Birds of Prey #13 Reviewed

As always my review contains spoilers - if you don't want to know what happens in this issue of Birds of Prey then stop reading now!

Birds of Prey #13

Picking up immediately as the previous issue closed this second, and closing, instalment of Hostile Takeover - No Sentence Shall be Commuted - opens with Huntress urging Barbara Gordon - Helena Bertinelli and Barbara Gordon - to abort the Birds of Prey's latest mission: unfortunately due to a breakdown in communication with Black Canary and Dove Babs explains that isn't going to be possible.

From the tunnels deep below Gotham City Huntress, accompanied by The Question Renee Montoya, explains that whoever 'Junior' is they need to proceed with the utmost caution: after all she - Junior - "made Catman afraid. Catman".

With a heavy heart Babs explains that yes, she's heard a little about Junior - she once ran the west coast organised crime syndicate but stayed 'off the radar' by relying on basics like a telephone and a note book ... there's little or no trace of her.

Reaching street level Huntress announces that if they can't warn the Birds to make their exit then the only thing they can do is fetch them and get them to safety. With that she and The Question jump on Huntress's motorcycle and head across the city.

Back at Kord Tower and Barbara is looking for an answer - how can she find out more about Alex Merkel, also known as Junior. Almost out of nowhere her moment of reflection is broken by Creote who quickly offers his and Savant's assistance ... an offer that is initially rejected before Babs realises that an answer may be closer to home that she initially thought.

Savant and Creote have their own criminal connections of course.

Elsewhere and Black Canary and Dove, Dinah Lance and Dawn Grainger, are literally in the dark trying to contend with blade-wielding Junior. Despite their undoubted combat skills - including Dinah's Canary Cry and Dawn's ability to fly - they are certainly coming off second best as feet, fists and blades fly.

With both women grounded Junior moves in for her final act - the "Mercy killing" as she calls it - and using the darkness to her advantage she surprises Dove and stabs her in the back. As her partner falls to the ground Dinah believes that the battle has been lost.

Many floors above and Zinda Blake, Lady Blackhawk, is receiving a beating of her own from the odorous Mr Tripe, in terms of day to day activities the head man. Demanding to know who sent her and what she and her team want Tripe reminds Zinda that there's nothing - nothing - that he can be threatened with and he won't allow anyone to touch his employer.

Down on the ground floor Hank Hall finds himself held at gunpoint by Tripe's assistants - sisters Trissa and Somnia Lachess. Realising that the phone call Trissa has received is unlikely to be good news he transforms into Hawk as the two women open fire. Through what appear at first to be inconsequential verbal jibes the sisters reveal that their clothing, as well as being very stylish, has a practical function: it isolates them from the electric charge that they subject Hawk to.

Recovering from his 'shock' Hawk surprises the women by getting back to his feet and telling them that now he's really, really, not happy.

Returning to the basements and Dinah senses that following the attack Dawn is fast fading. Gathering her in her arms Dinah is in no doubt that if her friend is to survive she need medical attention - but with Junior lurking in the shadows how can that be possible.

Moments later Dinah's words of encouragement and comfort for Dawn are broken as their attacker runs at them - and not a moment too soon the room is filled with her Canary Cry ... an act that buys them a little breathing space at least.

Back at Kord Tower Barbara is on the telephone - and it's clear she's not having an easy or enjoyable conversation. On the other end of the line is Catman - Thomas Blake - and Babs appears to have touched a nerve with him: she realises that two of the most important things in his life are money - which he declines - and Huntress.

With Huntress in trouble Catman reveals that he's prepared to listen.

Across the city and Huntress and The Question are on their target buildings roof-top discussing their next actions. Understanding that contrary to security at ground level their best entry point might be from the roof the women are sent flying to the ground as a helicopter rises from the side of the building, opening fire on them. Seizing the moment Huntress runs, leaps and grabs onto the aircraft before climbing up and taking out the gunman and taking the pilot captive.

Down below her friends and team mates appear to be making some progress - Zinda knocks Tripe to the ground with a well placed head butt as Dinah, carrying Dawn makes way up the stairs towards safety. Realising, however, that with Dawn's condition worsening time was very much against them Dinah decides it's time for one, possibly final, stand. With Junior hidden by the darkness Dinah calls her forward ... "Come on and try your luck, why don't you?".

As Junior steps forward the basement is flooded with light - intelligence courtesy of Catman and Barbara - which momentarily gives Dinah an advantage - an advantage that's doubled as she's joined by Huntress. With The Question now holding the helicopter pilot prisoner Huntress sets about Junior and with one swift kick knocks her off the staircase and down and down back into the bowels of the basement.

Gathering Dawn into her arms and heading for the roof Huntress explains that it was thanks to the Canary Cry she was able locate her - and the fact that she's the Huntress of course.

Half an hour or so later Dinah, Zinda and Helena are debriefing with Barbara back at Kord Tower. Realising that things didn't exactly go to plan, and recognising Helena's actions in rescuing the team, Babs 'promotes' her to new field leader - an appointment that understandably smarts with Dinah, initially at least. Zinda sounds a further word of caution by reminding the team that with no body there's no proof that Junior is actually dead.

With such a dangerous opponent who will now have both allies as well as weapons, Barbara explains, there's only one reason why they would go back.

"She hurt my girls".


