Review: Green Arrow Volume 4 - The Kill Machine

Oliver Queen’s life is in shambles. His family’s company has been viciously taken over by a rival corporation and a new villain known as Komodo is stalking Green Arrow’s every move. If that weren’t enough, Oliver is framed for murder and his allies Naomi and Jax seemingly die in an explosion. In order to gain control of his life and unravel the conspiracy closing in around him, he must trust a mysterious stranger named Magus and accept that his life as he knows it may very well be a lie.

Green Arrow Volume 4: The Kill Machine collects Green Arrow #17-24, written by Jeff Lemire and illustrated by Andrea Sorrentino.

Jeff Lemire injects life into Green Arrow. His writing is electric and exciting, blending action with just the right amount of suspense. He understands how to craft a compelling story and how to develop his characters. Lemire smartly dials down Oliver’s playboy antics, opting instead to examine the character from a point of view where he’s just had the rug yanked out from under him. This shifting in the status quo mirrors what we’ve seen work so successfully in the critically acclaimed runs of Scott Snyder on Batman and Brian Azzarello on Wonder Woman. In fact, it hits many of the same notes that Knightfall and its adaptation The Dark Knight Rises did, with the villainous Komodo acting as Green Arrow’s Bane.

Saying I loved The Kill Machine feels like an understatement to me. In many ways, it’s the perfect Green Arrow story and is exactly what TV’s Arrow should be. Lemire builds a mythology around the titular hero and unravels a complex mystery about Oliver’s father Robert in the process. To do this, he introduces new characters and re-introduces familiar Pre-Flashpoint ones as well. Shado, one of Green Arrow’s most memorable love interests, makes a splash when he rescues her from the clutches of Count Vertigo. Lemire puts a twist on Shado’s past and her involvement with the Queen family, something which is unexpected and works surprisingly well. Her inclusion in the book feels right, as she adds not only necessary exposition but serves as a no-nonsense foil to Green Arrow. Where he’s come to rely on allies and cool gadgets, Shado is a loner old school archer. Similarly, Lemire puts a revisionist spin on Count Vertigo.  He’s no longer an eccentric cape-wearing supervillain, but rather a despotic ruler of a European country whose abilities come from a gruesome cybernetic implant. As far as villains go, he’s pretty terrifying and could very well be a contender as far as giving Green Arrow a Joker-caliber villain is concerned.

The narrative itself is great. It’s exciting, action-packed and incredibly suspenseful. It’s a page-turner that completely redefines the Green Arrow mythos. The way Lemire does this is through the introduction of the weapon clans – seven ancient tribes that possessed powerful totems that imbued them with incredible gifts. It’s a franchise making idea that sets Green Arrow’s section of the DC Universe apart from his close rival Batman. It’s unique and adds a sense of gravitas to the world of Green Arrow. It leaves the reader with many questions regarding these clans and it’s this curiosity that will keep the reader on the edge of his or her seat.

Similarly, the art by Sorrentino is masterful. It lacks the crispness and clarity of traditional comic book art, but it makes up for it in its dynamism. Sorrentino adds a very stylized touch to the book, often illustrating panels within panels to highlight the damage inflicted upon a character or psychedelic spreads that make an impactful splash. His art is well-suited to this street-level, slick kind of book, but would likely feel out of place in a more traditional superhero title. He should also be commended for coming up with such a freaky look for Count Vertigo.

Unfortunately, Sorrentino’s art does lack consistency particularly when it comes to drawing supporting character Naomi. For those who have read the title from its onset, Naomi was initially drawn to look like R&B superstar Rihanna, implying that she’s African-American. Sorrentino’s take veers away from this, meaning she goes from looking Black to looking East Asian. Whether intentional or not, it seems like a bit of a continuity error. She’s later given darker skin and the last name Singh, which implies she’s likely Indian. This kind of inconsistency happens in volume 5 as well, where Onyx is initially portrayed with bleached white skin in one issue and then a mocha tone the next.

After the disservice paid to Green Arrow at the hands of previous creative teams, Jeff Lemire and Andrea Sorrentino are like a breath of fresh air. The pair proves to be a dynamic duo capable of rivalling New 52 super teams like Johns and Reis, Azzarello and Chang, or Snyder and Capullo. It’s a promising new direction for a title that was once drowning in mediocrity. For fans of Arrow, this is a sure to be a hit. The Kill Machine is exciting and dynamic, a total thrill-ride that put Green Arrow back on the map.

