Review: Uncanny X-Force Volume 1 - Let It Bleed

The X-Men Storm and Psylocke team up with the pint-sized Puck to hunt down the sorceress Spiral, who is rumoured to be dealing psychotropic drugs on the west coast. They soon discover that she has become the guardian of a new mutant and has vowed to protect her from the ills of the world – which includes former X-Man Bishop.

Uncanny X-Force Volume 1: Let It Bleed collects Uncanny X-Force #1-6, written by Sam Humphries with art by Adrian Alphona and Ron Garney.

Superficially, Let It Bleed is a meandering story arc that has one too many plotlines. Humphries jumps between narrative threads throughout, which interfere with creating consistent pacing and make it difficult to follow. There’s Spiral and her new charge, the return of Bishop, Storm and Psylocke’s personal life drama, and Fantomex and Cluster’s search for Psylocke. Thankfully, Psylocke acts as the connective tissue between all of these dangling plotlines. She is the nucleus of the story and Humphries makes sure to portray her as the flawed, multi-faceted character that fans know her to be. He also has a clear understanding of her friendship with Storm and this becomes crucial to the overall enjoyment of the series. Their interactions with one another are perhaps the best thing about this collection and ultimately help to emphasize that the X-Men are family and that they genuinely care for one another.

Those hoping that this reboot of Uncanny X-Force is a perfect jumping on point for newer readers are certain to be disappointed, if not entirely lost. Humphries’ narrative is heavily steeped in decades of continuity and is a veritable buffet for hardcore fans. Unfortunately, this means it will leave more casual readers scratching their heads. It’s likely that people won’t understand why Psylocke detests Spiral so much unless they’re familiar with their past and Humphries’ usage of the Demon Bear from the old school New Mutants series only receives a passing reference in explaining what it is. There’s also the likelihood that people won’t be aware of who Puck is, considering the fact that he’s a member of Alpha Flight and hadn’t really been used in anything overly mainstream for quite some time. Finally, there’s the fact that this is the post-Rick Remender relaunch of Uncanny X-Force, so readers will benefit from having some working knowledge of the events from that series as well. As such, Let It Bleed reads as a for-veteran-fans-only style story.

Let It Bleed has its fair share of strengths and weaknesses. Overall, Humphries introduced a lot of interesting elements and is to be commended for crafting a story that is character-driven. He has a very clear understanding of both Psylocke and Storm, writing them quite well throughout. However, this arc also needed more tailoring in order to trim away some of the unnecessary fat that clogs the pacing. Simply put, it often takes too long to get to the point and seems to wander around directionless. In the end, Let It Bleed is an odd mix of being fantastically written on the character front, but weak on the story end of things.

RATING: C+

Review: Batwoman Volume 5 - Webs

Following her showdown with Batman, Batwoman becomes entangled in a game of cat and mouse with a thief known as Wolf Spider. With Hawkfire temporarily out of commission, Batwoman will have to fly solo in her pursuit of the costumed larcenist. Meanwhile, Kate begins seeing a therapist at her fiancée’s behest after a traumatizing event involving Maggie’s daughter.

Batwoman Volume 5: Webs collects Batwoman #25-31 and Annual #1, written by Marc Andreyko with art by Trevor McCarthy and Jeremy Haun.

When J.H. Williams III and W. Haden Blackman departed Batwoman following a dispute with editorial over the marriage of the titular heroine and her fiancée Maggie Sawyer, they left behind an unfinished arc with many dangling plotlines. On paper, Marc Andreyko seemed like the perfect replacement writer. His Manhunter series was a critical darling and was known for its edginess and inclusion of LGBTQ+ characters. He does indeed bring some of that magic to Batwoman, particularly with snappy dialogue between Kate and Bette (the latter still remains one of my favourite characters from this series). The dynamic between those two characters is really fun and gives an otherwise heavy title some much needed levity. Andreyko also skewers some tropes within the LGBTQ+ community and introduces additional queer characters into the cast, which Williams and Blackman seemed hesitant to do. Unfortunately, everything else just seems a little off.

