Review: Superman/Wonder Woman Volume 1 - Power Couple

After a brief, but harrowing, battle against the creature known as Doomsday, power couple Superman and Wonder Woman are left with many questions about this new threat. When General Zod mysteriously arrives on Earth, it becomes clear that he may hold the answers they desperately need. 

Meanwhile, having kept their relationship a secret from the rest of the world, Superman and Wonder Woman are outed. Can this duo survive the media firestorm that follows?

Superman/Wonder Woman Volume 1: Power Couple collects issues #1-7 of Superman/Wonder Woman, written by Charles Soule and Tony S. Daniel.

Writing a comic book featuring a double bill can be extremely difficult, especially if the heroes on that bill are in a relationship with one another. Creating a balance and giving both characters equal opportunity to shine is challenging. DC Comics previously attempted this with the somewhat short-lived Green Arrow/Black Canary title, which was really more like a Green Arrow book featuring Black Canary. Thankfully, Superman/Wonder Woman doesn't fall prey to that trap. 

Charles Soule spends equal time with the titular heroes and instantly sets the tone for the book by showing them as a united front, opening with the beautiful image of them flying side-by-side holding hands. In fact, this unity continues throughout this volume and there's a lot of time spent examining how they work as a couple (if at all). It's not all about them punching things either, but rather them figuring out how to operate as the most powerful couple in the world. Soule takes a look at what it's like to be with someone with a dual identity, as well as what it's like to date someone who lacks the filters others have. It's not all lollipops and gumdrops for these two, but they're willing to make it work.

For as much time as they spend together, we also see Superman and Wonder Woman apart. This is crucial to what makes the narrative work so well. Both have their own support system, Superman with Batman and Wonder Woman with the former Amazon Hessia. These moments are brilliant, particularly those between the Man of Steel and the Dark Knight. As readers, we're so used to seeing them as crimefighters that we often forget that they are friends and partners. Seeing them discuss relationships is something that seems so mundane, but it brings a touch of humanity that's needed for these characters to seem relatable. Other highlights include scenes involving the Greek Gods. It's truly a testament to Brian Azzarello's stellar work on Wonder Woman, that when these characters are imported into other books they're still as captivating as they were under his pen. The fight between Superman and Apollo is worth mentioning, as are the moments between Hephaestus and the titular couple.

Another smart move by Soule was in his selection of villains. While he probably could have done a team-up between Superman and Wonder Woman baddies, I appreciate the use of Zod and Faora as the first antagonists for this series. It works because, in a way, they're the Anti-Superman and Wonder Woman. They're morally corrupt and unflinchingly unapologetic in their approach to world domination. Zod and Faora are also one of the very few husband-wife villainous teams in comics, so they offer a really nice contrast to the Man of Steel and the Amazon Princess.

There's no denying that Superman/Wonder Woman is a well-written and engaging comic book, but there is still some room for improvement. Notably, the pacing is a bit rushed at parts and it almost seems like Soule is most comfortable writing scenes involving the characters' personal lives than showing them in battle. The final conflict against Zod and Faora is disappointingly anticlimactic and serves as a prime example of how Soule seems to treat action scenes as merely salt and pepper for the story. In a way, the Zod and Faora showdown could have been treated a little more differently. It starts off well, with Superman and Wonder Woman donning a snazzy suits of armour, but stalls when Soule decides that they couldn't possibly beat Zod and Faora (come on now!).

Superman/Wonder Woman is a fun title with a lot of heart. It's a book that doesn't treat romance as a necessary subplot, but instead looks at relationships with a more introspective lens. This book has a lot to say and even more to prove. Soule makes it easy to root for these two as a couple, especially seeing how hard they're willing to fight to protect one another. Power Couple is a great start, made even greater by gorgeous art by the immensely talented Tony S. Daniel. Truthfully, this book has what it needs to please fans of both Superman and Wonder Woman. With improved pacing and a good rogues gallery, it could easily establish itself as a flagship title for DC.

Rating: B+

Review: Red Hood and the Outlaws Volume 3 - Death of the Family

Convinced that having a family has made Batman soft, the Joker plots to eliminate all of Batman's partners once and for all. When he kidnaps Red Hood and Red Robin, Starfire and Arsenal must team up with the Teen Titans to find their missing teammates.

Red Hood and the Outlaws Volume 3: Death of the Family collects issues #0, 14-17 of Red Hood and the Outlaws and issues #15-16 of Teen Titans.

Much like Batgirl and Catwoman, Red Hood and the Outlaws was one of many books that was forced to collide with the Joker-centric "Death of the Family" arc from Scott Snyder's Batman flagship title. Unlike Gail Simone's Batgirl, writer Scott Lobdell struggles with creating an organic way for working the Joker into the overall narrative of his book. The effort comes across as hackneyed and disturbs the overall flow, especially following such an epic space-faring arc in the preceding issues. There's little to no character development, Starfire and Arsenal get very little panel time (largely because they are forced to share it with not only the Joker, but also the Teen Titans). By the end of it all, you're ultimately left feeling cheated by having to read such a disposable story.

