This issue of Batgirl has very much a 'coming of age' feel about it as we witnessed the concluding part of the 'Batgirl Rising: The Flood' story-arc and with it the end of Stephanie Brown's first year in the role of Batgirl.
Having leapt from an aircraft piloted by Wendy Harris at the close of issue #10 this issue opens with Stephanie plunging towards Calculator's compound in deep in Slaughter Swamp. In the compound, she knows, is Oracle – Barbara Gordon – who's being held captive.
As Steph's parachute opens she reminds herself of the magnitude of the task in hand and her responsibilities to her friend Barbara – the one person who's ever really cared about her – and just as importantly to herself, as she reminds us who she is … Batgirl!
Inside the compound, and more precisely inside Calculator's mind, we see a young Noah Kuttler imprisoned in a cage. As Babs – or a least Kuttler's impression of Babs – approaches the small child she's violently attacked from behind and sent tumbling to the floor.
Elsewhere, Stephanie has entered the compound only to be faced with some elaborate – and life threatening – security measures. Wendy meanwhile, is in communication with Steph from high above the compound. Bemoaning that she isn't able to help more Wendy wistfully recalls the motivation for her and her brother to run away from home and join the Teen Titans: to protect the world from men like her father, the Calculator.
As Steph skillfully evades the first of the deadly security measures she stumbles – literally – upon the lifeless body of Marvin, Wendy's brother. No doubt sensing the emotion in Wendy's voice Steph questions whether she ought to have said anything to Wendy at that time. Wendy meanwhile, with tears running down her cheeks, comes to a decision – she feels she can't help Steph while she's piloting the aircraft – and warns Steph not to touch anything for fear that her father has planned further deterrents.
Too late!
Elsewhere in the compound, and still in Kuttler's mind, he and Babs tumble through an apartment door – "You stole my daughter from me" he accuses Babs, "I saved her from you" she retorts. Moments later the physical and verbal tussle is interrupted by a crying baby – or more to the point two crying babies. Immediately realizing what this 'vision' represents Kuttler discovers the bloodied body of his wife who had taken her own life. With her attacker momentarily distracted Babs seizes the opportunity to distance herself and begins the search for a way to separate her thoughts from those of the Calculator.
However, with their thoughts immediately rejoined Babs witnesses Calculator beating up on a bound and bloodied Kid Eternity, while moments later he's seated and calmly explaining that he can, and will, end their mental ordeal – and that he has no intention that either of them will survive the evening.
'Back in the real world' and Stephanie has discovered the device that will, in a matter of seconds, terminate Calculator's army of drones … and in turn potentially destroy Gotham City. Unable to reach Wendy on the comm unit Stephanie takes aim with her grappling gun, fires into the device and yanks its core away.
Catastrophe averted? Sort of. With the device disabled Steph faces a second, altogether more challenging opponent – a giant 'creature' formed from power or data cables. As the creature targets Steph she's aware of tremendous crashing noise as Wendy plunges her aircraft into the compound, taking out the creature at the same time.
With nothing now to stop them Steph and Wendy set out to find Babs and rescue her from the Calculator. Having done so Wendy – once again with tears on her face – makes sure that her father 'won't be bothering anyone for a very long time'.
Later on, outside Gotham City University, Babs and Stephanie talk about their ordeal – Kuttler is in New Arkham, everyone who had been infected no longer remembers and Steph acknowledges that without Babs to lean on for support she was grateful for Wendy's backup. As Nick Gage arrives to meet Babs Steph excuses herself and joins Wendy who, while looking over a family photograph album, talks of needing a fresh start in life. Steph, clearly understanding where Wendy is coming from, offers her support.
Time passes and we find ourselves with Steph – again as Batgirl – in Devil's Square where she encounters a somewhat comedic villain named Blimp Master. Relaying this information back to their 'Firewall' base Babs reveals that Wendy – appropriately enough code-named Proxy – will stand in to help Steph on those occasions that she – Oracle – is unavailable.
Batgirl Rising concludes with a scene in a cell at Gotham Central Lockup where the occupant – Johnny C, last seen I believe in issue #9 – chillingly declares that he's looking forward to seeing Batgirl again because 'she's gonna need all the help she can get'…
As I say, this certainly felt like a 'landmark' issue, in the same way that a 50th or 100th issue of a book feels different to a 51st or 99th, and as such I've found this a difficult issue to review in isolation and therefore found myself looking at it in the context of such a landmark.
Over the past year we've followed Stephanie and Barbara on what has been a challenging and, at times, uncomfortable journey. A year ago Steph and Babs set out without apparently knowing where they wanted to go – or even sure of their motivation for making the journey – and along the way there have been harsh words, any number of 'I'm out of my depth' situations, lots of bickering, plenty of laughter – to the point that through the pages of this particular issue it's clear that both women now have a clearer picture of what the future holds for them.
We've seen Steph's confidence in herself and her abilities grow and at the same time we've witnessed Barbara's willingness to trust and believe in the new Batgirl.
The inclusion of Calculator as the central villain in this story-arc felt to me, at first, just a little predictable but as the story unfolded I came to appreciate the opportunities his inclusion permitted – Barbara's complicated past, Wendy ultimately breaking out from under her father's shadow, Steph appreciating the parallels with her own father …
Speaking of Wendy! With her initial, albeit at times brief, appearances in the series it became apparent that she was destined to play a more significant role in Steph and Bab's lives and sure enough, as predicted, she's set to become Batgirl's new 'handler' on those occasions when Barbara is 'unavailable'. I most definitely welcome her inclusion in the Batgirl team and I'm looking forward to seeing her character develop.
I can't say that I've particularly warmed to Wendy's personality so far but then I think it's fair to say that Wendy herself hasn't been particularly fond of herself. Through the pages of this issue I believe we've seen a change in Wendy's outlook on life and as she again learns to like herself the reader will have the chance to do likewise.
From the very first issue the books creative team – on this issue Bryan Q. Miller, Lee Garbett, Pere Perez and Waldon Wong – have consistently found the right tone: fun, funny, purposeful without ever taking itself too seriously and this issue maintains that tradition. I enjoy Mr Miller's writing technique of using of a few words of dialogue as scene transitions and, not for the first time, the 'I'm Batgirl' declaration at the start of the book gives us an insight into Steph's mindset. This time I felt the words were spoken with steel and determination whereas earlier in the series Steph appeared to use them as much to remind herself as inform the reader.
As with the previous issue I appreciated the 'thought' sequences – they may not have made for an easy read at times but they were in themselves quite thought provoking and I found them all the more powerful on second or third read.
I'm not too sure about the idea of Wendy crashing her jet into the compound to aid Stephanie – any more than I was sure about Barbara remotely crashing an ambulance in an earlier issue – but if these instances are the closest the book comes to 'silly' moments then I'm prepared to go with it.
The artwork throughout this issue is, as expected, magnificent: Lee Garbett, inked by Waldon Wong, and Pere Perez make a great team and I think we're lucky to have such talented artists working on the book. I particularly enjoyed the 'I'm Batgirl' splash page early in the book – I love the expression of determination on Batgirl's face – and I found the scenes with Wendy and Steph sitting under a tree getting to know one another really quite touching.
Continuing the theme, Stanley 'Artgerm' Lau provided another superb cover showing Batgirl bloodied, customer torn and yet with a smile that speaks to me of her determination and satisfaction. [Note to DC: this would make a fabulous poster!]
Once again we have been treated to a really great read from what has become a really great series. If there is a better, more enjoyable series being published at the moment then I've not seen it. Hugely enjoyable.
It's been a good year to be a Batgirl fan – here's to the coming 12 months.
Batgirl #12:
Reviewed by Zaius
Following my enjoyment of the first issue of the relaunched Birds of Prey series – not to mention the critical acclaim that the issue received – I had extremely high expectations when I picked up and started reading issue #2: not only were my expectations met they were most definitely exceeded.
Picking up where issue #1 left off, 'Endrun', part two of this four part story-arc, opens up in the Gotham City retail district, where Dinah and Helena – Black Canary and Huntress – have, for the first time, encountered their new adversary: White Canary.