From what we know of Williams and Blackman’s departure, there were supposed to be two additional issues penned by them that would have finished off the Batwoman vs. Batman arc. These issues were supposed to resolve the remaining plotlines, which superficially appears to be what Andreyko was doing in Batwoman Annual #1. The execution, however, leaves much to be desired. He fumbles around in his resolution of this arc, shunting Alice and the Murder of Crows into the fringes of the narrative while the reveal about Director Bones’ past proves anticlimactic. To make matters worse, the aftermath does nothing to provide any kind of consistency between the Williams/Blackman run and his. Kate’s father disappears from the narrative, absolutely nothing is done to explore Alice’s past, and Cameron Chase is written out entirely. With so much of her supporting cast axed, the book ends up feeling empty and naked. This needs to be a lesson learned by all writers when they take over a book from a beloved creative team – never remove characters from the supporting cast. They are the backbone of the story and are often part of what makes a singular comic so great.

Overall, I’m not terribly impressed by Andreyko’s first few issues on Batwoman. His resolution of the cliffhangers Williams and Blackman left behind isn’t entirely what I would have wanted, while his own independent storyline reads generically (a thief, really?). He also makes some unfortunate decisions regarding the direction of Kate and Maggie’s relationship, though I suspect this has more to do with editorial interference than his own wishes. Fans who have stuck with this title are sure to be at least mildly disappointed with this trade. Thankfully, there are aspects about this collection that are worthy of praise. Andreyko’s dialogue is strong and there are many excellent action sequences. He also re-introduces Nocturna, a D-list Batman villain, into the mix and she proves to be a rather interesting addition to Batwoman’s rogues’ gallery.

RATING: B-

Review: Batwoman Volume 4 - This Blood is Thick

Having successfully defeated Medusa, Batwoman now faces an equally as challenging a mission – unmasking Batman. She is blackmailed by the D.E.O. into acting on their behalf to uncover Batman’s identity, but thankfully she has the help of her family and girlfriend behind her to attempt a double-cross.

Batwoman Volume 4: This Blood is Thick collects Batwoman #18-24, written by J.H. Williams III and W. Haden Blackman with art by Trevor McCarthy.

Taking a break from the supernatural mayhem that became a trademark of this series, This Blood is Thick is a more grounded approach to Batwoman and focuses on themes of familial loyalty and honesty. Our titular heroine is backed into a corner by the D.E.O. when she is forced into facing off against Batman in order to protect her family. In an effort to prevent further souring her tenuous relationship with the Dark Knight, Batwoman begrudgingly accepts help from Hawkfire and the elite Murder of Crows. This is a simpler and more straightforward narrative that does away with subplots that were common in previous arcs. Nevertheless, there are still strong character moments. I continue to be drawn to Bette/Hawkfire’s tenacity as a fledging hero and find Maggie’s loyalty to anchor the series.

There are quite a few problems I have regarding This Blood is Thick that make it less enjoyable than the previous three trades from this series. Notably, the Killer Croc interlude that splits this arc feels misplaced and immediately removes you from the flow. While Williams and Blackman used interruptive interludes before in this series, they at least centered them around the main cast and used them to develop them further. Instead, this seems like a throwaway issue created to explain how Killer Croc returned to his normal appearance. There’s also the usage of Batman’s rogues in the latter half of this arc. Their appearances are not substantive and they instead function as plot devices, which seems rather reductive considering how many times this happens in Batman-centric stories. Why use Poison Ivy or Bane if they’re just going to serve as distractions? Surely Williams and Blackman could have come up with a more creative way of drawing Batman out into a trap than just unleashing some of his baddest foes. Lastly, there’s the matter of the infamous “ending.” Since Williams and Blackman departed the series before they could conclude their run due to DC Comics’ refusal to allow Kate and Maggie to marry, the final issue in this collection ends with two nagging cliffhangers. It’s frustrating and disappointing, even if Marc Andreyko would provide the conclusion in the following trade.

There’s a slight dip in quality in Batwoman Volume 4: This Blood is Thick. I remain invested in the cast and their adventures, but find there to be less inventiveness and more missed opportunities involved in this arc. Trevor McCarthy’s art helps to provide cohesiveness and is a high point for this collection. Even still, the lack of Williams’ artwork is mildly disappointing considering this is the last batch of issues we’d ever get from this creative team. Any scene with Bette or Maggie is a standout, making both characters possibly the reason to read this collection. The selling point for non-Batwoman fans would be the showdown between the titular character and Batman (which actually ends in a cliffhanger…).