RATING: A

Review: Justice League United Volume 1 - Justice League Canada

While making an appearance at a convention in Toronto, the superheroes Stargirl and Animal Man agree to investigate the disappearance of an anthropolist’s assistant in Northern Ontario. Before long, they are whisked off to space, alongside Justice Leaguers Martian Manhunter and Green Arrow, where they discover a Thanagarian criminal known as Byth intends to unleash a biological weapon upon the universe. Without skipping a beat, the heroes band together to stop this intergalactic menace.

Justice League United Volume 1: Justice League Canada collects Justice League United #0-5, written by Jeff Lemire and illustrated by Mike McKone.

Since their Silver Age debut, the Justice League has had many incarnations and spin-offs. Despite the success of the Justice League International era, none have quite managed to click quite as well with readers as the original seven. Thankfully, Justice League United is more International than Extreme Justice. Lemire depicts the team as a ragtag group of heroes, whose interactions with one another are light and quippy, bringing to mind the humorous underpinnings of what made Keith Giffen and J.M. DeMatteis’ take on Justice League so memorable. Stargirl and Martian Manhunter form the nucleus of the group. Having both been members of the Geoff Johns-penned Justice League of America, they’ve already formed a sibling-like bond that adds stability to this line-up. Likewise, Green Arrow and Animal Man have a teasing brotherly dynamic that’s reminiscent of Blue Beetle and Booster Gold. The focus on developing these two should really be no surprise, given the fact that Lemire was responsible for both of their solo ongoing series.

As far as this collection is concerned, Lemire is at his best when he is developing characters and writing dialogue. He knows how to build relationships, which works well towards forming an organic team dynamic. He’s got a great line-up of heroes and he utilizes them quite well. The problem, however, is in the story itself. The main plot deals with our heroes’ battle in space against the alien Byth, while the subplot explores the struggles of a Cree teenager Miiyahbin Marten as she comes to terms with her unique abilities. The former is terribly generic. When teams are formed, it seems it’s almost always due to some kind of alien plot or invasion. As a villain, Byth is far from being a Darkseid or Despero. He’s not particularly menacing and his alliance with Lobo seems more random than anything else. By contrast, Miiyahbin’s story is gripping and acts as the saving grace for this volume.

From her design to her backstory, Miiyahbin stands out as one of the more unique heroes created in recent years. That’s why it’s so unfortunate that she gets relegated to subplot status. It’s made worse by the fact that her story is rushed to its conclusion, speeding through her origins and confrontation with the antagonist. The opening arc to Justice League United would have been so much more interesting had Lemire inverted the plots, placing a focus on Miiyahbin’s and turning Adam Strange’s origin into the sub. Truth be told, DC Comics would have done well to introduce Equinox in a solo ongoing series as a way of competing with Marvel’s Ms. Marvel series.

Justice League United has potential. It features a strong roster with room for a lot of character growth. Sadly, this first collection simply lacked the excitement and originality necessary to set it apart from other team books. Given the fact that subsequent issues appear to focus more on science fiction than fantasy, it’s really no surprise as to why United was never really able to find an audience.

RATING: B-

Review: Green Arrow Volume 3 - Harrow

Upon returning home from a mission to China, Green Arrow discovers a war has broken out in the skies of Seattle. The Thanagarians, a winged alien race, are in pursuit of Hawkman, who has been accused of murdering a member of their royal family. Recognizing Hawkman’s innocence, Green Arrow throws his hat in with the winged wonder and fights alongside him to help him clear his name.

Green Arrow Volume 3: Harrow collects Green Arrow #0 and #14-16, as well as Savage Hawkman #14 and Justice League #8, with writing by Ann Nocenti, Rob Liefeld, Geoff Johns and Judd Winick.

On paper, a Hawkman and Green Arrow crossover is a fantastic idea. For diehard fans of the DC Universe, they’ll remember some of the epic clashes the two have had in the Pre-Flashpoint continuities. Therefore, it’s not hard to imagine such a crossover would entail plenty of the pair butting heads and just narrowly saving the day by putting aside their egos to get the job done. Instead what we get is a bit of an uneven paint-by-numbers team-up that doesn’t fully capitalize on the infamous rivalries between these two heroes. Part of the problem is that this crossover happens in just two issues and that Green Arrow is, in essence, a guest star in Hawkman’s story. This creates confusion for the reader, particularly if they haven’t read any of the preceding Hawkman material.