With The Penguin lying injured and covered in his own blood the two women take stock of their situation and deduce that the only way to stop this mysterious woman might be to 'take her down' with them – music to Huntress's ears as you can imagine.
With help on its way, courtesy of Barbara Gordon – Oracle – over the comm link Black Canary and Huntress realize that the time for talking is over and engage their target. As they deliver blow upon blow the women don't appear to be making any sort of impression – indeed White Canary takes it all in her stride and counters their moves effortlessly until …
Momentarily distracted, Huntress seizes the moment, leaps at White Canary and, temporarily at least, disables her as Black Canary, losing control of her emotions, reigns down punch after punch until Zinda – Lady Blackhawk – arrives on the scene along with Hawk and Dove – Hank Hall and Dawn Grainger. At this point it's then the Birds time to be distracted as White Canary wrestles free from Huntress's grasp and, in turn, neatly evades Hawk's attack.
Back at the base, Barbara, still monitoring events via the comm link, picks up a story on a television news channel that Gregory Chasco – the villain featured at the beginning of Birds of Prey #1 – had died as the reporter goes on to say that Chasco's fatal wounds were as a result of Black Canary's actions. Furthermore, the reporter goes on to say, the channel had exclusive live footage of the 'vigilante' – Black Canary – at large on the Gotham City streets.
Aware that the police were on their way and realizing that the situation was getting way out of hand Barbara orders Black Canary and the team to stop fighting and leave the area as quickly as they can. With the authorities closing in on the scene White Canary herself realizes it's time to move on – but not before delivering a chilling warning – 'one of you will die every hour for the next six hours …'.
Outnumbered and surrounded by armed police officers there's a decision to be made – fight or flight? Unsurprisingly for a group that includes Hawk and Huntress, Black Canary chooses to fight and, as the officers open fire, the Birds respond with their own brand of non-lethal force. As the fighting intensifies a police helicopter opens fire sending Dinah and Zinda scurrying to avoid the flurry of bullets.
Apparently less concerned for his own safety Hawk watches on momentarily before taking action – sending the helicopter and its crew crashing to the ground.
Watching the events play-out on the television news channel Barbara is becoming increasingly alarmed at what's unfolding as details are revealed of Black Canary's ties to former Star City Mayor Oliver Queen who himself, the viewers are reminded, has a dark past. While still trying to make sense of events, Oracle receives a communication from a familiar source – Aleksandr Creote. A distressed Creote reveals that he and Savant – Brian Durlan – had come under attack from a woman saying that their association with the Birds meant they themselves were guilty.
Revealing to Oracle that Savant had died in the attack, and that he considers her responsible, Creote – in a genuinely shocking scene – takes his own life.
Returning to the alleyways of Gotham City, the Birds are making their way to the safety of Penguins Iceberg Lounge nightclub when they come across a television set broadcasting the evenings news feed. To Black Canary's horror the broadcast reveals not only her civilian identity and more details of her personal life but also claims that she abandoned a young Asian girl whom she'd planned to adopt when the child proved 'inconvenient'.
The issue closes with Barbara trying to come to terms with events and realizing that the strengths of the Birds – 'Canary's fists, my brain' – are being used as weapons against them: and it's now time to fight back.
As I said at the start of my review, this was a really enjoyable read that gave me everything I ask for from a comic book: the story was well paced, the art is simply fantastic, there was action aplenty, a little comedy – I like 'comedy', I don't enjoy 'silliness!' – there were acknowledgments to previous Birds legacy as well as a cast of characters with tremendous strengths that are occasionally also their weaknesses.
Regular readers will know that I'm not generally a fan of the long fight sequences often found in comics and I'll be the first to acknowledge that about a third of this issue is exactly that. However, on this occasion it seems to work for me and I think this is down to a number of factors.
Firstly, the pacing of Gail Simone's script which sees never more than a couple of pages of 'punches and kicks' before the pace changes and we, the reader, are able to catch our breath as the characters lick their wounds, consider their options and plan their next move.
Secondly, Ed Benes's page layouts are every bit as enjoyable and engaging as his illustrations. I'm sure we knew that Ed Benes is a talented artist – although I can't help but feel he's getting stronger all the while – and what's particularly caught my eye have been the panel layouts which, for me at least, give the pages a real sense of chaos, energy and excitement – if you've got a copy in front of you check out pages four to eight for an example of what I'm referring to.
As the story progresses I found myself enjoying – perhaps appreciating would be a better word – how Dinah's state changes: from plain aggression in the opening pages through resignation when confronted by armed police officers to the anguish she feels and exhibits when her identity and personal relationships are exposed on television: all perfectly captured by her varying facial expressions.
Likewise, with Barbara during and following the video call from Creote we saw, I think, the reactions of a young woman normally so used to being in control of events suddenly gripped with a realization that these particular events were beyond even her control – for now at least.
Moreover, every character in this book was a joy to behold – Huntress's thirst for action, Zinda's charming 1940s dialogue, Dove's compassion, Hawk being … well Hawk being Hawk! Returning to the comedy I mentioned previously, I enjoyed that Penguin was so immediately smitten with Dove … his reactions and comments when Dove showed him just how compassionate she is really did make me smile.
I've so far done a pretty good job of avoiding the 'who is White Canary?' speculation and I'm not going to add to it here. I've got a few ideas – one or two I'd like to believe could be true and one or two I'm hoping not.
What I do know is that Birds of Prey has returned in strength and quickly established itself amongst my favorite monthly books.
An excellent read – I cannot wait for the next installment.
Birds of Prey #2:
Reviewed by Zaius
After the dark, threatening close to Batgirl #10 this, the third of the four part 'The Flood' story-arc, opens with quite a different tone, and it's immediately clear not everything is as it at first seems …
Barbara Gordon wakes from her nights sleep with a bit of a start and sits up in her bed as Dick Grayson enters the room, gives her a kiss and urges her to get up and dressed. As her extended family relax, Barbara is racing around the kitchen preparing what appears to be a Thanksgiving dinner, accompanied by the sound of a complaining young Damian Wayne and the loving words and embrace of her father.
Throughout these scenes of happy family life Babs questions to herself what she's seeing, what she's feeling and as happy as she is she knows something is wrong. Moments later she's reminded of her friend Stephanie Brown and there's a somewhat familiar visitor to her front door …
Cutting to the Calculators compound, deep in Slaughter Swamp, we witness the motionless body of Barbara, laid out on an examination table, with the Calculator sat alongside her talking to the decomposing body of his late son Marvin.
Appreciating that Barbara may be the key to some of his unanswered questions, Calculator plugs himself into his own laboratory equipment that is in turn connected to Barbara with the intention of seeing or reading Babs thoughts.
Over at the Gotham Port Authority Stephanie Brown – Batgirl – has evaded capture by the massed ranks of Calculator's zombies and has been pursued by an equally 'possessed' Man-Bat. Out-running her assailant Steph takes a minute to catch her breath, only to find herself snagged by another familiar adversary – and this time it's Catwoman.
Acutely aware that her priority has to be to help Barbara and that time is not on their side, Steph draws on her inner strength, fights back and with a swift blow sends her opponent to the ground. As one 'zombie' danger is averted another appears – Huntress, or as Stephanie herself acknowledges '… questionable-morals-action-Huntress'!
As her next challenger steps forward Steph gets an unexpected incoming message over her comm unit – Wendy Harris, who we saw trapped at Firewall in the previous issue. While continuing to combat Huntress, Steph and Wendy clumsily, awkwardly, introduce one-another before we get a possible glimpse of Wendy's future as the young woman activates the surveillance functionality of the Firewall's computer, attempts to guide Steph to safety and then in turn traces Calculator's location.
While Wendy considers what else, if anything, she can do to help rescue Oracle, Stephanie has more immediate problems on her hands – she's been tracked by Man-Bat … surely she can't escape this time?
While Stephanie fights for her own safety we return to Barbara who is engaged in a fight of her own as she is confronted by the thoughts of Calculator. Set in a library housing Barbara's memories and experiences she fights to keep her intruder at a distance.