RATING: B

Review: Wonder Woman Volume 7 - War-Torn

Torn between her duties as the leader of the Amazons, as the God of War, and as a member of the Justice League, an exhausted Wonder Woman must deal with an insurgence on Themyscira led by a group of rebels who object to her judgements. At the same time, Wonder Woman and the Justice League are tasked with finding and rescuing missing villages from an unseen foe.

Wonder Woman Volume 7: War-Torn collects Wonder Woman #36-40 and Annual #1, written by Meredith Finch and illustrated by David Finch.

Having inherited Wonder Woman from Brian Azzarello, Meredith Finch must have had a difficult task ahead of her as the writer of this title. Depending on whom you ask, Azzarello’s run on Wonder Woman was either a brilliant and fresh reinvention of the character and her mythos or a disrespectful slap in the face to decades of beloved stories. As such, Finch would have been faced with either continuing on down the path Azzarello had chosen or forging her own. What she does is a little of both. The narrative she crafts deals with the aftermath of the First Born’s banishment and the Amazons’ displeasure at Wonder Woman’s decision to have men live on Themyscira. The latter storyline creates a pressure cooker wherein each moment our titular heroine takes off from her homeland brings the Amazons one step closer towards civil war. Finch also introduces Donna Troy to the New 52 canon, giving Donna her umpteenth new origin. This time around she’s forged from clay and given life by the sorceress Hecate. She is then used as a tool by the book’s antagonist Derinoe in an attempt to usurp the throne from Wonder Woman.

I quite enjoyed Finch’s initial arc on Wonder Woman as I feel it connects the character more to the DC Universe than Azzarello’s did and it focuses far more on Diana as a woman rather than as a demigod. The Justice League serves as supporting characters in this collection and they act as anchors for Wonder Woman in the mortal world. Finch even pens a couple of really great scenes between Batman and Wonder Woman, which helps to continue the history of their friendship. She also seems to understand the character on a more fundamental level as we see Wonder Woman portrayed with a wider range of emotions and as someone who doesn’t solve all conflicts with the tip of her sword. She’s complex and, like any woman, is stretched thin by trying to do too much and be everything for all people. This adds a new dimension to her character and helps readers to see her as more human than many other writers allow her to be. Another step in the right direction was with Finch’s approach to the Amazons. There’s no tip-toeing around the fact that Azzarello’s Amazons were unlikeable in their thirst for violence and desire for segregation, but Finch paints a much more layered portrait. She presents them as a people who have been burned in the past. Some are willing to change and others are not, but regardless of what they believe it is emphasized that Amazons are more than just warriors – they are sisters. This helps to pull the weighty cloud of sourness off of them and brings them closer to what Wonder Woman fans expect and want from the Amazons.

Where War-Torn runs into problems is with its art. Though David Finch is undeniably a talented artist, he’s also inconsistent and walks a thin line between drawing women as empowered and as overly sexualized. Whether the baby faces he draws are appealing to readers is subjective, but he is to at least be commended for attempting to match the emotiveness of the script. Unfortunately, he seems ill-equipped to illustrate anything beyond doe-eyed bemusement. That’s not to say that he doesn’t render a couple of really great splash pages or that Diana and Donna’s climactic fight isn’t done well, but there’s a quality to his work that just doesn’t seem to match the tone of the book.

Wonder Woman Volume 6: War-Torn represents a small step in the right direction in the Post-Azzarello landscape in the narrative of the Amazing Amazon. Meredith Finch provides more emotional depth to the titular heroine and proves herself capable of crafting a great superhero story. Her dialogue is sometimes hit-and-miss, but this is a small con in a collection full of mostly pros. For instance, she makes great use of supporting characters like Dessa who seems to be the New 52 megamix of Philippus and Artemis. David Finch’s art leaves much to be desired and will possibly turn some readers away. Thankfully, his wife’s willingness to try something new and move the direction of this title further from the Olympian melodrama that Azzarello’s run focused on does more than enough to make up for his shortcomings on pencils.

RATING: B

Review: Batwoman Volume 3 - World's Finest

As the gorgon Medusa reaches her endgame, Batwoman seeks out the aid of the one person who has experience in combating ancient Greek monsters – Wonder Woman! With the Amazing Amazon by her side, Batwoman must rescue the missing children of Gotham City and defeat Medusa’s army of twisted monsters once and for all.

Batwoman Volume 3: World’s Finest collects Batwoman #12-17 and #0, written by J.H. Williams III and W. Haden Blackman with additional art by Trevor McCarthy.

