Review: Earth 2 Volume 3 - Battle Cry

After staging a violent coup, Steppenwolf becomes the ruler of the nation of Dherain and immediately engages in a war with the World Army. The wonders of Earth unite against this threat, but Steppenwolf’s warriors may be too powerful for them to defeat. Meanwhile, Hawkgirl continues her search for answers regarding the death of Green Lantern’s fiancé.

Earth 2 Volume 3: Battle Cry collects Earth 2 #13-16, Earth 2 Annual #1, and Earth 2 #15.1, written by James Robinson and illustrated by Nicola Scott. Additional writing is by Paul Levitz and art by Yildiray Cinar.

Battle Cry is a bit of a mess. Where the previous two collections featured some solid character development, this one fails to deliver on that end and instead focuses on a war between the World Army and Steppenwolf that doesn’t quite get the build-up it needed. There are also numerous subplots – namely the introduction of a mysterious new Batman, Fury’s pursuit of Mister Miracle and Big Barda, and Hawkgirl’s investigation into the death of Sam Zhao. As such, Robinson is throwing too much at the reader and doesn’t spend nearly enough time developing the cast he’s reinvented. I would have preferred for him to focus more on Hawkgirl, Fury, and Big Barda since the few female characters in Earth 2 have very little to do.

There are some highlights to this trade. I really enjoyed Robinson’s take on Commander Steel (named Captain Steel in this series). He manages to reinvent the character’s origin in order to make him more relatable and to increase the diverse representation Earth 2 has become known for. He’s a character I’d loved to have seen more of, but he’s sadly not folded into the main cast. Robinson manages to get in a few good twists as well. The appearance of a new Batman adds intrigue (though the cover to this trade kind of spoils that surprise) and there’s a surprising reveal during the battle against Steppenwolf that I certainly didn’t predict. Finally, Nicola Scott’s art continues to be excellent throughout. The men she draws continue to be scrumptious and I’m glad that she’s finally given more women to draw besides Hawkgirl.

This is the final volume collecting James Robinson’s work on Earth 2 (he is replaced by Tom Taylor by issue 17) and he unfortunately goes out with more of a whimper than a bang. He began the series with a lot great ideas and concepts, reinventing Golden Age characters brilliantly for a modern audience. After two decently entertaining arcs, he stumbled with this collection and ended up delivering a lead-up to Taylor’s run rather than neatly tying up the loose ends of his own. The art and high octane action compensates for this, but the drop in quality is far too noticeable not to lament.

RATING: C+

Review: Earth 2 - The Tower of Fate

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

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

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

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

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

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

RATING: B

Review: Earth 2 Volume 1 - The Gathering

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

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

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

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

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

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

RATING: B

Review: Birds of Prey Volume 2 - Your Kiss Might Kill

Having been infected with a toxin by Poison Ivy, the Birds of Prey are coerced into helping her in her campaign to rid the world of the most dangerous threats to the environment. There’s just one problem – Black Canary and the others aren’t willing to sacrifice the lives of innocent humans who will be caught in the crosshairs of Ivy’s crusade.

Birds of Prey Volume 2: Your Kiss Might Kill collects Birds of Prey #8-13 and #0, written by Duane Swiercynski and illustrated by Jesus Saiz and Travel Foreman.

After an explosive opening arc, Swiercynski finally reveals Poison Ivy’s motivations for her joining the Birds of Prey. She needs their help in bringing down corporations that are poisoning the Earth as she cannot do so on her own. It’s an interesting plot as it forces the team to confront the moral implications of their actions and tests their unity as a group. It’s evident that none of them trust Ivy, but there’s a spectrum on which each of them falls. Batgirl appears to be the least trusting and instead wishes to get Batman involved, while Katana sits on the other end clearly willing to go with whatever is expected of her. These dynamics are fascinating, but sadly Swiercynski only touches upon them superficially. He doesn’t dig deep enough with these characters and their feelings. In fact, he appears to have a difficult time giving each member of the cast equal focus. Black Canary is clearly the star and Poison Ivy obviously has quite a bit to do, but Batgirl, Katana, and Starling seem to be mere accessories to the narrative.