Returning to … well, returning to reality and as the rain gets heavier and the sky is lit by lightning and the sound of thunder we see the silhouette of Batgirl and Man-Bat fighting high above Gotham Harbor. Realizing that perhaps she's more than met her match on this occasion Stephanie looks for an escape when, again, the voice of Wendy Harris echos across the comm link. As Steph looks down on an airfield runway she's taken aback to see The Ricochet – a vehicle she's more than familiar with of course – piloted by none other than Wendy herself.
Having freed herself from the clutches of Man-Bat, Steph jumps to the ground where she's met by Wendy – and with hoards of zombies closing in on them Stephanie realizes they have only one option is they are to ensure their own safety and rescue Barbara …
Despite limited appearances throughout this issue, for me Barbara was undoubtedly the star of Batgirl #11. A real highlight in this issue were the Barbara 'dream' or 'thought' sequences – I find them difficult to describe so fully appreciate Bryan Q. Miller's vision and imagination to conceive and write these – particularly the chapter of this tale where Babs and Calculator fight over her thoughts and memories which I thought was possibly some of the best writing we've seen in this series to date.
What's absolutely clear to me is that Miller 'gets' Barbara – or perhaps I should say the Barbara he writes rings true for me: her strengths, her weaknesses, her fears, her ambitions and her regrets – as I say, some of the best writing I feel we've seen so far.
Personally I found the 'Batgirl versus Catwoman versus Huntress versus Man-Bat' scenes just a little drawn out although I concede that this gave us an opportunity to see Wendy Harris come to the fore and possibly give us a taste of things to come. To this point she's felt somewhat redundant amongst the supporting cast and, on the basis that the character is likely to around for a while I welcomed seeing her particular role developed.
On artwork duties we've again been spoiled to have such a talented team on the book. As I feel we saw with an earlier issue of Batgirl, having more than one artist work on an issue doesn't necessarily work but the respective styles of Lee Garbett and Pere Perez are uniquely different (if I'm right in suggesting that Garbett drew the first half of the book up to the Babs 'thoughts' sequence) and yet at the same time complementary. If indeed Perez is taking on art duties when Garbett moves on then I believe the book, and it's readers, are in safe hands. Returning to the 'dream' sequences for a moment, again credit must go to the artists for their respective interpretations – I particularly enjoyed Perez's portrayal of Babs in the library scene.
Furthermore, an acknowledgment is due also to Walden Wong for his bold sharp inks throughout the first half of the book and likewise to Guy Major for his sensitive coloring – most definitely a feature of his time on Batgirl. With another eye-catching, if in places little busy, cover from Stanley 'Artgerm' Lau creation of this book is truly a team effort.
Another hugely enjoyable adventure from the Batgirl creative team – this issue felt a little like the calm before the storm (no pun intended) that I'm expecting with the final part of this story-arc.
Batgirl #11:
Reviewed by Zaius
I'd been looking forward to reading this book since it was first announced that the title was being relaunched and I'm pleased to report that my expectations were not only met but exceeded.
As a 'first issue' (of sorts) this book worked really well I thought: plenty for the long-time, committed reader while at the same time accessible and inviting for the new reader – of which there will be many I am sure.
Our story begins out on the frozen snowfields of Iceland as a lone snow-mobile makes its way towards a group of pick-up trucks and hooded, and armed, men. Standing out amongst the group one man is wearing a bright red jacket and he has a small child alongside him.
As the snow-mobile reaches it's destination the driver, a young woman, approaches the group and explains that she's brought the money – her part of the bargain – and she'd like to see the boss. The boss is the man in red, named Chasco, and the young child is a 5-year old girl called Katy, the daughter of diplomats.
Aware of the woman's identity – Dinah Lance otherwise known as Black Canary – Chasco explains that while the money is for the local man he, an American, has his own demands. Dinah's priority, however, is the young girl who she knows has a serious medical condition and needs hospital treatment immediately.
Chasco, still holding a handgun to the girls head, explains that he wants Katy's parents to hold a press conference where they should apologize for what he considers to be their war crimes and then … they should commit suicide live on-air. Then and only then will he release the girl.
Realizing that they've passed the point of no return Dinah makes a familiar gesture with her hands and, in the few seconds before the thugs realize what's happening, is joined by Zinda Blake – Lady Blackhawk – providing air-support.
With the men under fire Dinah focuses her attention on Chasco, and Katy of course, and with a series of swift blows disarms the man and knocks him to the ground. Amid the chaos young Katy has also been knocked from her feet and is lying perilously close to the edge of an ice-shelf that could collapse at any minute …
Despite being grounded Chasco has been able to recover his weapon and has young child in his sights – with his finger on the trigger Dinah has to act quickly as she let's out a trademark sonic scream, races to gather Katy just as the ice shelf cracks, leaps into the air and manages to grab hold of the waiting helicopter. Mission accomplished.
Later on, while waiting at a city hospital Dinah and Zinda receive a very unexpected call … it's none other than 'the world's premiere infojock' Barbara Gordon – Oracle – on the line from the Batcave: it's time to get the team back together. With Dinah and Zinda on board Babs turns her attention to the next member of the team: Helena Bertinelli – Huntress.
Across town, on the nice side of Gotham we are told, Hank Hall and Dawn Granger – Hawk and Dove – have engaged with a street gang known as 'The Sick Cheerleaders'. Armed and extremely dangerous the cheerleaders give as good as they take until Hawk disarms one female member of the gang and hangs her over the edge of a bridge. Fearing that Hawk is at this point out of control Dove urges her partner to release the girl – which he does but not without a chilling declaration – 'God wants a soldier'.
Later that same evening, across town in a Gotham City 'drinkin' bar' an old man is drinking alone at the bar talking to whoever will listen – at this time that whoever is the aforementioned Hank Hall and the the bar keeper, a young woman called Molly. In the corner of the bar, at this point in the company of Zinda, is a pensive Dawn Grainger – Hank is on a destructive, possibly even self-destructive path, and it's understandably worrying her – after all, he is her responsibility.
Elsewhere, Barbara, Dinah and Helena are discussing the events that have brought them back together after all this time – Babs has been sent a series of files containing sensitive, and damaging, information about people close to them including The Riddler, Power Girl … and the Birds themselves. Along with the files came a threat: each hour somebody featured in the files will die and if the Birds don't try to stop it then the information will be published for all to see.
As the three women try to understand why the threat involves them and speculate who might be behind the plan Helena realizes that they are being summoned …
High up on a city center rooftop we find none other than Oswald Cobblepot – The Penguin – under attack and pleading for his life. Standing tall in front of him, we see the outline of a mysterious female figure. With The Penguin now on the offensive (hasn't he always been pretty offensive?!) Black Canary and Huntress step in, tell The Penguin to step aside and leave things to them.
As a fight begins there's speculation as to who the mysterious woman is … Cassandra Cain? Shiva Woosan? Despite holding a numerical advantage Black Canary and Huntress prove no match for their assailant who, with the women grounded, turns her attention to The Penguin.
Desperate for news Barbara pleads with her friends over the comms link for an update – Black Canary and Huntress are down, Cobblepot is dying as the mystery figure is revealed as … The White Canary.
As I say, I had high expectations ahead of reading the book and often when that's the case I can end up feeling just a little disappointed – thankfully, and most definitely, not on this occasion.
I'd anticipated this first issue to be more like a zero issue, largely concerned with establishing – or even reestablishing – the characters so therefore it was a treat to discover so much story within the pages: so much so that I later found myself counting the pages just to see if this was a larger than usual issue (24 in case you were wondering).
The opening scenes of the story, set as they were in the snow-fields of Iceland, made for a great new beginning – atmospheric and chilling (no pun intended!) every panel filled with danger and excitement – and served as a timely reminder of the strengths of the 'Birds'.
From front cover to the last page reveal the art – Ed Benes so well complimented by colorist Nei Ruffino – was absolutely glorious. I'd expected great art but what we got again far exceeded my expectations: the attention detail, imaginative page layouts, the amount of depth to the panels themselves, the rich colors throughout … absolutely superb.