End. Thirteen issues of Gail Simone's Birds of Prey series and that's it now before the much publicised DC reboot. Rather like the series as a whole this current two-part story-arc was at times enjoyable - particularly through issue #12 - at other times frustrating and just a little unsatisfactory - most of this issue I felt - and overall best summed-up as okay with a sense that okay just hasn't been good enough.

Whether it's me projecting what we know about this titles future but this issue felt like it was rushed, a compromise. Issue #12 did a great job, in my opinion, of setting up what was promising to be an engaging, thrilling story. This issue - again for me, others will no doubt feel differently - left me with a sense of 'what could have been', a feeling of frustration.

One of my first frustrations was to see another new artist on the book - ironically I rather liked Diego Olmos's work (one or two somewhat inconsistent panels aside) but this simply added to my regret that the publisher hadn't settled on a good artist to work on the title and stick with them.

I appreciated Olmos's subtly when capturing the emotions our central characters were experiencing - the almost blind panic of Huntress, Barbara feeling helpless as she believes she's run out of ideas, Zinda's 'never say die' attitude, Dinah's sense that for once she has found herself out of her depth. Emotions captured not just through facial expressions but through implied movement and fluidity of body language.

As always, much credit for the look and feel - and therefore my enjoyment - of this issue goes to colourist Nei Ruffino for his magnificent work.

The story just felt rushed - maybe it was and had to be - and this was probably my greatest frustration. There were too many 'conveniences', too many aspects that went unexplored: I'd have liked to seen the Birds extraction from the building ... what happened to Tripe? ... and the sisters Lachess? ... why hadn't Dinah used her Cry sooner? ... did Barbara really need Catman to prompt her to turn on the lights? (!) ... wouldn't Huntress, or someone, look to check whether Junior was actually dead?

Some or all of these aspects may well have been areas that writer Gail Simone would have liked to explore given more time and pages but, as we know, that isn't the case in the current DCU unfortunately.

I did approve of the decision to appoint Huntress as the teams new "field leader" - in Barbara's own words she's certainly "earned it" I'd agree. Recent issues of Birds of Prey have served as a showcase for Huntress and, as I've said before, I've been reminded what a fantastically complicated character she is.

Banner advertisement aside (see my comments for Batgirl #22!) I enjoyed this issues cover - covers have undoubtedly been a strength of this series and this image very much continued the feel of 'Mission: Impossible' that I took from the previous issue.

Finishing as I started, and in summary, this was a decent read - certainly not bad but by the same token not quite as good as I'd hoped and expected.

Would I recommend picking up the series at the moment? With everything that's happening at the publisher over the coming months then I'd have to say no. Will these single issues make for an enjoyable read when collected? Yes, I believe they will.

Birds of Prey #13
Written by Gail Simone, art by Diego Olmos, colours by Nei Ruffino, letters by Carlos M. Mangual, cover art and cover by Jesus Saiz
Published by DC Comics, August 2011

[Interior artwork source: IGN]

Birds of Prey #12 Reviewed

As always my review contains spoilers - if you don't want to know what happens in this issue of Birds of Prey then stop reading now.

Birds of Prey #12

Our story opens three weeks ago as two young women - "Misses Lachess" - stand in an office in an impressive-looking building before a smartly dressed, elderly businessman known as Mr Tripe.

Tripe refuses the women the opportunity to sit as he explains he enjoys disadvantaging others on first meeting. Lighting a cigarette he produces an ink-blot image and asks what they see.

The answers - a bunch of flowers, pretty flowers - disappoint. Rather surprisingly the women are asked to temporarily remove their blouses, an act that reveals several unsightly scars they they refuse to talk about.

What relevance do these scars have when they are interviewing for jobs as receptionists one of the woman demands.

Mr Tripe, by now losing his patience, explains in no uncertain terms that these aren't receptionist jobs - they are there to interview for the role of personal assistants to the owner of the firm: a Mister J.

Showing the ink-blot once again this time the women give Tripe the answer that he wanted to hear - it's a woman's crushed skull; a woman's entrails. Clearly impressed Tripe immediately hires the pair and explains that they must start this evening ... but they won't be working in this office.

Elsewhere, Renee Montoya - aka The Question - crouches over a manhole cover with crowbar in hand. As she's about to lift the cover she's joined by Huntress aka Helena Bertinelli and after a brief exchange - "Q", "H" - they get down to business ... is The Question really going into the underground tunnels with a storm on the way? Doesn't Huntress have something else she could be doing? Someone else she could be troubling?

With neither woman being known for their patience these questions go unanswered as Montoya drops down the access chute and in one swift movement takes out an armed lookout. As Huntress joins her Montoya explains that there's a "buy going down tonight" - weapons for drugs.

Drawing her flash light Montoya brushes aside Bertinelli's remark that she has something to ask her, something that will make a difference, as she sets off into the tunnel complex. Failing to take the hint that her prescence isn't required Huntress continues after her, demanding to know why her help on this case isn't welcome - the answer, we learn, is that everyone involved in the "buy" is a police officer: and The Question wants to go it alone.

Returning above ground and to the entrance to the earlier city office building Mr Tripe, joined by his two new female employees, welcomes a Miss Hargison and her entourage. Miss Hargison, we learn, is none other than Lady Blackhawk, also known as Zinda Blake, and her entourage consists of Black Canary aka Dinah Lance, Dove aka Dawn Grainger, and Hawk aka Hank Hall.