Having blasted Ann Nocenti’s writing on Green Arrow in my review of TripleThreat, it’s a relief to note that she’s only responsible for three issues in this collection. She penned one issue of the Hawkman crossover and a two-part story of Green Arrow duking it out with a gunrunner named Harrow. Her writing in these issues are an improvement, but they’re largely unforgettable stories that don’t leave much of an impression.

In an interesting twist of irony, Judd Winick takes over from Nocenti to write Green Arrow #0. This mirrors the way in which Winick was ousted from Catwoman, only to have Nocenti take over for that series’ #0. Comparing the two zero issues, there’s no denying Winick is the superior writer. He has a firmer grasp on the characters at hand, as he should considering he’s a veteran Green Arrow scribe from before the New 52 relaunch.  That said, not a whole lot actually happens in the story, but it’s worth noting that Winick introduces Tommy Merlyn to the DC Universe and gives readers a pretty big indication of how he may eventually turn against his one-time friend.

The most interesting thing about Harrow is the inclusion of Justice League #8. For starters, it’s not contemporary to the issues collected here. In fact, its narrative happens several months before the rest of the stories in this volume. Its inclusion in this trade was likely due to a lack of material necessary for printing a graphic novel, considering it would otherwise be five issues (rather than DC Comics’ traditional six). It also serves as a stark contrast in the area of quality. The art, by Carlos D’Anda and Ivan Reis, is vibrant and dynamic. Geoff Johns’ writing is also on point, though it’s admittedly a little too light in its tone. In this issue, Green Arrow does everything possible in order to join the Justice League. He tags along on their missions, like an unwanted younger sibling desperately trying to hang out with their cooler older brother or sister. It’s an amusing dynamic, particularly since we get a lot of tension between Green Arrow and Green Lantern, but it doesn’t feel quite right. Green Arrow shouldn’t be seeking the validation of being on the Justice League. In fact, I would otherwise expect him to have a jaded and cynical view of that team. Luckily, Johns redeems himself with the epilogue bar scene between Steve Trevor and Oliver Queen. It’s subtle, but it presents a nice segue into the characters teaming up for Justice League of America.

Much like Triple Threat, Green Arrow Volume 3: Harrow can easily be skipped. The Hawkman crossover is a bit of a bust, the two-part “Harrow” is forgettable and Winick’s zero issue isn’t essential reading. The only material worth reading is Johns’ Justice League #8. However, if you’ve already got the Justice League trades in your collection then you’ll have no need of having this issue duplicated. In other words, skip right over the two Nocenti-penned books and dive right into Jeff Lemire’s run instead.

RATING: D+

Review: Justice League Dark Volume 3 - The Death of Magic

When Zatanna and the young wizard Tim Hunter are spirited away to another world, the rest of Justice League Dark must make ally themselves with the government once more in order to rescue their friends. Meanwhile, Constantine’s House of Mystery is taken from him by an unseen foe, who releases nightmares to keep Constantine and his teammates busy.

Justice League Dark Volume 3: The Death of Magic collects Justice League Dark #14-20, written by Jeff Lemire and Ray Fawkes with art by Mikel Janin.

After the Justice League Dark arrives in the otherworldly dimension where Zatanna and Tim Hunter have disappeared into, they quickly discover that nothing is as it should be. Deadman is alive, Black Orchid has transformed into a hulking monster, Madame Xanadu’s immortality is gone and she’s aging at a rapid rate, and Constantine cannot tell a lie. This shift in the status quo makes the characters vulnerable, particularly since Constantine’s transparency makes it that much more difficult for him to manipulate his teammates and keep them at a distance. Similarly, we see Madame Xanadu’s stoic veneer drop. She’s exposed and defenseless, but even in this aged state she’s hellbent on using her visions to help her allies. This level of character work is as refreshing as it is touching. We get to see aspects to these characters that we’re otherwise denied under normal circumstances. Of course, not all of the changes that happen to our protagonists make them vulnerable. In fact, Zatanna is more powerful in this world and we see her kick some serious ass as a kind of dark warrior. Some of the most memorable action sequences involve Zatanna unleashing her magic upon her foes.