There’s an overall sense with Your Kiss Might Kill that Swiercynski was rushed or distracted while penning this batch of issues of Birds of Prey. It begins with an insular story that deals with the aftermath of the first arc, which ends on a shocking cliffhanger regarding something that happened in Black Canary’s past. The following issue is a tie-in for Night of the Owls, which derails the entire plot and flow of this collection. It feels unnecessary and disposable. The only decent thing about it is Black Canary’s antagonistic attitude towards Batman the following issue. We get to the meat of the story with the four-part Poison Ivy arc. While still an interesting storyline, it feels like a diversion from what Swiercynski should be dealing with – the truth about and circumstances around Black Canary’s past. It’s aided very little by Travel Foreman’s art, which is ill-suited to the overall aesthetic of this series. Sadly, even the origin issue that closes this collection fails to excite or offer much insight into these characters. In it, we learn that the Birds of Prey were formed while Canary and Starling were working as enforcers for the Penguin and joined forces with Batgirl to take down an operation by Basilisk. The problem is that the issue is too brief and doesn’t dig deep into the characters’ motivations or personalities.

There are indeed aspects of Your Kiss Might Kill that I enjoy. Starling is a standout and her dialogue is consistently witty and on point. The action sequences are also all top notch, particularly in issue #8 as illustrated by the incomparable Jesus Saiz. Even still, I’m uncertain this is enough to really get readers engaged in this title. Overall, I’m left with the feeling of wanting more. I want more character development and for the characters’ personalities to shine as brightly as Starling’s. I want more substance to the stories and more attention paid to resolving dangling plot threads. As it stands, Your Kiss Might Kill reads like a middling and confused entry into the Birds’ New 52 history.

RATING: C+

Review: Batwoman Volume 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: 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 2

With Jim Gordon behind bars and Alfred Pennyworth recovering from an injury, Batman must enlist the aid of SAS operative Julia Pennyworth to track down the villain Hush. Meanwhile, Spoiler continues her crusade against her father Cluemaster and Catwoman is targeted by the gang lord Louis Ferryman after she interferes with his operations.

Batman Eternal Volume 2 collects Batman Eternal #22-34, conceived by Scott Snyder and James Tynion IV. It features scripts by James Tynion IV, Ray Fawkes, Tim Seeley, and Kyle Higgins, with art by such artists as Fernando Pasarin, Jason Fabok, and Dustin Nguyen.

Just as with the previous collection, volume two of Batman Eternal is densely plotted with an oversized cast and numerous subplots. Thankfully, it's been refocused to concentrate on three central narratives - Batman's pursuit of Hush, Spoiler's actions against her father, and Catwoman's involvement with Gotham's criminal underworld. However, it does also tie up the loose ends of plots from the previous collection as well. 

Of the primary storylines presented here, the bulk of the action is concerned with Batman and Julia's burgeoning partnership as they work in unison to uncover the truth about the recent events in Gotham City. Batman believes it to be the work of his old foe Hush, which leads him on a hunt across the city. The most engaging aspect to this narrative is the dynamic between Batman and Julia, as well as the overall development of her character. As an operative of SAS, she's used to working in the field and seems out of place working behind the computers in the Batcave. Even still, her ability to adapt and fill the role her father once filled is quite remarkable. Similarly, there's quite a bit of development done with Catwoman as well. The purpose of her inclusion in this particular chunk of Batman Eternal is to shift her character from independent thief to queen of Gotham's underworld. It's a bold new direction for the Feline Fatale that works really well and that I find to be absolutely brilliant. 

While the story has been streamlined, the art in this collection is inconsistent. Since Batman Eternal employs a variety of artists to provide the pencils for the series, it creates an uneven tone that lacks a uniform aesthetic. There's a lot of lacklustre art, particularly early on, that is muddy and lacks dynamism. However, there are some artists whose work stands out tremendously. Javier Garron, Meghan Hetrick, and Jason Fabok all contribute memorable art that shows just how magnetic the series could be visually.

Batman Eternal Volume 2 is an improvement over the previous collection, which was admittedly quite stuffed. The emphasis placed on character development is refreshing from the more action-oriented issues that preceded this volume. The storylines presented here are still quite involved and requires a working knowledge of the Batman mythos, especially since there are some lesser known characters who appear here. Fans of Spoiler and Catwoman are sure to enjoy this trade, though those who enjoyed Jeph Loeb and Jim Lee's Hush are likely to find this to be an unfavourable rehash of it.

RATING: B-