Shamelessly flirting with Tripe while passing through the buildings security "Miss Hargison" asks Tripe if they can be alone, after all she feels safe in his presence. Despite their protestations Tripe dismisses his own security personnel - the aforementioned Miss Lachess, Triss and Somnia - and as he and Zinda enter the lift alone Dinah activates her comms link to Oracle - Barbara Gordon - who confirms that they now have two minutes during which the security cameras will be off line.

"And Zinda's laying it on a bit thick, isn't she?"

Now that they are alone Zinda pauses the lift, turns to grab Tripe by his suit lapels and kisses him firmly on the lips before explaining that she's being blackmailed about events earlier in her life ... and she needs his help. At exactly the same time Dawn and Dinah pry open the lift-shaft doors and swing out into the void, heading down the shaft using a series of access ladders while carefully avoiding the motion detectors.

Back in the tunnel complex below Gotham City Huntress and The Question continue their conversation - The Question isn't concerned for her or Huntresses safety - she's concerned for the safety of the officers. Issuing one final warning that their prey must not be harmed - "punctured" as she puts it. Leaping into the crowded chamber where the deal is being done Huntress catches the men unaware, swiftly taking several of them down. As others try to make their escape The Question joins her friend and likewise disarms a number of the startled policemen.

As a flurry of bullets rip into a soft canvas bag bank notes fill the air before settling on the surface of the water and being swept away. At the same time The Question disarms an officer and knocks him out using the butt of his gun ... meaning she's left holding the weapon. Fearing that one of their visitors is now armed one of the men focuses his attention on this new threat as "Bam" she's knocked off her feet and into the water pool.

This proves to be one act too far for Huntress as with a swift kick and a strong headlock she disarms two more threats before forcing the shooter into the water and threatening to drown him in revenge for his attack. As her patience is running out she feels a firm hand on her shoulder, looks up before hugging The Question with a mixture of joy and relief.

"Bullet wound. Bullet wound".

Recovering from his own water ordeal the shooter pleads with the two women that they kill him. That they kill them all. Continuing, he explains that his wife's sister had been kidnapped before being tortured for three full hours - and he and his wife had been forced to watch the gruesome events on video afterwards.

Back in the upmarket office building and Mr Tripe thanks his guest - Zinda - for such a "charming moment", and expressing his willingness to take things further. As Tripe goes on to explain that he is in fact dying that same moment Triss and Somnia Lachess, realising that everything is not as it at first seemed, draw their weapons on Hawk demanding to know what he and his friends are up to.

Elsewhere in the same building Dinah and Dove have finally found their way to the basement floors and as the lights go off they are taken aback by what they've seen - graffiti covers the walls and dolls hang from the ceiling. In another area of the basement the two women come across another curious sight - a wooden chest, a telephone and a notepad.

Back with Zinda and Tripe is explaining that he's not afraid of death because he's found his "saviour" - and she has remarkable abilities. "Alexa Deborah Merkel ... daughter of the mass murderer, The Ragdoll".

Returning to Huntress and The Question in the tunnels deep beneath street level and Huntress has heard enough. Over the comms unit she urges Barbara to get Black Canary and the team out and away from Tripe and his people.

"Get them all out now!"

Amid the darkness of their basement neither Dinah or Dawn realise that they have been joined by a third party ...

'Hostile Takeover, A Thin Edge Directly to the Brain' continues.


Regular readers will know that, as much as I've been enjoying Birds of Prey over the past dozen issues, it's fallen short in a number of areas for me. I think this latest issue from Gail Simone and Jesus Saiz may just have been, for me, the best for a good while.

Jesus Saiz's dynamic, confident cover immediately set the tone - as many of the earlier issues had it "... when the heroes are in trouble they call the Birds of Prey" - with the team casually strolling away from a burning, crumbling building: an image straight out of the original A Team (and I mean that in a good way!). Gail Simone's story had a 'Mission Impossible' feel about it, her dialogue in places sparse, in places rich and elaborate.

It cannot be a coincidence that as the book has focused more on Helena Bertinelli/Huntress my enjoyment has risen. In this story Huntress appears at first to be featuring in something of a 'backup' feature as she ties in with Renee Montoya/The Question to break up a ring of crooked police officers - by the end of the issue it was obvious that this thread is to be integral to the larger story. I find it hard to believe that Huntress doesn't have a significant role to play in the new DC Universe.

I particularly enjoyed the introduction of several new characters - Mr Tripe and the sisters Trissa and Somnia Lachess. Tripe - very appropriately named I thought - came across as a vile yet equally charming man: indifferent, hard, uncaring with his own people yet personable, welcoming, humble even towards others.

The sisters clearly have a wider history than we're currently privy to - I found myself wondering what's brought them to Tripe's office, obviously how they received their horrendous scars and precisely what did they need to do to 'serve their time'. I'm looking forward to finding out more.

The sense of 'Mission Impossible' was captured through the scenes involving Zinda, Dinah, Dawn and Barbara and their elaborate plans to penetrate the 'inner sanctum' of Tripe's headquarters. With Barbara back at base calling the shots these pages held a genuine sense of excitement and tension for me - if, as we are told, the relaunched Birds of Prey is to draw more heavily on the 'dark ops' aspects then I may, after all, be picking it up.

If I've got one gripe about the story, it's the name of our 'master villain'. While I appreciate it must be incredibly difficult to keep creating new, larger-than-life, characters the name "Junior" failed to deliver the sense of fear that the closing scene truly deserved. In fact, I'd go as far as to say it undermined that scene.