Beyond the strong character work, The Death of Magic has a fantastic story with compelling themes. We learn that this other world was once a place where magic ran wild, until science took over and banished it to the fringes of society. It’s reminiscent of the narratives of Final Fantasy X and Final Fantasy XIII, albeit much more simplified. Lemire and Fawkes are clearly interested in the way in which science and industrialization has a destructive effect on the natural world. They intertwine this with themes concerning destiny and responsibility, as we witness characters embrace who they’re meant to be in an honest and sincere way.

Through and through, The Death of Magic is a traditional fantasy story that pulls in familiar creatures like elves and fairies. It’s a thrill to see our heroes in an environment like this, as they’d previously been surrounded by the darker elements of magic. This lightness offers a new perspective to the book, as it shows that not all magic is evil and destructive. It can heal and protect as well.

In the aftermath of the first arc in this collection, Lemire and Fawkes pen another enthralling story where a powerful warlock known as Doctor Destiny takes control of the House of Mystery and sends nightmares after the Justice League Dark. As these nightmares wreak havoc across New York City, Constantine and his allies get a little help from the Flash. It’s an interesting choice in a guest star, but in the best possible way. In fact, the chemistry between the Flash and Frankenstein is so electric that it makes me wish the former was a permanent fixture in the book.

On the subject of Frankenstein, it’s worth mentioning that his inclusion in the team was a fantastic decision. He meshes in a way that previous members haven’t (Shade, I’m looking at you) and provides a more physical presence in battle. Where the others resort to magic, it’s actually great to have someone in the group who can hack and slash.

Despite the presence of the spotlight stealing Flash, the real star of this particular collection ended up being Madame Xanadu. For nearly 20 issues, Justice League Dark has been focused primarily on Constantine and how he relates to the other characters. However, The Death of Magic shifts to provide more insight into the enigmatic Xanadu. From her heroic sacrifice in the opening arc to her flirtations with Deadman to the revelations about her past, it’s incredibly satisfying to finally see her fleshed out as a fully-formed character. Better yet, it shows that there’s still so much to learn about her.

Justice League Dark continues to impress. It has carved out a nice little niche in the DC Universe and, thanks to writers like Jeff Lemire and Ray Fawkes, readers are treated to fantastical stories that are driven by richly drawn characters. This is a book that’s atypical in so many ways to the normal output from DC Comics. Our protagonists aren’t larger than life heroes who are paragons of good, instead they’re deeply flawed individuals who are just trying to do the right thing. The Death of Magic is exceptional in every way. The two arcs collected are total page-turners and all the characters involved are extremely compelling. If anything, The Death of Magic proves why Justice League Dark is such an important book for DC Comics.

RATING: A

Review: Green Arrow Volume 2 - Triple Threat

On a routine patrol, Green Arrow is ambushed by the mercenaries known as Skylark. Impressed by their gadgets, he agrees to venture to Alaska with them in order to learn the secrets to their technology. Meanwhile, with Q-Core in dire straits, Oliver’s business rival Emerson launches a plan to gain full control of the company.

Green Arrow Volume 2: Triple Threat collects Green Arrow #7-13, written by Ann Nocenti and illustrated by Harvey Tolibao.

After the underwhelming New 52 launch of Green Arrow with the team of Krul, Giffen and Jurgens, DC Comics passed the book over to veteran Marvel editor Ann Nocenti. This move proved to be less than intelligent, as it resulted in a garbled, incoherent mess. Nocenti’s opening arc is hard to follow and a little too gratuitous. She depicts Green Arrow as an impulsive individual who is at the very mercy of his own testosterone. We’re given more than one nauseating sex scene, which do absolutely nothing to further the plot. It’s as if Nocenti is suggesting that our titular hero is really nothing more than a man child in green leather. This is exemplified through his actions with other characters. He’s rude, disrespectful and can’t see past his own agenda. It makes it impossible to care about him and actually want him to succeed. Yes, Green Arrow’s always been a bit of a pig and he can be stubborn, but never quite to the extent where he just seems like a bored yuppie man child.

Beyond her misinterpretation of the titular character, Nocenti’s dialogue proves to be quite strange. I had the exact same problem with her tenure on Catwoman. The dialogue is often vaguely poetic, as it often lacks context and narrative structure. In other words, half of what comes out of the characters’ mouths makes little to no sense in context with the scene. This makes it especially difficult to follow the story. By the time you get through the first couple of issues, you’re likely to be flipping to the back to see how many pages you’ve got left to read. Yes, it’s that bad.