It seems almost superfluous to comment on just how real, how genuine, the dialogue and narration felt. For many, myself included I believe, Gail Simone writes THE definitive Birds of Prey and as such the voice with which she wrote the characters in this issue is very much the voice I hear when I read.
All of this and a puzzling, intriguing new villain who I'm looking forward to finding out more about … what more could one ask for?
Reading this issue felt very much like being reunited with an old friend – there was familiarity, my read felt at first challenging and became more comfortable, there was an opportunity for reminiscence and there was a realisation that life had moved on and that things will never be what they once were, and neither should they be.
Birds of Prey – it's good to have you back.
Birds of Prey #1:
Reviewed by Zaius
When I discovered that regular, and one of my favorite, artists Lee Garbett was being joined by a second artist – Pere Perez, who I understand takes on solo pencil duties later this summer – for this issue I was, I have to be honest, a little concerned. No sooner had I recognized and acknowledged that Batgirl was pretty much everything I could want from a comic book along came change – issue #8 featured a new artistic team and left me disappointed – and while the last issue saw a return to form for this title I still had reservations.
Thankfully, I needn't have worried.
Batgirl returns with the second part of a four-part story arc – Batgirl Rising: The Flood. With the rain still falling, the issue opens deep in Slaughter Swamp, Calculator's deceptively spacious base of operations, where in the shadow of a huge satellite dish and transmitter Calculator himself is chatting away – partly I suspect to himself but also to the lifeless body of his late son Marvin – about his plans to, as he sees it, teach Oracle a 'lesson in humility'.
On the roof-tops of Gotham City, meanwhile, an unsettled Batgirl – Stephanie Brown – is on patrol. She's unsettled because Barbara Gordon, working back at the Batcave while in constant communication with Steph, is herself unsettled – neither woman is too sure quite what's unfolding before them, just that something bad is just around the corner.
As their conversation continues, Stephanie intervenes to break up a gang of motorcyclists who are harassing some young women. In between delivering kicks and punches it becomes clear to Steph that the history Barbara shares with the Calculator is at the heart of her concerns. Conscious that she's a target, Barbara urges Stephanie that for her own safety she ought to keep a low profile – maybe underestimating Steph's abilities to look after herself. Maybe sensing the scale of the danger ahead.
Later, at Gotham City University, Detective Nick Gage has called on Assistant Professor Barbara Gordon: trying the door and realizing that Babs isn't around Gage lets himself in. As curiosity gets the better of him he inspects a file that's open on the desk – and realizes he and Barbara have a mutual friend as he discovers a newspaper cutting featuring some of Stephanie's recent exploits as Batgirl.
Lost in his thoughts for a moment Gage doesn't realize that he's no longer alone in the room and Stephanie surprises him as she introduces herself. When the two had met previously Stephanie was in Batgirl mode and she's relieved that Gage clearly doesn't recognize her. Given that she – as Batgirl – and Gage had been flirtatious towards one another previously Steph becomes more than a little embarrassed as Gage hints at his burgeoning friendship with Barbara and she quickly changes the subject.
Across the city young Wendy Harris has entered the lift in Barbara's apartment building and, with the help of a laptop computer has overridden security protocol and is heading for the sub-basement. As the lift heads down Wendy finds herself musing over the curious things she's encountered recently – Professor Gordon is up to something, 'that Stephanie girl', Tim 'Wayne … or Drake', 'ninjas' and as the doors open she discovers she's been led to Firewall – the new Oracle control-center.
Back in Slaughter Swamp the clock ticks down … three, two, one … and Calculator ignites his plan to teach Oracle a lesson.
Returning to the Computer Science Lab at Gotham U. and with her back turned towards the class, with her students concentrating on their computer screens and mobile phones Barbara is unaware of the strange zombie-like behavior that's overcome her audience … 'target acquired'. In the hallway Stephanie passes an equally strangely behaving Jordanna … 'target acquired'.
The order is given: 'detain the target'. Turning to discover that she's under attack Barbara strikes out to protect herself as Stephanie – now in uniform – joins the fight before fleeing from the building with Barbara. As they make their way towards the car park they realize that they're outnumbered and surrounded. As the zombies engulf them Barbara is knocked to the ground and urges Batgirl to save herself and run – Batgirl of course refuses to do any such thing as she continues to fight back. As the issue closes we see Barbara's 'frozen' body lifted high above the heads of her attackers and carried away as Batgirl loses her footing, falls to the ground before discovering that she and Barbara have been fighting with some very familiar faces.
As I've already indicated I certainly enjoyed this book. Whereas the series as a whole so far has focused quite heavily on characters and their development this issue featured a lot more action than we've been used to and as such the book felt faster-paced and a little darker – menacing even.
For what is a fun, even light read, the Batgirl title demands commitment from me as a reader I find. I enjoy Bryan Q. Miller's 'layered' approach to storytelling – by layered I'm referring to the practice of overlapping narration and dialogue from one scene to the next – and it works particularly well in this issue as we jump about from location to location.
The artwork styles of Garbett and Perez complemented one another beautifully – different enough to be distinctive without being so different that the book felt disjointed. Maybe had they both been drawing the same same characters then a lack of consistency might have been exposed but (if I've followed the artwork correctly) with Perez drawing the 'middle third' of the book this pitfall was neatly avoided.
Once again Stanley Lau delivered a superb cover for this issue – although I generally prefer a 'cleaner', less busy look and did appreciate what I saw as a nod towards those great comic book covers of the 50's and 60's that screamed drama and excitement at the reader.
Although a fairly low-key scene I enjoyed the early exchange between Barbara and Stephanie. It's clear from Babs words and demeanor that she knows how much she hurt Calculator and, of course, how much he hurt her and the Birds of Prey.
In a similar vein I enjoyed the scenes between Detective Gage and Stephanie where Steph so nearly let on that the two had previously met. I thought the panels where we saw a shy and blushing Steph were particularly sweet – another reminder that she's still a young girl – and I also enjoyed the 'coded' conversation that the two enjoyed where Steph told Gage that it wasn't just Babs that was looking out for him.
The appearances of Wendy Harris continue to tease – just what have the creative team got in store for her? I'm convinced she's got a role to play in the book – I think I've said before that I suspect she's being lined-up as Stephanie's handler – but we'll just have to wait and see. What I do know is it was nice to see her smiling for once!
As an aside, I enjoyed the appearance of a couple of 'notes from the editor' in this book – while such notes might be considered a little unnecessary by some for me it's an acknowledgment that every comic is someones first comic and an indication that the creators value their new and old readers alike.
Another excellent issue from the Batgirl team – if there's a better combination of great characters, strong writing and distinctive, eye-catching artwork being published at the moment then I've not come across it: highly recommended.
Batgirl #10:
Reviewed by Zaius
Following one or two reservations – okay, I'll say it, disappointments – with the previous issue I'd really been looking forward to seeing the return of a more familiar Batgirl with this release. 'Batgirl Rising: The Flood' marks the start of a new four-part story-arc that begins aboard a train screeching along the tracks through Gotham City. From the conversation between the driver and his Control it's clear something is amiss, that the driver isn't able to stop the train. Inside one of the carriages a middle-aged man – Johnny C – with a clear grudge against Gotham City wears explosives strapped around his waste as the passengers look on in fear.
As the train dashes in and out of the next station without stopping we see Batgirl – Stephanie Brown – desperately hanging on to the last carriage as she communicates with Oracle back at the Batcave. Having pulled herself up onto the roof of the train Stephanie surveys the situation inside the car, courtesy of thermal vision, and for the first time appreciates the scale of her task.
Rejecting Oracle's suggestion that she call in backup, Steph 'tools up', asks for the train to be plunged into darkness and … CRASH … swings through a window, knocks Johnny C from his feet amid a flurry of one-liners, calmly disarms the man and, with the lighting restored, receives – and accepts – the appreciation of the grateful passengers.
Soon afterwards, with the dramatic events behind them, Commissioner Gordon approaches Stephanie with a word of thanks, a warm hand on her shoulder and a reminder to be cautious. Stephanie seems a little taken aback by Gordon's comments, and as she reflects on a job very well done, it begins to rain before, almost immediately, catching her in a downpour.