That said, there are some moments that stand strong. We get glimpses of Arsenal being a leader, as he becomes the de facto commander for the combined efforts of the Outlaws and the Teen Titans. The continued push to highlight the character as a resourceful and remarkably intelligent character has helped in washing away the frat boy persona that made him so detestable early on, which is further aided by Starfire's confidence in him. Similarly, Wonder Girl's position as the Titans' second-in-command suits her. She's much more confident and sassy than she was in previous incarnations, which is great. She's not the weepy schoolgirl mooning over Superboy that we used to know and loathe. The final two issues collected also show some rather touching moments between Batman and Red Hood.

All in all, Death of the Family marked a shocking drop in quality for a title that had established itself as such a fun and insane book. This paint-by-numbers approach to writing a tie-in feels too unimportant and expected. Truth be told, it'd probably be easy to skip over this volume and immediately go onto the fourth.

Rating: C

Review: Batgirl Volume 4 - Wanted

After being forced to kill her brother in a harrowing battle, Barbara Gordon no longer feels worthy of being Batgirl. She's given up her costume and is intent on staying home instead of prowling the streets at night. There's just one problem - Gotham City won't let her. First, the menacing Ventriloquist kidnaps a pop star and then a gang war erupts, placing her new boyfriend in the middle of the conflict. If that weren't enough, her father is out for Batgirl's blood.

Batgirl Volume 4: Wanted collects Batgirl #20-26, written by Gail Simone.

Gail Simone brings the drama (and then some) with this collection. Barbara is dealing with being responsible for her brother's death, Commissioner Gordon is obsessed with arresting Batgirl and the villains of Gotham City are practically rocketing out of the woodwork. 

Simone is to be praised for her continued quality work on portraying Barbara as a flawed character who feels palpably real. The fallout from the fight against James Gordon Jr. is intense for Barbara and she's clearly shaken by having been forced to kill her brother. Many other writers would not take the time to explore the aftermath of this death, but Simone revels in it. She recognizes this moment as a treasure trove for character development. This also helps define Barbara as someone who has a strong moral core, so even though her brother was a serial killer she's still deeply affected by having to take him down.

Despite the rather heavy subject matter in this volume, there are moments of humour that help to balance it all out. One of the funniest scenes occurs when Ricky comes to pick Barbara up for their first date (as pictured above). Simone's comedic timing is as sharp as ever and she really dares readers not to laugh out loud. Similarly, the exchanges between Barbara and Alyssia help to ground the series with a strong friendship that gives Barbara a sense of stability. A standout scene between the two occurs when they go shopping and are harassed by a couple of sexist punks, Barbara's aggressive response not only mirrors her own fragile psyche at that moment, but the fury and frustration women feel every day when they are commodified by the men around them.

From the onset, one of Batgirl's strengths as a title has been Simone's consistent ability to create fascinating villains that keep us turning the pages to see what happens next. In this volume, she introduces a brand-new Ventriloquist, who is infinitely creepier than any previous baddie to carry the mantle. It's essentially like the little girl from The Ring carrying around an icky dummy, which is sure to give more sensitive readers nightmares. On top of that, we get a little preview of the assembled rogues' gallery during the final battle in this set. Seeing the likes of Mirror, Grotesque and Gretel all together reminds us just how dangerous these bad guys are. The fact that they're organized underneath Knightfall makes them all the more deadly.

As this series has worn on, it's becoming increasingly more difficult to find fault with it. It's as funny as it is dramatic, with insane action and incredible dialogue. Simone is truly at the top of her game and proves that she's one of the most capable writers in the genre, crafting memorable villains and pulling out the unexpected whenever she can. Perhaps the most valuable aspect to Batgirl is just how easy it is to relate to its characters and its stories. While the series is about a costumed vigilante who fights super powered bad guys, there are scenes that mirror real life situations so closely that you almost forget you're reading a comic. If anything, Batgirl proves why Gail Simone has been one of my favourite writers for well over a decade now.

Rating: A-

Review: Red Hood and the Outlaws Volume 2 - The Starfire

When she and her teammates are spirited off into space, Starfire learns that her home planet is being invaded by a destructive alien race known as the Blight. She reluctantly agrees to help the very people who once turned their back on her, even when it means confronting her own flesh and blood.

Red Hood and the Outlaws Volume 2: The Starfire collects Red Hood and the Outlaws #8-14, written by Scott Lobdell with art by Kenneth Rocafort and Timothy Green II.

As a whole, Red Hood and the Outlaws is a wild and unpredictable ride full of heart stopping action and clever dialogue. The Starfire is definitely not an exception to this. Characterization remains at the top of the list of what makes this series such a joy to read, largely because of how well this rag tag team of anti-heroes play off of each other. 

Through the use of internal dialogue, we see Arsenal's thoughts towards Starfire and it helps to shape not only our perception of him as a character, but his relationship with Starfire as well. This is a surprisingly healthy relationship that seems to be rehabilitating both characters, helping them to become the best versions of themselves. 

Additionally, Arsenal and Red Hood's brotherly teasing continues to delight. It's in these interactions where you see that this isn't just a book with mindless action, it's a book about a makeshift family finding their way in the world.