World’s Finest is the third and final part of the Medusa saga from Williams and Blackman’s stellar run on Batwoman. In a stroke of genius, they pair Batwoman with Wonder Woman in an incredibly memorable team-up that sees the two heroines working together to defeat Medusa and her forces of darkness. Both writers do an impeccable job rendering the interior worlds of these two women as they head into battle. They are complex and contradictory, which make them tangible and relatable. It’s humanizing to read Batwoman’s awkwardness and insecurity being around an immortal, especially one as beautiful and inspiring as Wonder Woman. It sets a unique tone for their dynamic, which contrasts nicely against Superman and Batman’s. In case it’s not obvious, this is a partnership I’d love to see made permanent or semi-permanent.

The mix of myth and magic with the grit of Gotham City is an interesting contrast that really gives this book a flavor unlike all others within the genre. The usage of Medusa as this arc’s Big Bad is creative and unexpected for a series that exists within the Batman Family line of comics. This also precipitates and helps to reinforce the necessity of Batwoman’s partnership with Wonder Woman. As such, it becomes quite clear that Williams and Blackman were building towards this. This unwavering sense of direction and purpose unfolds not only through Batwoman’s eventual defeat of Medusa, but also in the progression of subplots that required resolution or action. Notably, Bette recovers from her injuries and debuts as the vigilante Hawkfire.

While the team-up between Batwoman and Wonder Woman is the most obvious selling point of World’s Finest, my favourite moments in this collection don’t feature this partnership. Bette’s recovery is portrayed earnestly and focuses on her unrelenting drive to be seen as her cousin’s equal or successor as a crimefighter. The gorgeously drawn two-page spread of Jacob Kane and Bette meditating is memorable for the way in which the characters’ inner thoughts vividly paint a portrait of who they are and what they want. Scenes that focus on Maggie Sawyer are also equally as thrilling. In fact, she’s quite possibly my favourite character from this series largely due to her exceedingly layered portrayal. She is a hero in every sense of the word, but is wracked with guilt over her past and feels powerless in her job to bring back the missing children to their parents. There’s even a poignant section where Maggie recounts a past event where her father locked her in a shed for her inability perform her gender to his standards. Her encounter with homophobia at that young of an age and the effects it left on her emphasizes just how on point Williams and Blackman are with this book regarding the portrayal of LGBTQ+ characters. I loved everything about Batwoman #0 too. This interlude issue gives us a glimpse into Kate’s past and her journey towards becoming Batwoman. It shows us the pain and struggles she had to go through following her mother and sister’s deaths, with one notable scene examining the character’s alcoholism with an unfiltered honesty. The trials that her father puts her through are intense and really drive home how determined and how much of a badass she is as well. Quite honestly, everything about her family and their dynamic is absolutely riveting.

I loved every moment and every panel in Batwoman Volume 3: World’s Finest. It’s evident throughout that Williams and Blackman know how to create a layered narrative using a complex cast of characters. The direction thus far for this title has been on point and has done a marvelous job of differentiating Batwoman from every other character associated with Batman. Overall, this collection functions as a satisfying conclusion to the Medusa saga and it even ends on a couple of juicy cliffhangers.

RATING: A

Review: Wonder Woman Volume 6 - Bones

With the First Born sending his forces of darkness to Paradise Island to slay the Amazons, Wonder Woman must unite her people as their new queen in order to survive this onslaught. Meanwhile, the Olympian Gods are in danger as the First Born makes it his mission to eliminate all immortals. As time begins running out, it becomes clear that the key to his defeat may be Zola and her child.

Wonder Woman Volume 6: Bones collects Wonder Woman #30-35 and material from Secret Origins #6, written by Brian Azzarello and with art by Cliff Chiang and Goran Sudzuka.

After nearly three years on Wonder Woman, Brian Azzarello concludes his critically-acclaimed (and often divisive) run in Bones. It’s an action-packed finale that features a bloodied battle on Paradise Island as the Amazons fight off an assault by the First Born’s forces while Wonder Woman herself faces off against her wayward brother. It’s a satisfying way to end a run that had its ups and downs, thus tying up all the loose ends and even making strides in giving the Amazons a chance at redemption for their past indiscretions. There’s also a rather brilliant twist towards the end that feels right at home with Azzarello’s penchant for playing with Greek mythology’s more twisted elements.