Both the cover and interior art from Jesus Saiz were very much to my liking. For me one of Saiz's strengths is his ability to portray emotion through facial expressions. The sisters Lachess appeared at times weak and brittle, at times strong and confident; Zinda was captured as playing both a confident and yet vulnerable woman; I was reminded that Helena is both determined and playful. All of these personalities captured through facial expressions.

Once again credit must go to colourist Nei Ruffino for the wonderfully deep tones throughout the book - the scenes set in the underground tunnels felt cold and dank to me; those set in and around Tripe's offices had a warmth and comfort to them that was in complete contrast to that on the basement floors. Along with Guy Major on Batgirl these guys have really helped me appreciate the work of the colourist.

Over recent issues this title has been, for me, at best a decent read. This latest issue, however, was hugely enjoyable and suggests that this short story-arc could be one of the most enjoyable yet. Having struggled somewhat, in my opinion, to find its feet over the past year or so, it would be ironic, and a great shame, if it finally stands tall just as the series is coming to a close.

Birds of Prey #12
Written by Gail Simone, art by Jesus Saiz, colours by Nei Ruffino, letters by Carlos M. Mangual, cover by Jesus Saiz
Published by DC Comics, July 2011

Birds of Prey #10 Reviewed

As always, my review of Birds of Prey includes spoilers - if you don't want to know what happens in this issue then please stop reading now!

"The Gristle and the Ghostly", the concluding part in the four-part "The Death of Oracle" story-arc, opens with a fantastic, immediately recognisable, close-up of Helena Bertinelli - Huntress: needless to say she's angry, challenging Calculator to explain his actions after he orders Oracle's aircraft to be shot from the sky.

For once Calculator is a little lost for words, stammering somewhat as he tries to justify his actions. As his men look on Helena senses her captors vulnerability and looks to exploit the situation in her favour.

"You prattling little bean counter" she screams before lashing out, drawing blood as she catches Calculator across the face, again eliciting a less than assured response.

At that point Helena knows that she has her opponent 'on the ropes' and that his less-than-stoic responses are eroding his standing within his own organisation.

Desperate to recover his authority Calculator snatches a weapon from a nearby HIVE agent and directs it at Helena, Zinda Blake - Lady Blackhawk - and Dawn Grainger - Dove.

At this moment Helena realises that the situation can go one of two ways for the members of the Birds of Prey - and she's determined it's going to go in their favour. With only words as her weapon she taunts Calculator about the enormity of their circumstances: "You think killing Oracle ends her influence?" she spits out before elaborating about the support system that Oracle provides to any number of individuals and organisations - all of whom will now be incredibly ticked off by his actions.

Ordering his men that they must never speak of the evenings events Calculator orders his 'right hand man' Current to kill the women and dispose of their bodies. Feeling that their situation is getting way out of hand Dawn - Dove, Avatar of Peace - tells her two friends that when the firing starts they should run for safety while she shields them.

Helena isn't beaten yet however and she continues her verbal assault on Calculator - daring him that if he wants them dead he ought to be the one to pull the trigger - even turning her back to offer him an easier target. Illustrating just how his men were losing confidence in their leader Current says that he agrees with Huntress and, unable to take any more of this impertinence from the Birds or his own men, Calculator raises his weapon, covers the trigger and ... boom!

True to her word at that very moment Dove dives to protect her friends and takes the full force of the impact. Helena and Zinda don't run though as they are, of course, more concerned about their friends condition that their own safety. Relieved that the blast hadn't killed Dove, Helena realises that enough is enough - "... no more playing ...".

At that very moment Mortis grabs Calculators arm and raises herself to her feet. Still in something of a stupor she warns that the Canary - Black Canary - has escaped her enforced unconscious state and that they ought to run - but it's too late as, unnoticed, Black Canary - Dinah Lance – is stood behind them. Enraged by her own treatment and by that of her friends she knocks Calculator off his feet and to the ground.

Missing a tooth, and with blood splattered across his face, Calculator instructs his men to open fire on Black Canary, who at that very moment tumbles away and lets out a 'Canary cry' - "JLA-style". Moments later she's seized by another of Calculator's thugs - Mammoth - who almost immediately is introduced to Hawk - Hank Hall, Avatar of War - who sends out a verbal warning before striking Canary's captor to the ground.

As Calculator realises that the situation has gotten away from him he enlists Current's help in making his exit - only to find Mortis begging to be taken with them.

With the balance of power shifting towards the Birds of Prey Black Canary lets out another of her cries - breaking Helena's handcuffs. With Lady Blackhawk, Black Canary and Hawk slowly getting the better of the opponents Helena races after the van carrying Calculator and Current, grabbing onto the back doors as the vehicle speeds away.

Hawk, meanwhile, explains to Black Canary how he came to be at the scene - referring to his earlier conversation with Oracle - Barbara Gordon - he explains that he asked – convinced even - Babs to allow him to pilot her helicopter to make the plan to stage her own death appear all the more genuine.

Wondering where the assorted HIVE agents were the pair are surprised - and no doubt a little relieved - to discover them bound together: with a Bat-symbol calling-card on display.

"You know, I kinda missed that guy".

Returning to Helena - and with the rear doors of the van blown open a swift blow from the butt of a rifle to the side of Calculators head knocks him temporarily unconscious before she turns the weapon on Current, forcing him to stop the vehicle.