The meat of this collection is the space-faring adventure that takes the titular heroes to the planet Tamaran as they attempt to overthrow the invading forces of the Blight. While Lobdell borrows elements from Marv Wolfman and George Perez's introduction of Blackfire in the pages of The New Teen Titans, he subverts the narrative by redeeming Starfire's older sister and presenting her as a victim of circumstance. This is arguably the biggest change to Starfire's background and it's difficult to judge whether this decision was good or bad. On the one hand, Blackfire was one of the most devilish villains DC Comics ever had and her dark soul made her the ultimate nemesis for a heroine whose heart was so full of emotion. On the other, it celebrates the power of familial bonds by rejecting the notion that sisters must be in competition with one another. A part of me does feel like the story would have been more thrilling and complex had Blackfire been the villain, but the other feels that the story works more effectively because it doesn't rehash what we've already seen several times before.

Despite all of this, The Starfire should be praised for being a fascinating character study of Starfire as a character and as a hero. Through the eyes of others, she is presented as an incredibly complex woman who is equally as self-serving as she is compassionate and loyal. More than ever before, we also see Starfire as a capable leader. She was once the commander of her own ship, with a crew that trusted and respected her tremendously. This speaks volumes about her and helps to establish her as someone who is not to be underestimated as being merely a pair of giant orange breasts. My one wish, however, would have been to have been able to have Starfire's perspective. Red Hood and Arsenal continue to dominate the narrative, with both providing constant commentary through interior dialogue. Starfire is denied this opportunity, which seems a little unequal.

Aside from the main narrative, The Starfire collects three one-off stories. The first involves the team taking down the grossly overweight gangster Suzie Su, the second sees them involved in a conflict between the Court of Owls and Mr. Freeze, while the third has them duking it out with Superman. The quality remains high across the board with these stories, particularly with the latter. The fight that breaks out between the titular heroes and the Man of Steel is so ridiculous that it takes a civilian to point out just how incredibly immature they're all being. Of the three, the weakest is the tie-in to Night of the Owls. As with most of the other tie-ins for this Bat Family event, it feels forced and interrupts the overall flow of the narrative. The other problem is that it leaves the reader confused if they're unfamiliar with the event. Red Hood may have once been Robin, but there's no reason to be involving this book in Batman crossovers.

The Starfire offers a whole lot of crazy fun. It's fast-paced and funny, which is perfect for a reader who is looking for a story with great action and well-written characters. Its space setting is also great for fans of sci fi. While the jury is still out on the characterization of Blackfire, it's hard to deny that Scott Lobdell delivered an incredible story that doesn't take itself too seriously.

Rating: B+

Review: X-Men Volume 3 - Bloodline

When a mysterious man known as The Future begins picking off the students at the Jean Grey School one by one, it becomes clear that he will stop at nothing to get to his child Shogo. With the help of Storm's daughter from an alternate future, the X-Men hope to use her insight of the events to come in order to outsmart the deadly assassin.

X-Men Volume 3: Bloodline collects issues #13-17 of X-Men written by Brian Wood.

As the concluding arc of Wood's tenure on X-Men, a lot of key events take place. Storm officially sanctions the team, resolving the tensions between herself and Rachel Grey, while the questions about Shogo's past are finally answered. Sadly, the execution of these revelations is marred by poor pacing, inconsistent characterization and a serious lack of tension. Much of this storyline relies on The Future and the readers taking him seriously as a threat. Unfortunately, he's lacking in personality and has barely any backstory to speak of. Once more we're seeing Wood flounder with finding a way to tell the stories of his villains. Furthermore, the revelations about Shogo are fairly haphazard and don't provide the closure necessary to make Wood's run feel complete. Adding to this is the presence of Storm's potential future daughter Kymera. For those who didn't read Battle of the Atom, her appearance will be extremely confusing and it's especially frustrating since she acts almost as a deus ex machina. Instead of the X-Men figuring things out on their own, they're basically led by the information they've gleaned from Kymera.

In spite of this, there are moments where it seems like Wood truly understands the material and his characters. There's an exchange between Storm and Psylocke that serves as the standout in this collection. In it, Psylocke pushes Storm to examine her behaviour and take responsibility for the team. This is reminiscent of the memorable girl talk Storm and Emma had way back during Matt Fraction's run on Uncanny X-Men. Additionally, the budding friendship between Monet and Rachel helps to flesh out these two characters. They two play well off of one another, which is a good thing since Rachel has thus far been incredibly dull. 

Bloodline gives Brian Wood's run on X-Men a conclusion more akin to a whimper than a bang. While he is to be praised for understanding his main cast and creating a lot of memorable interactions, his failure to utilize his villains and create a tightly crafted action adventure really marred his time on the book. The tragedy is that all of the pieces were there for him to make his first three arcs brilliant, but it was all squandered and sabotaged by a crossover event (Battle of the Atom), the departure of two major characters (Shadowcat and Rogue) and not providing a more blockbuster adventure for his heroines. Instead of being written as a flagship title, it felt more like a middling book where nothing truly event worthy occurs.

Rating: C-