What is crucial about Bones is that it brings back the focus to the star of the book. Despite being the headliner in the title, Wonder Woman has at times not seemed as important or as interesting as her supporting cast. She’s vacillated between being Zola’s bodyguard and being a pawn in the games of the Gods. This trade paints a much clearer portrait of who she is. She is a leader capable of inspiring others and uniting a divided nation, she is a loyal friend who will do anything to protect those she loves most, and she will fight for the greater good even when it means she must take a life to do so. All of this character exploration is done by spending less time with Wonder Woman in action and more time with her actually talking or having others talk about her. It's refreshing and it helps to remind readers that Wonder Woman isn't and should never be defined solely as a warrior. She does more than just swing a sword around.

Brian Azzarello, Cliff Chiang, and Goran Sudzuka’s tenure on Wonder Woman is a rare gem in the landscape that is mainstream comics. It’s uncommon to get a series that is as cohesive narratively and aesthetically as this one, telling an epic story from start to finish with artwork that is unique to this world. It’s not interrupted by rotating artists nor is the story derailed by crossovers or events. If anything, Azzarello and co.’s Wonder Woman reads like a comic book from outside of the Big Two and this works to its advantage. For those who stuck with these series, Bones should be a thrilling (and slightly bizarre) conclusion that does everything it needs to. It’s unlikely to sway any naysayers, but there at least seems to be an effort made to address the criticisms of Azzarello’s characterization of Wonder Woman and the Amazons. As a whole, this creative team and their run is worthy of being considered one of the best.

RATING: A-

Review: Batwoman Volume 2 - To Drown the World

Having been blackmailed into joining the D.E.O., Batwoman teams up with Agent Cameron Chase in an effort to dismantle the global criminal cartel Medusa. Together they must infiltrate the cartel’s inner circle and apprehend its lieutenant. However, things go south when Batwoman decides to deviate from her orders.

Batwoman Volume 2: To Drown the World collects Batwoman #6-11, written by J.H. Williams III and W. Haden Blackman with art by Amy Reeder and Trevor McCarthy.

To Drown the World serves as a continuation of the narrative established in the first collection of this series. Told in a series of vignettes, this arc focuses on Batwoman and her supporting cast as they deal with the machinations of Medusa. Batwoman and D.E.O. Agent Cameron Chase take a stand against Medusa’s lieutenant Falchion, Maggie Sawyer continues her investigation into the disappearances of children from the barrio, and Jacob Kane attempts to awaken his niece Bette from her coma after having been eviscerated by one of Medusa’s enforcers.

J.H. Williams III and W. Haden Blackman provide a complex and layered plot that plays out at various points in time, encouraging the reader to carefully piece everything together. Each thread in this tapestry is character-focused and offers a tremendous amount of insight into the cast. My favourite scenes are those with Jacob Kane at Bette’s bedside as they reveal his insecurities as a father and paint a vivid portrait of Kate’s character. The dialogue in these sequences is poignant, raw, and captivating. Something similar is also done with Maggie and Kate later on in a touching scene wherein they open up about their past. It’s a rare moment of vulnerability for Kate that hints at the possibility of maturation for her character and it also helps to establish Maggie as more than just Kate’s love interest.

As a fan of urban legends, To Drown the World appeals to me on every possible level. The lead antagonists are each brilliant reinventions of iconic folkloric figures. Bloody Mary, the Hook, La Llorona, and even the alligator in the sewer become the monstrous enforcers of Medusa. They are gorgeously designed and utilized within the story as physical manifestations of our greatest fears and insecurities. This helps to give Batwoman a creative rogue’s gallery that seems far more menacing than the typical tights-wearing supervillains most other heroes face. Beyond that, it contributes to the overall tone and aesthetic of this book, keeping it dark and moody.

Amy Reeder and Trevor McCarthy provide the artwork for this collection. Reeder, whose work on the Vertigo title Madame Xanadu was whimsical and otherworldly, is perfectly suited to this book. There’s expressiveness to her art that gives the characters life and an ethereal quality that is necessary for capturing the arcane aspects in this series. McCarthy’s work is equally as impressive, though his style tips closer towards more traditional superhero artwork. Both Reeder and McCarthy skillfully manage to capture the aesthetic that J.H. Williams III established for Batwoman, particularly in giving the titular heroine her distinct gothic appearance and telling the story with expansive and unusual panel layouts.