Confronting a now conscious Calculator Helena reminds him that while he may well have killed Oracle today "she has a thousand ghosts" and as the man who killed Oracle he will no doubt find himself the focus of those ghosts attention.

Next day, at locations worldwide, we observe Booster Gold in Moscow, Manhunter in Gotham City and Blue Beetle in El Paso battling with opponents and calling, via their comms units, for Oracle's assistance - calls that go unanswered. Turning to face her visitors - Batman Dick Grayson, Batman Bruce Wayne, Batgirl Stephanie Brown, Red Robin Tim Drake and Misfit Charlie Radcliffe-Gage - Barbara explains that if she wants the world to believe she is dead she can't, as much as she wants to, intervene.

While understanding her position Tim's main surprise is why Cassandra Cain hasn't been brought on board and made aware of what's happening. Babs explains - as only Babs can - that she feels Cassandra has more than enough on her plate at the moment and, in response to a concern from Stephanie, declares that she has faith that the people that previously relied on her support - including Booster Gold, Manhunter and Blue Beetle who we see on the monitor each coming out on top in their own battles - will manage without her.

Elsewhere, elsewhen - across Gotham City, high up on the roof of a city centre building Huntress and Black Canary are on patrol - and the city is, apparently, unusually quiet.
Before they've had time to consider why that might be they are joined by a third person - Catwoman, Selina Kyle - who explains that the city, or at least the criminal elements, are celebrating Oracle's death ... with Calculator the guest of honour.

Explaining that she'd come out to pay her own respects, and feeling that Oracle had been fair to her, Catwoman asks, somewhat mischiefly, whether Oracle is really dead. Keeping up the pretence Black Canary urges Catwoman to be careful with what she says before being reminded that she - Black Canary - is herself still wanted by the authorities and as such is in no position to make threats.

Turning her back, and preparing to take her leave, Catwoman asks if she may make a "small suggestion" to the two women.

"Become better liars".


There we have it - the concluding part in the Death of Oracle. An enjoyable tale for sure - a tale that, for me, never quite had the drama and suspense that the publisher suggested it would but then again I think that as a comic book reader for a while now I've grown used to seeing beyond the marketing, sound bites and hype and setting my own expectations.

Across these last four issues my expectations were most certainly met.

One of the features of Gail Simone's storytelling that I've particularly enjoyed throughout this series is how the apparent central figure - the narrator if you will - changes from storyline to storyline. We've had a run where the story has been told from Oracle's point of view, then another told from Black Canary's perspective and I've appreciated hearing this most recent story largely from Huntress/Helena's perspective.

I think that in the past I've be guilty of underestimating Huntress - I've tended to categorise her as a 'fight now, don't think about it later' sort of character and I've learnt recently that there's more depth to her than that.

In this issue I loved how she slowly, quietly chipped away at Calculator's standing amongst his own men eventually helping them to cross that "line of respect" that ultimately undermined him. Similarly, I enjoyed how it was Huntress who, not once but twice, reminded Calculator that there would be consequences - negative consequences - for him as Oracle's killer - and by the same token I enjoyed his reactions to those reminders.

Throughout my reviews of this series I've commented a number of times that I've personally struggled a little with the fast and frequent 'scene cuts' - cut from location A to location B for a panel then back to A before returning to B ... - and I've noticed in this and the previous issue the trend has been for less of this: it's very much a personal thing but for me this has been a positive.

The closing pages of the issue, where we witnessed Oracle addressing assorted members of the Bat-family, were really well played out I thought. I enjoyed watching Oracle explain her reasons for backing away from helping Booster Gold, Manhunter and Blue Beetle - although I really wasn't comfortable that Babs would hold back and simply watch silently, via the monitors, while her people were struggling in the field.

The issue of Cassandra Cain - and her non-appearance - was very nicely handled I thought: the comment that being part of the 'inner circle' was as much a burden as a privilege did rather have the feel of 'with great power ...' but I also felt it was true and very well played out.

Whether our friend Noctis would agree is anther matter though!

There were several fantastic quotes: most notably "Pound that nail, Huntress", "Sometimes, you need a Huntress" and I did smile at the "I have a purpose" line from Hank Hall.

Really Hank?

With regards to Inaki Miranda's interior artwork I think I could just copy and paste my comments from issue number 9: in a series that has, in my opinion, suffered from a lack of consistency in its artwork, Miranda's is some of the most enjoyable I've seen.

Something I don't think I mentioned previously is just how much I appreciate the range of emotions that Miranda captures in his subjects faces: from the opening page where we see a raging Helena Bertinelli, anger spilling from her mouth and with her eyes on fire through to the subtle, disappointed look of 'what are we going to do now' from Black Canary as she and Huntress realise that, as well as their plan has gone, it hasn't gone well enough to fool Catwoman.

I don't know what's next from Miranda but I certainly look forward to following his work. With Pere Perez - a favourite from his work on Batgirl - scheduled for issue #11 Inaki Miranda has re-raised the Birds of Prey 'artwork bar' I'd say.

Stanley 'Artgerm' Lau provides yet another fantastic cover that works on a number of levels. With Mortis holding up - possibly even about to don the mask of Oracle - I found it immediately eye-catching and by the same token I've found myself idly admiring the detailed, cleverly contrived background featuring the other members of the Birds of Prey, both Batmen, Robin, Red Robin and Batgirl emerging from the distance.