In the meantime, with the rain getting heavier and forecasts suggesting that the weather is set in for the next 24 hours, over at the Computer Sciences lab of Gotham University Barbara Gordon is at work in her office accompanied by student Wendy Harris. While Wendy works to repair some electrical equipment Barbara is reminiscing about a previous encounter with Wendy's father – The Calculator – in which she foiled his attempts to cure Wendy of her paralysis using a dangerous procedure and ground-breaking technology.
Recounting the events that led to her brother Marvin's death and her own physical condition, Wendy's emotions get the better of her and she snaps back at Barbara's well-meaning words of encouragement, before pushing Barbara further away with some harsh words. The mood changes somewhat as the two are joined by Stephanie – now out of uniform of course – who is reminded that she and Wendy have met once before, at the fundraiser for the Thompkins Clinic. As Wendy leaves the office Barbara asks Steph to follow her …
Across the city, at the offices of Elysium Tech, Commissioner Gordon and Detective Nick Gage look on bemused at the blood-soaked body of an Elysium employee who had been discovered in very mysterious circumstances – it appears at first inspection that the individual had locked himself in the room and taken his own life, however it's not at all clear how or why. With blood covering the floor and the walls around the body Detective Gage identifies an unusual smell in the air around the deceased … curious!
Returning to the space beneath Barbara's apartment building we are introduced to the 'Team Batgirl' new secret base of operations in the making – Firewall! In a fantastic, fun panel, amid the high-tech workstations we see a number of buckets and pans catching drops of water as we are reminded of the atrocious weather conditions outside. As Barbara works to establish network connectivity and discusses her concerns and frustrations about Wendy with Steph she receives an alert that there's another incident underway at the offices of Elysium. A coincidence?
As Stephanie makes her way to the Elysium facility Detective Gage is already on site investigating the earlier suicide when the alarm sounds. Drawing his weapon, and making his way to the source of the security breach, he asks one of the staff members who had been assisting him to call for GCPD back-up – with alarming consequences for the young employee.
Arriving at the scene – level 38, Restricted Research – Gage is swept off his feet as he runs into a large security guard. As he soon realizes that the man is behaving suspiciously Nick finds himself at gun-point as the guard reels off a puzzling string of binary code. As the trigger is about to be pulled the weapon is knocked to the ground by a well-aimed batarang thrown by Batgirl. As Gage and Stephanie engage in clumsy verbal flirting the guard turns, runs, leaps through a window and falls towards his death. Stephanie immediately races after the man and does her best to catch him, but she just can't hold his weight.
Later that day both Stephanie and Detective Gage are at the West Mercy mortuary, collecting the results of the security guards autopsy. As the two wait, Barbara is back at the Batcave analyzing the mans blood sample … and she comes to a startling discovery.
Ordering Stephanie to return to the Batcave, Barbara explains that the sample contains a colony of nanites that are transmitting a subtle wi-fi trace – technology that Barbara has seen before.
The issue closes at a property out in Slaughter Swamp as the rain continues to fall: sat in front of a bank of displays is none other than the aforementioned Calculator. Viewing pictures of his daughter Wendy, he turns to the lifeless, decaying body of his son Marvin and declares that they are going to 'save' the girl.
'And you won't want to miss the best part' …
Following last issues 'dip', in my opinion, this issue felt like a real return to form. With Lee Garbett back on pencil duties and Guy Major taking care of colors, the art returned to a quality and style I've come to expect with this series and this, is turn, gave the book a much more confident and familiar feel.
I commented after reading issue #8 that Stephanie just didn't seem like … well she didn't seem like Stephanie: I've grown very fond of this cheeky, self-believing while at the same time self-deprecating young woman and in the last issue I just didn't see enough of her. Thankfully, throughout the pages of this issue I feel 'my' Steph returned with a healthy dose of wise-cracks, confidence, inner strength and physical comedy – none more so than during the opening pages of the book as Stephanie is towed at high speed behind the speeding train!
The appearances of Wendy Harris through previous issues of this series have puzzled and intrigued me in equal measure and, with the introduction of The Calculator into the story we get possibly the first indication of her true intended role. She's felt a little superfluous to the cast of characters up until this point so I'm glad for the opportunity to see her in a different context and I'm looking forward to seeing this particular theme develop.
Our first glimpse of the 'firewall' – the base of operations for Barbara and Stephanie – was something I also enjoyed. There was a nice sense of humor throughout these couple of pages – I thought the 'Now you're talking my language' exchange between Barbara and Stephanie was particularly charming. It'll be good over the coming months to see Barbara and Stephanie create their own home ground rather than relying on others 'cast-offs': it's a small but important step towards Batgirl – the character and the title – becoming more self-sufficient I think.
Throughout the early issues of this series Phil Noto produced some quite exceptional covers and new artist Stanley 'Artgerm' Lau has continued the tradition with his contribution to this issue – portraying Batgirl looking wind-swept, rain-soaked and sitting atop the sort of roof-top architecture of Gotham City that Bat-books are famous for, this cover is quite beautiful.
In summary, this was a very good first part of a new story arc – with themes continued from previous issues, 'new' characters introduced, a number of clues indicating the direction the story could be heading and an ending that leaves me keen for the next issues.
Welcome back Batgirl!
Batgirl #9:
Reviewed by Zaius
A new story-arc – 'Robins are Red …'; a new cover artist – Stanley 'Artgerm' Lau; a new interior artwork team – Talent Caldwell with Yvel Guichet and John Stanisci; plus a distinguished guest-star – Red Robin himself, Tim Drake: and maybe because there was so much 'new' about it Batgirl #8 felt, for me, just a little unsatisfactory. An enjoyable read? Yes, for sure, but just a little unsatisfactory nevertheless.
Following a brief – indeed very brief – appearance in Red Robin #9 this issue of Batgirl opens about 60 seconds or so before Red Robin #9 closes: Stephanie is in full combat mode, feverishly engaged in physical training. Pounding the training droids, who in turn scream motivational messages at her, Stephanie is very much 'in the zone'. Moments later, as she discovers she's not alone, she snaps out of the zone and we're back where Red Robin #9 ended -'Stephanie?!?', 'Tim'.
Stephanie and Tim, Batgirl and Red Robin, come face to face – the occasion catching both of them by surprise leading to some puzzled looks, sharp exchanges and barbed comments. No sooner had the former 'couple' calmed down and each taken a deep breath than they receive a warning that the Thompkins Clinic has been broken into, at which point Tim seizes control of the Bat computer – much to Steph's irritation! – and prepares to set off for the city – but not before sarcastically calling Steph 'Batgirl' and mocking her vehicle, the Ricochet that was revealed in issue #7.
In the meantime, we cut to a city center diner where we witness Barbara Gordon and Detective Nick Gage flirting shamelessly over a cup of coffee and a 'simple meal' – certainly not a date apparently! – as Babs does her best to apologize that their last get-together didn't go particularly smoothly. The two are getting along famously when they, and other diners, realize that despite being on a variety of networks none of them is able to get a mobile signal. At the very moment Steph and Tim race past the restaurant, both Barbara and Detective Gage realize that something is amiss, make their excuses and leave.
Arriving at the Thompkins Clinic, Tim immediately engages a couple of tech assassins who he discovers had broken into the offices – as Stephanie watches on she reflects how they have each changed and wonders what's happened in Tim's life to change him.
Discovering that the assassins were trying to access Leslie's patient files, with a menacing threat that 'Leslie's the first' and with electronic communication – internet, mobile phone and the comms link to Oracle – down, Steph realizes it's up to the two of them to intervene as Tim in turn, reluctantly it must be said, accepts that he needs her help.
Out of their costumes, Stephanie and Tim attend the Gotham Metropolitan Museum of Art where there is a fundraiser for the Thompkins Clinic taking place. Concerned for Leslie's safety Tim decides this would be a good moment for his public return to Gotham City high-society – with the hope of creating a distraction that will allow Steph to 'extract' Leslie.