To make matters worse, Tolibao’s art matches Nocenti’s writing style in the worst possible way. It’s messy and you practically have to squint in order to make sense of the details. None of the characters are particularly attractive and they’re all vaguely childlike, which makes the aforementioned sex scenes that much more grotesque.

It’s really easy to hate on Nocenti’s run on Green Arrow. It’s inconsistent and has far too many eye roll worthy moments. What’s even more maddening is that under the care of a more judicious creative team, the stories present here could have been fairly interesting. The first arc plays on Shakespeare’s seminal King Lear, presenting the narrative of a crazed patriarch whose poisonous relationship with his daughters leads to the destruction of his domain. The second plays with the concepts of reality, by exploring an imagined industry where humans are enhanced with cybernetic parts in order to escape the negative aspects of being human. Lastly, Green Arrow ventures to China to reclaim his company and fight against a tyrannical businessman. All of these have tremendous potential. Sadly, Nocenti squanders it all with senseless dialogue and some rather unfortunate (and hopefully unintentional) racist moments.

If you’re a fan of Green Arrow and of good storytelling, Triple Threat is not for you. It’s a collection perhaps to be read for completion sake, rather than enjoyment. The writing is tedious and the art just doesn’t work for a mainstream superhero comic. If you’re expecting memorable villains and soapy melodrama you can sink your teeth into a la CW’s Arrow, you’re not going to find it here.

RATING: D

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-

Review: Green Arrow Volume 1 - The Midas Touch

When a group of superhuman club kids begin recording their criminal exploits for online fame, billionaire-turned-vigilante Green Arrow makes it his mission to shut them down. With the help of IT whiz Naomi and inventor extraordinaire, he’s sure to make quick work of these delinquents. The only problem is – the public doesn’t want them to be stopped. Meanwhile, a shadowy mercenary stalks Oliver Queen with the intention of ruining his life.

Green Arrow Volume 1: The Midas Touch collects Green Arrow #1-6, written by J.T. Krul and Keith Giffen, with art and co-plotting by Dan Jurgens.

As one of the launch titles from DC Comics’ 2011 relaunch, Green Arrow faced the daunting task of re-establishing its titular hero as a sleek modern hero contemporary readers could relate to. Gone were the feathered cap and 1970s beard. Instead, we find a Smallville-inspired pretty boy Green Arrow decked out in leather togs and techie gadgets. The change isn’t wholly undesirable, as it helps to update the character visually and brings him well into the 21^st century.  Sadly, the opening arc couldn’t quite seem to match the exterior makeover.

The Midas Touch opens with a rather bland and mildly preachy featuring a group of forgettable twenty-somethings who are recording their criminal activities and broadcasting them online. It’s a story that feels a little too of-the-times and is quite obviously critiquing the topic of internet fame. It feels a little out of place and comes across as filler, instead of being a gripping opener that will hook readers to the book. Put simply, Green Arrow doesn’t announce its presence and ultimately pales in comparison to Snyder’s Batman or Azzarello’s Wonder Woman.

Thankfully, things pick up during the second arc. With the introduction of the grotesque Midas and the femme fatale Blood Rose, Green Arrow is finally given some memorable foes to face. The latter particularly leaves an impression due to her striking design and her unique skillset. Unfortunately, for all the potential these villains had the story lets them down. Much is made about the fact that Blood Rose has it out for Oliver Queen, but her motivations and backstory are ultimately left as a cliffhanger. Ordinarily this wouldn't be such a problem, but the creative team was ejected after this arc - leaving Midas and Blood Rose's narratives incomplete.

If there's one thing that Green Arrow does, it's play it safe. The action lacks suspense, the initial arc lacks memorable antagonists and the supporting cast feel a little too generic. Even Naomi's blatant Rihanna appearance can't quite shake off the fact that she feels like a lesser version of Oracle. Of all of the launch titles from DC Comics' The New 52 initiative, Green Arrow was one of the bigger disappointments. Jurgens and Perez's art feels dated, while the narrative itself fails to define Green Arrow in this continuity. If it weren't for the fact that Arrow was in development at the time, it wouldn't be hard to imagine that this particular title would have been on the chopping block.