Will this be the start of a new chapter for Barbara Gordon? I think I could very well be. I'm looking forward to seeing how others fill the 'Oracle void' and finding out what the future has in store for Barbara herself.

An enjoyable read – highly recommended.

Birds of Prey #10
Written by Gail Simone, art by Inaki Miranda, colours by Nei Ruffino, letters by Swands, cover by Stanley 'Artgerm' Lau
Published by DC Comics, May

Birds of Prey #9 Reviewed

My review includes spoilers - if you don't want to know what happens in this issue of Brids of Prey then stop reading now!

Birds of Prey #9

'The Death of Oracle' continues with the third instalment of this four-part story-arc. 'The Soul and the Sacrifice' opens with something of a surprise: Dinah 'Black Canary' Lance's late mother - Dinah Drake Lance - greeting her daughter from the headquarters of the JSA. When her mother asks why everything she loves dies and, as only a mother can, why she won't wear her hair differently, Dinah understandably becomes emotional.

Moments later she finds herself in the company of her father - her late father - who questions whether his "kitten" is eating properly. As father fades before her eyes mother reappears, reminding Dinah that her father had died a painful death and that she was nowhere to be found.

At this point tears are cascading down Dinah's cheeks.

Through appearances of Red Arrow Roy Harper and Green Arrow Oliver Queen, culminating in a vision of her 'daughter' Sin who, matter of fact, tells Dinah how very lonely she is we see that Dinah can take no more pain and we witness her curled up in a ball - her memories and thoughts finally having got the better of her.

Out of Dinah's mind and back into reality Batman - "The" Batman, Bruce Wayne - crouches over her while speaking with Oracle - Barbara Gordon - over the comms unit. Understanding the seriousness of the situation Barbara reminds Bruce that her friend is presently wanted for murder so taking her to somewhere as public as a hospital might not be such a good idea. Instructing him to bring her back to base - Kord Tower - Babs explains that any physical injuries Dinah may be suffering from are likely to be the least of their problems.

Enquiring about the rest of her team - Dawn Grainger, Dove; Helena Bertinelli, Huntress and Zinda Blake, Lady Blackhawk - Babs learns that they have all been captured by Calculator. Not exactly as planned ... but, by the same token, not a million miles away from it we suspect.

As Batman gathers-up Black Canary into his arms and takes flight back to Kord Tower the story cuts to a school bus hastily travelling through the otherwise deserted city streets. On board the bus Dawn, Helena and Zinda appear unharmed but have their hands bound. Looking on, one of their 'hosts' reminds the women that with an automatic weapon trained on them any aggressive moves would not be recommended.

Responding to Helena's jibes he reveals his name to be Current, one time partner "in the special effects business" of Bolt. As Zinda joins in with the understandably bad-natured conversation Current, aware that all three women will be carrying tracking devices, instructs one of his charges to search the women - "make it ... thorough" he says.

Taking this as her cue to lash out Zinda 'knees' the guard, only to be struck herself by the now-charged Charge. With blood dripping from the corner of her mouth Zinda warns her attacker of the consequences of striking her again. Her words seem to connect as Charge turns his back, walks away and instructs another of his crew that they are nearly at their destination - and if there's any more trouble from "the blonde" to let him know and he'll deal with her.

Back at Kord Tower Barbara has a surprise visitor: Hank Hall, Hawk - Avatar of War. His appearance is a surprise because, as Babs points out, he'd been untraceable for fully fifteen minutes earlier, and that *shouldn't* be possible. Hiding the fact that he'd paid a private visit to The Penguin's club Hawk asks for Dove's whereabouts.

"That's complicated" he's told.

As Barbara discovers she's now lost track of her three friends Batman arrives with Black Canary in his arms. Summoning Savant, his medical skills may be required, Barbara once again reminds herself that physically Dinah's fine, it's the effects of her very brief encounter with Mortis that's causing the problem.

Becoming ever more agitated with events Hawk starts hitting out at those around him - initially verbally to Barbara before turning and striking out at Bruce. Evading his initial blows Bruce doesn't appear to want to fight and before things can get too out of hand Barbara brings Hawk to the ground with a well placed strike of her baton before declaring that they will rescue Dove - along with Huntress and Lady Blackhawk - and then they'll talk about his attitude.

But first, she needs to be somewhere else.

As Barbara makes her exit the story returns to the turmoil inside Dinah's mind as Mortis, Goddess of the Forgotten Dead, once again plays wicked games with her memories. Taunted that her friends have abandoned her - again - Dinah appears at breaking point, rivers of tears streaming from her eyes. Despite appearances though Dinah is far from down and out as, summoning all of her mental strength, she rises to Mortis's challenges and declares that she won't be beaten.

Elsewhere in Gotham, Calculator, Mammoth, Current and their team of HIVE agents look on bemused as Mortis herself appears to be suffering from some sort of seizure. Realising that such involuntary actions likely mean that her "prey" must have found a way to set herself free he immediately returns his attention to his prisoners - Dawn, Helena and Zinda.

Explaining that he's only really interested in Oracle he turns his weapon on Zinda - she's no use to him. Before he can pull the trigger Dawn breaks free of her shackles and with a mighty 'Dove' cry disarms Calculator, evades an attack from Current and knocks Mammoth from his feet.