At the Batcave, meanwhile, and still struggling to access any form of electronic communication, Barbara is surprised to discover the Ricochet – minus it's owner/driver (pilot perhaps?) – labeled 'return to sender' with an accompanying hand-written note from Stephanie explaining what she and Tim are planning.
Returning to the fundraiser, Leslie and Wendy Harris are having a 'heart to heart' – Wendy feels she's being used to promote the work of the Thompkins clinic while Leslie reminds Wendy that she's an attractive, strong, young woman who needs to start believing in herself a little more – when Stephanie interrupts, takes Leslie by the hand and leads her away, explaining that she's in danger.
Reunited with Tim in a museum storeroom, and with Leslie concealed, the two come under attack from a dozen or so of Ra's assassins. With a reminder of past encounters as Spoiler and Robin, Stephanie and Tim engage the assassins and as the last assailant hits the ground Stephanie – in something of a daze at this point – inadvertently punches Tim! With the immediate danger averted Barbara reveals that she's managed to overcome the communication problems that the city has been experiencing thanks to a little help from 'a little bluebird'.
Later that night, back in costume and high up on the rooftops of Gotham City, Stephanie tells Tim that she wants him to know that she's a different woman that the one he used to know; that she's changed. As Tim takes her hand, Steph pulls back – and the two discover they are not alone …
With the previous story-arc in Batgirl #7 ending very much on a high – for me at least, I know not everyone felt the same – this issue, as a whole, delighted and disappointed me in equal measures.
On the face of it I thought the story was excellent – who couldn't enjoy Stephanie and Tim versus The League of Assassins? Scratch beneath the surface though and I felt that the story flattered somewhat to deceive. I enjoyed the overall look and feel of the book although I felt it suffered somewhat from a lack of consistency.
The relationship between Stephanie and Tim was, quite naturally, a core theme throughout and was written, I thought, very nicely – interactions between the two had an 'awkward' feel that I sure many of us can relate to from our own personal or professional lives: a sense of 'we ought to talk about it, but I really don't want to talk about it'. Likewise, I enjoyed the Spoiler/Robin flashback panels and thought these were used very well.
I felt we saw a different Stephanie, and a different Batgirl, as a result of Tim's involvement in the issue and having seen her grow into a confident, head-strong young woman through previous issues she seemed to lose some of her self-belief and independence while working with Tim – she almost became his 'sidekick' at one point when she stood and watched on through a window while Tim fought the assassins at the clinic. This isn't a criticism as such, it's just that I've enjoyed seeing Stephanie grow and through this issue she appeared, to me at least, to have taken a couple of steps backwards – many would say that's a true reflection on life, and I couldn't disagree.
Onto the 'look' of the book and I've said many, many times that probably more than anything else art is very much a subjective thing: who hasn't looked at a painting or sculpture at some time and thought 'very nice, but is it art?'. If I was coming to this book afresh I'd be very happy with how it looked but I'm not, and following Lee Garbett and Trevor Scott's superb art throughout the first seven issues, I couldn't help but make comparisons – I like the artwork in this book, I just didn't like it as much as in the previous issues. Furthermore, as I say, it felt inconsistent at times, never more so than with what I think the credits are referring to as the 'end sequence': I'm not sure why it was necessary, or desirable, to have guest artists but the change of style mid-story jarred with me.
In summary, did I enjoy this book? Absolutely. Did it leave me feeling a little dissatisfied? Yes, it did somewhat.
Would I recommend picking the book up? Yes, 100% yes.
Batgirl #8:
Reviewed by Zaius
Tony Daniel’s current arc on Batman has been solid, to say the least. As the story is beginning to wrap up, we are getting ever closer to finding out the identity of the Black Mask.
Last time we saw Batman, he had fallen into a trap set by the Penguin and the Mad Hatter at an abandoned amusement park. This issue basically picks up the story an unspecified time later. Batman is washed up on the shore in Gotham Harbor, and is found by Damian. Dick is seen to be beaten up pretty badly when he is discovered, and is wearing a broken mask that the Black Mask has been giving to the “false faces.”
Now throughout the book, Batman continuously goes in and out of consciousness. At the same time, the story is going back and forth between the present time, and flashbacks of the previous nine hours that are running through Dick’s mind. Going back nine hours, we see that Batman is under the control of the Penguin, following his orders by way of the altered gas mask. Damian has already figured this out, but just hasn’t figured out whose orders Dick had been following. We see that the Penguin had sent Batman to break into the Mayor’s office where he takes two tubes of the antidote to Black Mask’s mind control toxin. As Batman is beginning to gain consciousness again in the present, he blacks out once more and the story goes to Catwoman and Kitrina Falcone who are going after Black Mask as well. Catwoman saves Kitrina from the third member of their group who was about to kill Kitrina. Batman shows up, still under Penguin’s control and takes them down, but goes with Kitrina to Devil’s Square, which has attracted both the National Guard and the Marines due to the Black Mask and his followers.
While going through all of the flashbacks in his mind, Dick is slowly beginning to remember what happened. We see that he had confronted Black Mask and his inner circle of Fright and Dr. Hugo Strange. They fight and Batman had gained the advantage until Black Mask pulled a gun, and shot Batman in the chest, who proceeded to fall out a window, off a cliff, and into the ocean below. And that is where he reaches the point at the beginning of the book. It ends with a now fully aware Batman telling Babs that he thinks he may know who Black Mask really is.
I enjoyed this book, despite its non-linear timeline. I think Tony Daniel did a good job pulling it off, though I will acknowledge that I am not a huge fan of this style. The reason he was able to keep the story from being too confusing or choppy was the fact that the main focus was in the flashbacks, with no action in the present. That’s the trap that many writers fall into, but Daniel avoided. The actual story started off great, with Damian doing all the talking. That first scene gives the reader a reminder that even though he may think of himself as an adult, Damian is still just a kid. I got a small chuckle out of the first line when he saw Dick lying on the beach and yelled out, “Epic Fail!”
The one issue I had with this book was the absence of Dick’s thought process during the fight scenes. This was obviously because he was being manipulated, but maybe it would have been a little cooler if we saw conflicting views between the Penguin and Dick’s thoughts. Either way, Daniel’s doing a good job, and his art has been excellent as well. It’s nice to get a break from the seemingly never ending Blackest Night with a good Batman story (I’m sure I’ll get some flak from that).
Batman #696:
Reviewed by RiddleMeThis
Reviewing this title each month is becoming increasingly difficult – I'm finding there are only so many ways to say 'good story', 'great dialogue', 'fun characters', 'superb art', 'striking covers' … but I'm enjoying the challenge nonetheless as Batgirl continues to be my most looked-forward-to book each month.
This issue, the third and final part of the Batgirl Rising: Core Requirements story-arc, picks-up just where the last issue left-off: Batman is in trouble, Batgirl and Robin are rushing to his aid before his hunters – Roxy Rocket, Riot, and Doctor Phosphorus, each fuelled by a mix of infamy and Roulette's wealth – can kill him.
As Stephanie and Damian race across the roof-tops of Gotham City the bickering – such an enjoyable feature of recent issues – continues: 'What the hell is wrong with you?' asks Stephanie as Damian charges ahead refusing, as he sees it, to be hampered by his companion – 'And you swing like a girl' he counters before disappearing, quite literally, in a puff of smoke to pick up his motorbike.
At the Batcave Barbara Gordon is monitoring the web-feed of Roulette's performance as she tries to locate the source of the broadcast. Aware that Dick is injured and that he needs BOTH Stephanie and Damian if he is going to survive she directs Steph to her private garage, where she's been saving something for a 'special occasion' – and Batman's plight certainly qualifies as just such a special occasion.
As we see Damian, now on his bike, weaving in and out of the Gotham traffic we catch sight of Stephanie advancing rapidly in her own vehicle that's not quite a car, not quite a motorbike … as we find out later on in the story!
Meanwhile, back in Devil's Square, Batman – weak but not yet beaten – is barely one-step ahead of Phosphorus with Roxy Rocket not far behind. Stephanie and Damian, join forces and work together as Dick, now close to being overwhelmed, sees that help from his young companions is just moments away. Wrestling himself free from his assailant Dick jumps to safety as Damian leaps from his bike … moments before it impacts on Phosphorus.