RATING: C

Review: Birds of Prey Volume 1 - End Run

After being framed for the murder of a European gangster, Black Canary reunites with her former teammates to clear her name and uncover the identity of her unseen foe. The answer may lay in their past, but the Birds must live long enough in order to uncover it. Thankfully, they have help in the form of Hawk and Dove, and… the Penguin? This is one reunion that is not to be missed.

Birds of Prey Volume 1: End Run collects Birds of Prey (Vol. 2) #1-6, written by Gail Simone, with art by Ed Benes, Adriana Melo and Alvin Lee.

After successfully diffusing a hostage situation in Europe, Black Canary reunites with Oracle and Huntress to track down a mysterious villain who threatens to kill everyone they’ve ever known and loved. This threat isn’t to be taken lightly either, considering said villain is in possession of a rather hefty document carrying just about every bit of information on our heroines' secret identities. Complicating matters is the arrival of a woman calling herself the White Canary. As far as villains go, White Canary has a rather distinctive look and the fact that she’s able to fight Black Canary to a standstill makes her a terrifying opponent. She has big bad potential, further highlighting just how good Simone is at creating new characters.

Meanwhile, Batman baddie Penguin is seemingly caught in the crosshairs of this conflict. His inclusion in the narrative is as brilliant as it is hilarious. Simone writes him rather well, giving him a very distinct personality as a lecherous club owner. New recruits Hawk and Dove are also along for the ride. Their involvement in the story is a little more tenuous, as they feel too randomly placed. Neither character contributes anything noteworthy to the story and instead feel wedged into the narrative in order to tie-in to the then-current event Brightest Day. That’s not to say that they’re not welcome additions to the cast. Hell, having Hawk on the team was worth it if only for Lady Blackhawk’s hilarious one-liner asking if he’s “fancy.”

For all intents and purposes, End Run acts as a sequel to Gail Simone’s acclaimed run on the first Birds of Prey series. Much of its plot hinges upon events and characters originally introduced during that time. For fans of that run, reading End Run will be like a referential stroll down memory lane. Simone utilizes guest stars such as Savant, Creote and Lady Shiva to provide a sense of familiarity amongst her readers. Their inclusion is more than welcome, considering these characters had been all but abandoned when she departed the original Birds of Prey way back in 2007. This also happens to create a near seamless narrative that links both of her Birds runs, allowing readers to feel like she’d never left at all.

The downside to Simone’s sequel approach to the title also happens to be just how dense it is to penetrate for newer readers. Despite being an apparent introductory arc to a new volume of Birds of Prey, it requires the reader to have precise knowledge of Simone’s preceding run, as well as a working knowledge of the dissolution of Black Canary’s marriage to Green Arrow. In many ways, End Run is a direct follow-up to The Battle Within. In this globe-trotting adventure, Black Canary and her one-time mentor Wildcat were forced to do battle against the assassins known as the Twelve Brothers in Silk. After their defeat at the hands of Canary and her allies, the Brothers returned to Asia never to be seen or heard from again. Though it’s not essential to have read this storyline to enjoy End Run, it will leave more than one casual reader feeling confused. The flip side to this is that it’s refreshing to see a writer acknowledge the continuity that’s been previously established, as all too often a writer will ignore canon in favour of doing their own thing.

Calling End Run a sequel has double-meaning too. The first being the narrative and its characters, but the word itself also brings film to mind. If there’s one thing Simone achieved here, it’s that she’s crafted a truly expansive cinematic experience for her readers. From the icy mountains of Europe to the crowded street of Thailand, the Birds traverse the globe in their quest to stop the White Canary. What follows is one glorious fight sequence after another. These action scenes are tightly choreographed and wrench the tension up, as they leave our heroines with little time to rest. After all, Black Canary goes the entire final act with broken bones and Lady Blackhawk is in recovery for a stab wound. One of the most memorable sequences sees Huntress taking on Lady Shiva in one hell of a bloody brawl. Huntress is outclassed and outmatched against the master assassin, but her determination to last as long as she can makes for an extremely intense fight.

Aside from the issue of accessibility, the one area where End Run stumbles is in its moments of downtime. A particularly awkward scene occurs early on when Black Canary reunites with Oracle and Huntress. The narration sees Canary telling herself not to cry, only to see Huntress burst into tears moments later. This sentimentality feels a little forced and out-of-character for this particular group of women. It’s almost as if it’s been wedged in so that readers are reminded that these three are a true blue Sex and the City group of BFFs. Another odd moment occurs when the Penguin fantasizes the Birds stripping down and waiting on him. It’s a scene that’s wholly unnecessary and feels as if it’s there in order to provide some gratuitous cheesecake.