Turning her attention back to Calculator Dove momentarily discovers that he once again appears to hold the upper hand - Zinda Blake is again at his mercy. In a instance though the stakes are raised as an armoured helicopter rises into the air, sends a verbal warning before opening fire. As Calculator and his team take cover - and decide that the aircraft is being pilotted by Oracle - the Birds likewise make their way towards temporary safety.

Realising that this could be an opportunity, possibly his only opportunity, to rid himself of Oracle, Calculator instructs Current to take down the helicopter - by using, interestingly, just half of his usual power: presumably he doesn't want the aircraft and its pilot totally destroyed.

Moments later, with the Birds once again in the hands of their pursuers and the aircraft in flames, Calculator announces, with a broad, satisfied smile, that finally his pain "is completely gone".


I really enjoyed this book - and after nine issues of this series I'm very happy to be able to say that. After Birds of Prey burst back onto our pull-lists I've felt I've struggled at times to avoid using words like 'decent', 'solid', 'serviceable' (I hear that word used quite often to describe comics and I'm not really sure what it means!) - words that to me mean 'okay', 'good' even but certainly someway short of excellent.

This was an excellent issue.

I immediately warmed to Inaki Miranda's interior artwork - I thought it was among some of the best we've seen so far in the series. Likewise Gail Simone's writing was fantastic - and again I've not always felt able to say that about Birds of Prey this past year.

The cover art from Stanley 'Artgerm' Lau is stunning - in fact I think my biggest worry with Artgerm's covers is that my expectations are so high that inevitably I'm going to be disappointed: and yet issue after issue he delivers the goods!

When I saw a digital preview of the cover I wasn't, to be honest, particularly taken with it. Only now that I can hold the issue in my hands have I been able to truly appreciate it for all its beauty. Despite having much of her face covered the sense of shock and anguish that Huntress feels is clearly evident. Holding onto her friend Dinah, Black Canary, for strength it's Huntress, rather than anyone or anything else featured that's the focus of this cover for me. If I have just one criticism, it's that facially Black Canary and Lady Blackhawk look just a little too similar.

Gathered around an overturned, crumpled wheelchair we really get a feel for the individual strengths - and weaknesses - of the Birds.

In terms of the story I thought the strongest, stand out scenes were the dream - or more appropriately nightmare - sequences. Opening with Dinah coming face to face with her mother, her father, loved ones, and closing with her battle of mental strength with Mortis, I thought the story was perfectly framed. I found the opening pages really quite touching as Dinah came face to face with those ghosts from her past and I really did feel her pain as she found herself at the sharp end of some pretty blunt comments.

Credit equally to Inaki Miranda for adding to Dinah's vulnerabilities by portraying her, it occurred to me as a younger, less physically-confident woman than I'm used to seeing.

The 'war of minds' towards the very end of the book was similarly powerful I felt, as we witnessed Dinah teeter on the brink of a complete mental breakdown and, just as it looked like she was 'down and out', draw upon her inner strengths and fight back against her opponent.

As well as being the focus of the cover, for me Huntress's portrayal was a stand out feature of the book - particularly through her beautifully written inner monologue. As those around her were in danger of losing their heads Huntress - who I've often felt was very much a 'punch-now-ask-questions-later' character - was able to remain calm, mindful of the broader picture.

The scenes set a Kord Tower and featuring Oracle, Hawk and Batman were at the same time enjoyable to read and yet disappointing to look at. I enjoyed reading as Hank took out his frustration on those around him, and the respective responses from Oracle and Batman and yet at times the art on these few pages left me a little disappointed. I felt there were some inconsistencies in Barbara Gordon's appearance and at times Hank Hall's body shape didn't quite look right to me.

Those comments aside I reiterate that I thought the art was among some of the best we've seen so far - the beautiful 'pin-up' splash page that opened the issue, the look of absolute horror in Dinah's eyes throughout the opening pages, the depth and warmth that I sensed in pretty much every panel and some eye-catching, thought-provoking, imaginative page layouts.

I believe Inaki Miranda is solicited as the artist of the next issue of Birds of Prey and I'm looking forward to enjoying his work on this title and elsewhere.

In closing, this was a top-quality issue I thought - a pleasure to read from cover to cover - and I'm anxious to see how the story-arc concludes next month.

Birds of Prey #9
Written by Gail Simone, art by Inaki Miranda, colours by Nei Ruffino, letters by Dave Sharpe, cover by Stanley 'Artgerm' Lau
Published by DC Comics, April 2011

Birds of Prey #8 Reviewed

As always, my review includes spoilers - if you don't want to know what happens in this issue of Birds of Prey then stop reading now!

"The Death of Oracle" continues with the second part of this four-part story-arc entitled "The Gauntlets and the Guillotine". Having smashed their way into the nightclub where the Birds of Prey were enjoying a girls night out, Mortis - the self-proclaimed "Goddess of the Forgotten Dead" - accompanied by Mammoth and the "newbie" villain known as Current confronts the Birds demanding, for the final time they are told, to know which of them is Oracle.

Zinda Blake - Lady Blackhawk - steps forward to tackle Mortis and is immediately warned off by her opponent with the suggestion that with just a single touch of her hand others have been driven to suicide - and she could easily be next.

Not one to take kindly to being threatened Helena Bertinelli - Huntress - steps across her friends and into Mortis's line of sight ... "Try it" dares Helena as Mortis turns her attentions to Dinah - Black Canary.