Batwoman is one of those few comic books where story and art are so perfectly paired that it turns reading into a truly immersive and unique experience. To Drown the World flawlessly brings together the worlds of superhero fiction and cultural folklore in one gorgeously illustrated collection. The characters and their stories are layered, making them both flawed and relatable. By this trade’s final page, it becomes quite evident as to why Batwoman was regarded by some as the best of what DC Comics had to offer during their New 52 initiative.

RATING: A

Review: Batgirl Volume 3 - Mindfields

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

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

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

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

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

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

RATING: A-

Review: Batwoman Volume 1 - Hydrology

As children begin to go missing from one of Gotham City's poorer neighbourhoods, Batwoman discovers that a sinister supernatural force is behind the abductions. With tensions mounting, she must evade the Gotham City Police Department and the Department of Extranormal Operations in order to return the children safely to their homes.

Then, Batwoman contemplates joining Batman Incorporated as she juggles training her cousin Bette to become her partner with a new relationship with GCPD Inspector Maggie Sawyer.

Batwoman Volume 1: Hydrology collects Batwoman #0-5 and features the creative team of J.H. Williams III and W. Haden Blackman.

Hydrology is a magnificent continuation of Greg Rucka and J.H. Williams III's critically-acclaimed Detective Comics run starring Batwoman. It picks up shortly after the events of Elegy and features the titular heroine struggling to cope with the apparent death of her twin sister. Kate's relationship with her father has become strained and she's grown increasingly impatient with her cousin Bette. Rather than deal with her familial issues, Kate throws herself into her work and begins an investigation into a series of kidnappings. She also begins dating Maggie Sawyer. Kate's avoidance in dealing with her personal problems creates palpable tension within the narrative and bubbles up in order to heighten the drama. Additional subplots involving Batman and the DEO create intrigue as Kate is forced to make a series of decisions that could help or hinder her ability to fight crime in Gotham City. This layered narrative establishes a complexity to the storyline while also increasing the stakes.

There is much to admire about Hydrology's storyline and characters. I love that La Llorona, one of my favourite urban legends, serves as the primary antagonist. The visual motifs used for her character are haunting and enhance how menacing she is. The fact that La Llorona is a supernatural figure helps to distinguish Batwoman from the rest of the Batman Family as the others tend to face off against human foes. Furthermore, the character work that supports the narrative is impressive. J.H. Williams III and W. Haden Blackman aren't afraid to portray Kate as flawed and for that they should be applauded. She's seen as warm and funny while around Maggie, but she also pushes her family away and is unfairly antagonistic towards her cousin. This makes Kate all the more relatable and human to readers. Furthermore, we get fantastic dialogue all around. Whether it's the tender conversation between Kate and Maggie or the many snappy retorts from Cameron Chase, the scripting is electric in Hydrology and establishes each character's voice in a distinctive manner.

J.H. Williams III's artwork is absolutely stunning. He utilizes expansive splash pages and shapes each panel creatively in order to convey the emotion of the scene. Often we can understand Kate's mental state by how the individual panels are drawn. In scenes where Kate seems happy and at ease, particularly those while she's with Maggie, Williams III employs traditional boxed panels that are drawn cleanly. When Kate is upset or agitated, such as during a heated argument with her father, the panels become askew and are given a frantic energy. Furthermore, every single inch of his pages is brimming with detail, leaving not one space for a reader not to examine or pull meaning from. One of the most breathtaking sequences involves the juxtaposition of Kate and Maggie's first intimate encounter with Flamebird's brutal beatings at the hands of a villain. The cool grayscale images of Kate's ecstasy contrast sharply against the aggression of the hot-hued violent imagery. Lastly, he is to be commended for how iconically he renders Batwoman. From her inky costume to her gargoyle-like mask, she's absolutely striking in every appearance she makes in Hydrology.

Batwoman Volume 1: Hydrology is damn well near flawless. It has a tightly plotted narrative with complex characters and an engrossing noir aesthetic. The supernatural elements are absolutely brilliant and J.H. Williams III's rich artwork only serve to bring a level of eeriness to them.The accessibility of Hydrology is a little debatable since it's steeped in a continuity previously established in Detective Comics,so it might require reading Batwoman: Elegy to contextualize everything. Otherwise, this collection is an incredibly affecting read and is quite possibly the start of one of the best creative runs from DC Comics' New 52 initiative.

RATING: A+ 

Review: Batman Eternal Volume 3

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

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

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

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

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

RATING: B+