All in all, End Run wasn’t quite the reunion it should have been. With Simone and Benes teaming up to tackle the team that made them superstars, it’s not unreasonable to have high expectations going into it. The art is indeed beautiful, but is inconsistent due to Benes splitting art chores with Adriana Melo. Simone’s writing shares a similar fate. She manages to balance the arc amazingly well, crafting some of the most stunning action scenes and plot twists. However, there are small blips here and there that are more than a little awkward. Nevertheless, End Run is like a heartfelt love letter to Simone’s legendary run on the original Birds and should not be missed by anyone who is a fan of these characters. At the end of the day, there’s nothing quite like seeing this band of badasses kick some bad guy butt. From Huntress’ tough girl routine to Lady Blackhawk’s penchant for drinking, it’s always a rip-roaring good time when the Birds of Prey are involved.

RATING: B+

Review: Red Hood and the Outlaws Volume 5 - The Big Picture

After facing off against Ra's al Ghul and his League of Assassins, Red Hood and the Outlaws take a much-needed break. All goes well until a group of alien mercenaries hijack Starfire's ship… with Arsenal still inside. Red Hood and Starfire must then travel into space in order to find their friend. The question is, will he still be alive by the time they get to him?

Red Hood and the Outlaws Volume 5: The Big Pictures collects Red Hood and the Outlaws #27-31, as well as DC Universe Presents #17-18.

The Big Picture picks off where the previous volume left off. Ra's al Ghul has been resurrected and Red Hood is seemingly the only person with the power necessary for defeating them. This singular issue concludes the arc started by James Tynion IV, so it's a little puzzling as to why it wasn't collected in the preceding trade paperback. It disturbs the flow of the trade here, but otherwise it's an excellent issue. Tynion IV bids farewell to the book in the following issue, which sees the dissolution of Red Hood and Isabel's relationship. Though their relationship was never particularly interesting or well-developed, it's a bit bittersweet to see one of the few supporting characters they had go.

The bulk of this collection is a three-part story that sees a group of aliens stealing Starfire's spaceship and venturing off into space with Arsenal in tow. Red Hood and Starfire, who were left behind, must find a way of trailing their friend and rescuing him before he can be killed by his captors. One-time Catwoman writer Will Pfeiffer handles these issues. By and large, the narrative works as a way of bringing together the team after they'd been driven apart in the previous arc. They don't trust one another anymore, but they still obviously care about one another. This is especially evident given the lengths Red Hood is willing to go in order to rescue Arsenal.

While the scope of this three-parter extends into the stars, it does feel a little rushed and doesn't quite reach the epic scope it needs. The use of Lobo as the story's antagonist is a stroke of brilliance, as he compares and contrasts nicely to our protagonists. However, he's not particularly well-developed in these issues and the overall action ends way too quickly. Nevertheless, there are some great moments of humour and it's quite refreshing to see Arsenal save the day with his gadgets, rather than seeing his companions do it with muscle.

Red Hood and the Outlaws has always been one of the most interesting titles from the New 52 initiative. At times, it's exciting and original. At others, it feels rushed and unimportant. The inconsistencies that plague this title are evident here, but that doesn't mean that the reading isn't enjoyable. It is, but it's comparable to a nice fluffy dessert. It's sweet, but it's not exactly going to leave you feeling full.

RATING: B-

Review: Batgirl Volume 5 - Deadline

Things haven't been going well for the heroine known as Barbara Gordon. She's seemingly responsible for the death of her brother and her father nearly killed her boyfriend. To make matters worse, her nemesis Knightfall is nearing her endgame to make Gotham City her own. Thankfully, Batgirl has a few friends to help her bring down Knightfall's criminal empire.

Batgirl Volume 5: Deadline collects issues #27-34 of Batgirl, along with Batgirl Annual #2 and Batgirl: Futures End #1, written by Gail Simone and featuring art by Fernando Pasarin, Jonathan Glapion and Robert Gill.