With Phosphorus temporarily out of the picture Roxy Rocket sees her opportunity and swoops low for an attack – as she does Stephanie positions herself beneath Roxy's rocket, hits her vehicle's 'eject' button and fires herself skyward towards Roxy, where the two women fight for control of the aircraft.
With Riot – several Riots in fact – now beating on Dick, Damian positions Phosphorus for a very painful meeting with Roxy. Two down, one to go. As Stephanie leads Dick to safety the young boy – 'little Lord Fauntleroy' – confidently confronts around a dozen Riots … and it soon becomes obvious that he's out of depth: Batgirl to the rescue!
Much later, having put an end to Roulette's plans, Dick, Damian, and Stephanie join Barbara back at the Batcave. As the two youngsters eat, and recommence their bickering that had been largely abandoned while they worked as a team, Barbara and Dick take time-out to talk about where they've come from, where they are, and where they are going – and, perhaps more importantly, why they are going there.
When discussing 'creativity' I'm always quick to acknowledge there's no such thing as good or bad, rather something that is to my personal tastes or otherwise. The Batgirl title very much falls into the former category.
Throughout the series so far the stories themselves have been largely uncomplicated and beautifully told through strong narration and some great dialogue – and this issue continues that tradition. As regular readers will know I'm enjoying the lighthearted bickering between Stephanie and Damian but it wouldn't take much for this fun relationship to cross the line into silly: it's credit to Brian Q. Miller's writing that I'm confident that particular pitfall will be avoided.
I've long-since been a fan of Lee Garbett's art and feel his work gets better with each passing issue – as I've said before, this clean, sharp, confident style of artwork is VERY much to my personal taste and therefore credit also goes to Trevor Scott and Guy Major for their inks and colours.
As the concluding issue of a story-arc featuring no less than four villains, it would have been easy for this issue to have turned into nothing more than a 22-page 'chase-and-fight.' Needless to say, it didn't, as moments of high drama were interspersed with moments of quiet reflection, none more so than the scene, late in the issue, with Barbara and Dick in the Batcave. I was genuinely touched as the two discussed their past – and their futures – and I have a feeling that in time we'll look back to these five panels as something of a turning-point for the two characters.
While I'm not saying the Batgirl title is perfect, I can't, in all honesty, identify any flaws and I'm not sure what else I'm looking for to consider it perfect – it makes me smile, at times it makes me feel a little sad, it makes me think. It makes me want to read and then re-read the issue and makes me look forward to the next.
Batgirl #7:
Reviewed by Zaius
It's felt like a long month since turning the last page of Batgirl #5 and seeing Stephanie Brown, lying on the floor, having been shot in the head. Sure, I knew she'd be okay but I was genuinely taken-aback by the conclusion of the issue and I was looking forward to seeing how the story continued.
Batgirl #6 – Batgirl Rising, Core Requirements, part 2 of 3 – begins with Stephanie dropping in and out of consciousness as she receives treatment in the back of a Gotham ambulance. As one painful memory after another crosses her mind she wakes with a start on the realization that she's been shot.
With Stephanie 'missing in action' Barbara Gordon is back at the Batcave scanning the emergency service radio frequencies for information about her whereabouts when her systems lock onto the codename that Stephanie gives the medics. Realizing that the ambulance is heading to West Mercy Hospital – where Steph's mother works – Barbara distracts (and this is the understatement of the year!) the medics long enough for Stephanie to escape their attention.
Atop the Gotham Police HQ Commissioner Gordon, accompanied by Detective Nick Gage, meets with Batman to discuss the kidnapping of young Francisco Gracia. From a neighboring building Stephanie – now dressed as Batgirl – spies on them before being interrupted by the young Robin. As we discovered in issue #5, the two just can't get along and inevitably start bickering – with hilarious results! Forced to intervene Dick – in 'guardian' mode – breaks the pair apart and sends them both away for a time-out.
Furious with his young associates behavior Dick is reminded by Barbara that Stephanie and Damian aren't the first Batgirl and Robin to have trouble getting along … a comment both Dick and Barbara immediately regret as, for a moment, the mood between them turns sour.
Having temporarily settled their differences, at least enough to semi-agree on a plan, Stephanie and Damian break into Jordanna Spence's apartment and confront Francisco's girlfriend – what does she know about his disappearance? Why aren't the kidnappers demanding a ransom? Where is he?
In the meantime, Dick finds himself under attack as he pilots the Batmobile high over Devil's Square. As he reacts to avoid a collision he discovers his attacker is none other than Roxanne Sutton – 'Roxy Rocket' – who sends a figure resembling Francisco Gracia tumbling to earth. Rescuing the young man Dick discovers it's not Francisco but Freddie 'Riot' Frankenstein who in turn replicates and begins attacking the Batmobile.
As Dick struggles to keep his vehicle airborne we witness an angry roof-top exchange between Francisco and his father in which the older man explains that he knows he's made mistakes in his life but his plan will help him to clear his debts. As Jordanna had earlier told Stephanie, Gracia Senior is a gambler, often doing very well, and just as often very badly … he's in debt to 'Roulette' and his only release is to help her.
Elsewhere, with the Batmobile grounded and Dick injured, Barbara orders Stephanie and Damian, who along with Jordanna are following Roulette's plans to hunt down and kill Batman via an on-line video feed, to find Dick and bring him home.
Once again, another great – fun – issue of Batgirl. Without wanting to dismiss the storyline itself, which is certainly strong enough to maintain my interest, at the moment the true joy in this book for me is following the 'cast' as they develop their individual and group personalities.
The bickering, or banter, between Stephanie and Damian is brilliantly written by Brian Q. Miller and one of the highlights throughout this issue. Carrying on like brother and sister, their verbal dueling is genuinely funny and it must be said, at times quite charming – Stephanie describing Damian/Robin as a 'little badger' and Damian responding to Stephanie's declaration that she's been shot in the head by replying that she's got brain damage and he's not surprised had me chuckling.
The art throughout the issue, literally from cover to cover, is magnificent. I can't at the moment think of a book that's offering better interior art than we're seeing from Lee Garbett and Phil Noto's covers are great: I loved the sense of mischief between Stephanie and Damian as they are interrupted by Dick on this cover. Take a look at the look on Damian's face – he's startled that he's been discovered but at the same time he just can't hide the joy he's feeling!
I enjoyed the 'villains' in this story – Roulette, Riot, Roxy Rocket, and to a lesser extent, Doctor Phosphorous – and I'm looking forward to seeing them hunting their prey through the next issue.
Aside from Stephanie and Damian's relationship I again enjoyed the exchanges between Barbara and Dick and the way the mood between them quickly swings from affection, to irritation and back again to affection. I struggled somewhat to understand Barbara's actions in preventing the ambulance carrying Stephanie from reaching the hospital – would she really make the vehicle crash and risk injuring the medics, passers-by or an already injured Stephanie? I don't think so and this 'misjudgement', so early in the issue, troubled me throughout my read. Likewise, the ease with which Stephanie (or more to the point Mr Miller) shook-off the gun-shot wound to the head was a little … unsatisfactory – clearly I was relieved she was okay but I did feel just a little cheated after the jolt with which the previous issue ended.
These criticisms aside, this really was another excellent issue of Batgirl – great writing, quality artwork, fun without ever being silly, a real 'page-turner' that at the same time satisfied me and left me wanting more: quite possibly the most enjoyable book I'm picking up at the moment.
Batgirl #6:
Reviewed by Zaius
About half-way through reading this book and it occurred to me – and I might be the only person who this hadn't previously occurred to – Batgirl is a TEAM book. I'm not talking particularly about Batgirl being part of the 'Bat-family' but it occurred to me that, for me at least, the character 'Batgirl' is Stephanie Brown AND Barbara Gordon – both of them. At the same time.
I think it was the use of the word 'I' in Barbara's narrative, just a couple of pages after Stephanie had said the same thing, that helped me realize this – I'm not sure if it's a technique that's been used in the previous issues or whether I just hadn't noticed it – and it's part of the reason I'm enjoying the book so much.
