful all of her characters are. Her action sequences are particularly memorable as well. Lastly, Sanapo captures the pin-up origins of Bombshells quite well with her style. It manages to be both playful and sexy.

DC Comics Bombshells Volume 2: Allies is great fun. It’s fresh, hip, and irreverent, but also retro in all of the right ways. Bennett’s dialogue is dynamic, her character work is nothing short of brilliant, and the action is blockbuster-sized. There’s a lot of depth in Allies as well and it has its fair share of moments that tug on your heartstrings (provided you’re as sensitive a reader as I am). This series also showcases female talent at its finest. The art is polished and electric, while the story itself is cohesive and epic in scale. In an ideal world, Warner Brothers would greenlight a Bombshells movie ASAP and hire Bennett as the screenwriter. Yes, this series is that good.

RATING: A

Review: Batman - Contagion

When a deadly virus is unleashed on Gotham City, Batman and his allies race against time to find a cure before its citizens can be decimated by the infection. While the police attempt to maintain order in the city, Robin and Catwoman join forces to track down survivors carrying antibodies in order to formulate an antidote. With time running out, it becomes clear that Batman very well be facing the one threat he can’t beat.

Batman: Contagion collects Azrael #15-16, Batman #529, Batman Chronicles #4, Batman: Shadow Of The Bat #48-49, Catwoman #31-35, Detective Comics #695-696, and Robin #27-30, written by Doug Moench, Alan Grant, and Chuck Dixon.

Contagion was the first major Batman event following the commercial and critical success of Knightfall. Unlike its episodic predecessor, it is a tightly plotted crossover that unfolds as a clear and concise arc. It begins with an outbreak of the Ebola Gulf-A virus, which quickly spreads across Gotham City. With the GCPD on the frontlines as it happens, Batman works towards finding a cure before all life in the city is decimated by the virus. It’s a gripping storyline that presents Batman with an enemy that he can’t simply beat up and throw into Arkham Asylum. Much like with Knightfall, he’s pushed to his limits, but this time learns to accept the help of those around him (including his enemies). As such, we get a really great sequence where Batman relies on Poison Ivy to deliver a potential cure to the infected due to her immunity to diseases.

Interestingly, Batman doesn’t actually feel like the star of this crossover. His presence feels muted in comparison to the rather prominent roles Nightwing, Huntress, and the GCPD play in keeping the peace in a city ravaged by a plague. Furthermore, Robin serves as the nucleus of this arc. He’s the one who is tasked with the mission of finding the antibodies to manufacture a cure and who later joins forces with Nightwing and Huntress while Batman is busy with Poison Ivy. The real scene stealer though is Catwoman. With a bounty out on the survivors of the virus, the Feline Fatale is determined to be the one who finds them. This initially puts her into opposition with Robin, but the pair put their differences aside in order to team-up and find the survivors. This subplot is the most well-written and exciting part of Contagion, largely due to how action-heavy it is and since Catwoman’s dialogue is so electric and sassy. The character injects life into an otherwise dour and melancholy crossover.

Batman: Contagion is impressive start to what would become a tetralogy of Batman crossovers from the 1990s. It is a grounded and carefully plotted storyline that is evenly paced throughout. Despite there being a lack of a distinctive (physical) antagonist, Contagion features Batman at a point of apparent hopelessness and gives readers a lot of great action sequences courtesy of Nightwing, Robin, Huntress, Catwoman, and Azrael. My sole complaint regarding this specific collection was the decision to include some of the issues that take place in the aftermath of the main event. The Robin issues are fantastic, but the Batman-focused ones seem out of place and unnecessary. Aside from that, this is essential reading.

RATING: A-

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: Batwoman Volume 6 - The Unknowns

When a cult resurrects the sorceress Morgaine le Fey, Batwoman allies herself with an unusual group of misfits to battle the Arthurian villainess. Meanwhile, Kate’s personal life is in tatters after ending her relationship with Maggie. She’s begun seeing someone new, but neither her sister Beth nor her ex seem terribly impressed by this decision.

Batwoman Volume 6: The Unknowns collects Batwoman #35-40, Batwoman: Futures End and material from Secret Origins #3, written by Marc Andreyko and illustrated primarily by Georges Jeanty.

This collection is a bit of a headscratcher. It begins rather abruptly with a jaunty rehash of her origin story, which feels unnecessary and out of place in this volume. It does very little to actually pay respect to the layered and complex backstory that Greg Rucka, J.H. Williams III, and W. Haden Blackman crafted for Batwoman. After that, we plunge headlong into a story in medias res. Batwoman and her team of D-list allies, called the Unknowns, are battling Morgaine le Fey in space. From there, writer Andreyko traces back how we got to this point over the course of several issues. It’s a stilted way to begin this arc and isn’t effective in drawing the reader in. Instead, it invites confusion and interferes with the pacing. There’s also a subplot involving Kate dating a vampire, which is deserving of a healthy eye roll since it occurs so quickly after she put the brakes on her relationship with Maggie. While I do like the idea of using a character like Nocturna and perhaps even repurposing her as a recurring villain for Batwoman, their relationship isn’t believable and comes across as forced (which I suppose was the point).

The overall thrust of The Unknowns seems rather fabulous in theory. Morgaine le Fey is resurrected by a cult in Gotham City and she proceeds to wreak havoc wherever she does, which necessitates Batwoman partnering with Ragman, Clayface, Etrigan, and Alice in an attempt to prevent her from achieving her goal of global domination. After the diversion away from the supernatural in the third and fourth trades of this series, this would seem to be a return to form. Unfortunately, the finer points of The Unknowns are messy, questionable, and frustrating. I disagreed with the way in which Andreyko brought Alice back into the series. I rather liked her as an antagonist and her rehabilitation feels predictable. She’s used throughout as a pseudo-sidekick for Kate, which is irritating since she already had a partner in her cousin Bette. Bette was actually one of the best characters in this series, so it is maddening that Andreyko would drop her from the book’s cast in favour of replacing her with Alice. He does seem to have issues with handling a larger cast here as most of the Unknowns are underdeveloped. That said, I can’t say that I didn’t enjoy his take on Clayface. That was one of the few highlights in this collection.

The most frustrating part about Andreyko’s relatively short tenure on Batwoman is that I know he’s a capable and talented writer, but somehow that didn’t translate to dazzling and engaging arcs. There are a lot of great ideas present in this volume and I would have loved for them to be fleshed out further. The entire concept of the Unknowns is brilliant and is something I can cosign with Batwoman in lead. It just doesn’t quite get the push it needs. Even Georges Jeanty’s art doesn’t do quite enough to sell this trade, especially since he’s not on deck for every panel. By excising the Nocturna subplot, focusing more on developing the Unknowns, swapping Alice for Hawkfire, and putting more effort into mimicking the aesthetic of the Williams/Blackman issues, this could have been a mighty fine arc worthy of being the conclusion to Batwoman’s first ever solo series. As it stands, it’s a muted finale that is sure to leave most Batwoman fans disappointed. Also, the less said about the Futures End issue the better.

RATING: C