Deadline collects the conclusion of Gail Simone's stellar three year run on Batgirl. The stories collected here feature Batgirl and her allies facing off against Knightfall and the Disgraced, as well as some rather creepy supernatural foes. Simone pulls out all the stops, giving her longtime readers the kind of moments that made her run on Birds of Prey so successful. After seeing a more dour Barbara in the preceding trade, it's nice to see her trading quips with Black Canary in between kicking bad guy butt. Simone even tosses Huntress into the mix, which definitely stirs up some major nostalgia. If that weren't enough, we also see the re-introduction of Secret Six fan-favourite Ragdoll in a one-off issue facing off against Batgirl.

For the first few issues of this collection, Simone dabbles in the horror genre to deliver some of her most chilling work to date. In a two-part story, Batgirl teams up with the former assassin Strix to battle the vampire hunter Silver. He's kidnapped a little girl he believes to be the queen of the vampires and Strix is deadset on rescuing her from his clutches. The dynamic between Batgirl and Strix is electric, with the former playing a figurative big sis. In a way, it also mimics the chemistry between fan-favourites Spoiler and Black Bat. Despite being filler, this two-parter is very effective in keeping the reader engaged and even features a surprise twist worthy of any (good) horror movie.

Another standalone story features Batgirl saving a group of teenagers after they've summoned a shapeshifting beast to Gotham City. By and large, the story's purpose is to reinvigorate Batgirl's resolve as a hero and to become more confident in her abilities. Simone does this not only through the action of the story, but by using Batgirl's internal dialogue to explore her place within the Bat Family. It's a successful way of emphasizing the fact that Batgirl was never just some sidekick like Robin, but rather she was a hero in her own right whose independence helped to usher in a new wave of superheroines all the way back in the late 1960s.

The horror trend continues with the issue that guest stars Ragdoll. As one of the standouts from Gail Simone's run on Secret Six, Ragdoll is equally as funny as he is creepy. The imagery within the issue is enough to send a shiver up your spine, particularly one panel which features Alysia trapped in a bathroom stall with him. Of course, the dialogue that accompanies the art cuts through the horror to provide a more layered reading experience.

Of all of the stories in Deadline, the one from Batgirl Annual #2 is perhaps the best of the bunch. Taking place over the course of several months, this story features Batgirl forming an uneasy alliance with Poison Ivy as they investigate the shady business dealings of the man known as Mr. Rain. Despite carrying her name, the annual actually has very little to do with Batgirl. Instead, it serves as a fascinating character story about Poison Ivy. By and large, writers have a tendency to portray the redheaded villainess as a one-note eco-terrorist who uses sex as a weapon. That's not the case here. Simone provides a truly riveting story that explores Poison Ivy's complex motivations and her internal battle with her own humanity. She does this using the framework of the changing seasons, as well as placing the character in situations where she witnesses human suffering. It's nothing short of brilliant.

The conclusion of Simone's run on Batgirl is a bittersweet reading experience. In the three part story "Deadline," she reunites Batgirl with Black Canary and Huntress for an unforgettable showdown against Knightfall and her Disgraced. It's a page-turner, with some of the most eye-popping action thus far in the series and it even features some rather cool guest stars. It works beautifully to re-establish Batgirl as a champion of the light, dusting away some of the melancholy that set in after some of the terrible things she's experienced. Not only that, but it sees Batgirl using her head to strategize and has her defeating Knightfall, not through fisticuffs, but through outwitting her.

What makes this conclusion so bittersweet is two-fold. The first being that the story itself should have been much longer than it was. With it taking place over the course of three issues, which were largely preceded by filler, doesn't give Simone the legroom she needed to really set everything up the way it needed to be. It's especially unnerving considering she lost one issue to a tie-in (#27), which otherwise could have gone towards something more important. The other part of it is that Simone truly hits her stride here. The reunion of the most famous members of the Birds of Prey featured is maddeningly frustrating. We get them working together for all of two issues before Simone bids farewell to these characters (for now at least). While she couldn't quite possibly write the same characters forever, it's still disappointing that her run couldn't have gone on longer.

It's really no secret that Gail Simone is one of my favourite comic book writers. Her tenure on Birds of Prey continues to be one of my all-time favourite runs by any one writer, while her subsequent work has been equally as impressive. Batgirl comes closest perhaps at rivalling Birds of Prey. Her three years on this book were thrilling, dramatic and elicited just about every emotion imaginable from readers. It's sad to think about the fact that there won't be any further stories featuring this specific cast under Simone's direction for the foreseeable future, but the stories she's left behind are impactful and stand as some of the greatest (if not the greatest) that the New 52 had to offer.

RATING: A