Issue #5, Core Requirements, part one of three, opens in Devil's Square as the city Fire Department tackle a huge fire that has engulfed a social-housing project known as the Gracia Global Housing Development. On hand to witness the destruction is 'Real Estate Mogul' Stefano Gracia along with his son, Stephanie Brown's university class-mate Francisco.
At the same time, Commissioner Jim Gordon and Fire-Chief Nguyen are talking about the blaze with Nguyen remarking that he'd never seen flames quite like these and he hoped none of Gordon's 'men' were inside the building.
No men, but there is a girl inside the building – Batgirl of course! – and she's certainly got her hands full wrestling with 'Diesel', a giant of a creature who is spraying gasoline, flame-thrower like, in her direction. With Barbara on the com-link offering support, Stephanie turns to 'Mama Oracle's secret weapon': freeze-batarangs!
Unable to contain Diesel for long, it looks like the situation is getting out of hand for Stephanie as Barbara warns her that 'company' is on the way. Thinking this means the police Stephanie is surprised – 'offended' she says – to discover that the company is none other than Batman and Robin. With three-on-one Diesel doesn't stand a chance and is eventually overcome and knocked to the ground. With Robin pounding Diesel, Batman realizes there's a gasoline leak … 'Batgirl to the rescue'.
Later, Barbara and Dick are back at base discussing – arguing mainly – the events of the evening with Dick questioning Barbara's judgment of Stephanie's abilities. Barbara reminds him that his own 'protege' doesn't have a great track record either. With tempers now at boiling point Barbara pushes Dick just a little too hard – as he storms off he warns her that if she doesn't control Stephanie, he will.
Another day, and we're with Stephanie in the library at Gotham U where she overhears – 'earwigs' where I come from! – the aforementioned Francisco and his friend Jordanna discussing the building fire and the loyalty he feels towards his father. As Jordanna leaves, Stephanie sees an opportunity to find out more and asks if there's anything she can help with. Taking in some fresh air, Francisco feels that Stephanie is prying just a bit too much about his father before realizing that they are being followed … Damian.
Across town Barbara is waiting for her father when she's spotted by Detective Nick Gage who is also there to meet with Commissioner Gordon – they've been set up! After some very brief flirting the two start bickering before Gage grabs his coat and leaves, with Barbara realizing that she's still frustrated from her earlier row with Dick.
Later that evening, Stephanie discovers Francisco sat alone in a diner. Changing into some clothes hastily borrowed from Barbara she says 'hi' just as a gang of masked gunmen enter. Despite Francisco's instructions to leave she tackles the raiders only to find herself outnumbered …
This was another cracking read from the Miller/Garbett/Scott creative team. Yes, some of Stephanie's dialogue appears a little cliched but for me that part of her charm, she's 'storming': trying to prove to others – and herself – that she's confident and up to the job. Besides, she's still a young girl, what else should we expect? As I've suggested before, I'm really enjoying Barbara's role in the book and what's more I'm enjoying seeing the Stephanie/Barbara relationship develop.
The inclusion of Dick and Damian in this issue made for some interesting character exploration – there felt a tangible undercurrent of tension throughout the scenes involving Dick and Barbara while it's clear that Stephanie and Damian – like bickering siblings – just aren't getting along. My only disappointment with the Stephanie/Damian interaction was that we didn't get to see the results when Damian was 'rescued'!
Furthermore, it'll be interesting to see how the Barbara/Nick Gage relationship grows – with Batgirl possibly having a crush on the detective through the earlier books it could be interesting to see how – if? – this theme develops.
It's often said that there's no such thing as good or bad art, rather there's art that we either enjoy or don't enjoy, and I'm certainly enjoying the art on this book: from Phil Noto's striking, eye-catching covers to the warm, bold – confident – interior artwork and panel layout.
'Team Batgirl' goes from strength to strength.
Batgirl #5:
Reviewed by Zaius
So now they know each others identities. I still find it amusing how much older Babs seems in comparison to Dick. So either she robbed the cradle or Dick is the one character that has actually grown older in the Batman Universe. From Batman: Family #33.
Posted by Dustin
Batgirl is possibly the book I'm enjoying more than any other at the moment – perhaps the storyline hasn't so far pulled up any trees but the writing, and particularly the dialogue, feels fresh and fun while the artwork and page composition is clean, rich and imaginative – very much to my own tastes.
I'll admit to feeling a bit puzzled when I saw the cover of this issue – 'Meet the New Batgirl!' it proclaimed as we were reintroduced to Stephanie Brown in her new Batgirl costume. 'Surely we met the new Batgirl over the previous three issues' I thought. By the end of the issue I think I had a better Idea where the creative team were coming from with this statement.
For me, this issue has a theme – or moral – of 'the first few nights are always the hardest': the story begins with new University student Stephanie explaining to her mother that she's too busy with school work to take a break and ends – seven hours later and after a night of adventure – with Stephanie struggling to get out of bed prompting some motherly words of encouragement … 'the first few nights are always the hardest'.
With their bickering behind them, Stephanie and Barbara Gordon are back at base preparing for the night ahead. With the new costume linked in to Barbara's computer network Batgirl is ready for action. Within an hour of her 'shift' starting Stephanie breaks up a robbery and makes an unexpected guest appearance on one of the city's open-top bus tours. Minutes later she finds herself in the middle of a city-wide blackout as a result of a power cut.
In the meantime Barbara is called away to the Thompkins Clinic where an angry and frustrated Wendy Harris refuses to accept that she's used her legs for the last time. After hours of intensive exercise Wendy finally can take no more, breaking down in tears – distraught about her own physical condition as well as the loss of her brother. Clearly these are difficult times for Wendy but Barbara is on hand to comfort her … 'the first few nights are always the hardest'.
Over at the Gotham City Police Department Jim Gordon and Detective Nick Gage get a call that takes them to Monarch Meadows Stadium where they find the badly-burned body of a city employee. Continuing onto the D.W.P. facility the officers are helpless to intervene in a confrontation between Batgirl and an unexpected adversary … Livewire. With an inevitable conclusion the issue closes.
So, what was the line 'Meet the New Batgirl!' about? This issue is, in many ways, the proper start of the new run of Batgirl. The first story-arc, Point of Origin, had a 'prelude' or 'zero issue' feel about it – over those three issues we witnessed the handover of responsibility from Cassandra, Stephanie fighting for her own identity, Barbara resisting and resenting that there's a new Batgirl in town.
Building on solid foundations, this issue sees Stephanie embracing her new role. Yes, she's quick to put herself down – 'I'm almost fifty percent sure nothing could go wrong' she says when asked if she'll be ok – but she's got a genuine self-confidence that possibly says as much about the naivety of her young years as it does her capabilities.
Out of costume Stephanie appears so much younger than when in costume and this serves to remind us of her vulnerability – yes, she's been well been trained and has great back-up but she's still a young girl: this, along with the wise-cracks and bravado go a long way I think to explain the comparisons with Joss Whedon's Buffy Summers – quite a compliment to Bryan Q. Miller's writing I'd say.
At the moment, for me, the core of this book is about 'burgeoning relationships' – Stephanie and Barbara, Barbara and Wendy, Batgirl and Gage, even Stephanie and Batgirl – and I'm looking forward seeing these develop further.
After three distinctly stylized covers Phil Noto delivers something a little more conventional – the inclusion of dialogue aside – for this issue while the interior-artwork team gets a bit of a shuffle with Tim Levins now working alongside Lee Garbett – practically a neighbor of mine here in South West England! – on pencils.
A solid, enjoyable and entertaining read, with good writing and nice artwork suggesting good things to come for Stephanie Brown and friends.
'The first few nights are always the hardest'.
Batgirl #4:
Reviewed by Zaius
Barbara Gordon’s first date with Jason Bard, the man who would eventually become her fiance, in Detective Comics issue 392.
Posted by Josh
Barbara gets hired to impersonate…um…herself in Detective Comics issue 388. But can she come up with a better alias???
Posted by Josh