Elsewhere, events in the club are being monitored by Calculator who's delighted that the information he paid Savant for looks like being accurate - and he reminds himself that he must, in turn, kill his one-time informant.

Across the city at Barbara Gordon's new high-tech, highly-secret base of operations in Kord Tower, Babs and Bruce Wayne - Oracle and Batman of course - are likewise following events. Babs reveals that while she's aware of Mammoth both Mortis and Current are new to her ... and as such causing her to be more than a little concerned.

Appreciating the scale of the situation Bruce offers a solution - he can intervene - which Babs immediately dismisses: the Birds of Prey are her team, her responsibility. Besides, Barbara reasons, her team, including as it does Black Canary and Huntress, can handle the situation can't they.

Can't they?

Returning to the nightclub and Mortis offers Dinah one last opportunity to cooperate before Dove - Dawn Grainger - steps in and, to my surprise, identifies herself as the ellusive Oracle. As events at the club unfold we cut across town where the aforementioned Calculator is now writhing in pain on the floor of his office - on the verge of a breakdown it seems: with no secret powers or costume to rely upon Calculator has always relied upon and prided himself on his intelligence, his brain - and now, thanks to Oracle he believes, his mind is failing him.

At Penguins Iceberg Lounge, which remains closed for repairs, we discover Oswald Cobblepot 'auditioning' new waiting staff and very quickly losing his patience with his new employees. As he takes his frustration out on one young woman he becomes aware that they have been joined by Hawk - the Avatar of War Hank Hall, who we learn has somehow managed to switch off his comms link connecting him to Oracle - demanding an audience with Penguin.

Apparently having something of a change of heart from their earlier conversation Barbara Gordon appears willing to enlist Batman's help but she has a feeling that her friend isn't going to like her idea - for the first time Batman will have to take a dive. This isn't the time, Babs reveals, to explain to Bruce what she has done to The Calculator ... she was vulnerable, Calculator knew her identity, so she took their fight into his mind and altered his memories.

As Calculator uses recognition software for details of Dove's background - the results of which I assume have been tampered with by Barbara to give false information - we return to the nightclub where, with the public apparently clear of the club, Babs finally gives the word for the Birds to engage their opponents - much to Dinah's relief and pleasure. With a single blow she knocks Mortis off her feet warning the others to be careful of her touch. With Mortis down, but certainly not out, the Birds turn their attention to both Current and Mammoth ... and their army of 'foot soldiers'.

Amidst all this violence Helena realises that the premises aren't, after all, free of members of the public as she discovers two women crouching under a table desperately trying to avoid getting caught up in the madness.

As Black Canary, now delighted to have been joined by Batman, does her best to keep the onslaught at bay Helena, with the help of Lady Blackhawk, usher the women towards safety.

With Mortis grounded, and Batman now part of his opposition, Current reveals to Calculator that he wants out - but Calculator is having none of it as he threatens his 'employee' that if he doesn't do as he's instructed he may just have to ask Mammoth to pay a visit to his girlfriend.

Reaching the outer ruined walls of the club Helena and Lady Blackhawk are relieved that they've managed to get the civilians to safety ... only to find themselves held captive at gunpoint.

Distracted by the events unfolding before her Black Canary fails to notice Mortis approaching from behind - as she removes her glove just one touch of her hand sends Dinah into a trance-like state: Barbara's words of warning to the group coming just too late.

With her friend and team-mate under threat and vulnerable Dove backs down and allows herself to be taken. As Mortis, Mammoth, Current and their men seize Dove and make their exit the "Goddess of the Forgotten Dead" reveals that once in a trance none of her victims ever come out of it ...

What can the future hold for the Birds of Prey, and particularly Black Canary?


This was another galloping Birds of Prey adventure from writer Gail Simone - pretty much every scene, except perhaps for those set at Kord Tower between Barbara and Bruce, had a sense of chaos and confusion about them as the story jumped around Gotham city at a rapid pace, but without ever feeling particularly rushed, rarely stopping anywhere for more than what seemed like a few minutes.

What at first appeared to me to be a fairly shallow story grew, with a second and third read, into something much more complex. Having finished reading the issue I find myself asking many questions that I'm now genuinely keen to answer.

The overarching question is, of course, just what is Barbara's plan? Through Savant she's set this confrontation up - I'm surprised she's chosen such a public venue - but to what end? Why is Dove passing herself off as Oracle? Of all the team members who amongst us would have chosen Dove for such a crucial and dangerous 'mission'? Batman's involvement may - just may! - have been initially unplanned but what part does he now play in Barbara's scheme and why ask him to take such a very public fall?

On a minor, fairly trivial point, I've appreciated the 'name tags' that have appreared throughout this series: identifying the character - Oracle aka Barbara Gordon for instance - and including a thumbnail description of them - Formerly Batgirl, now the world's premier infojock and data specialist supreme. I smiled, therefore, when Batman was introduced simply as "Batman aka Bruce Wayne". Less is most definitely more.

For sure there were one or two elements to the story that, for me initially at least, felt somewhat unnecessary and drawn out - the scenes where the two ladies were discovered in the club and had to be escorted to safety come to mind as did the couple of pages where we witnessed Penguin auditioning his staff in the finer points of waiting tables.

That said, I appreciate that such scenes can give the reader a chance to catch one's breath in what was, as I say, an extremely 'hectic' issue. The Penguin scenes also produced one of my favourite panels of artwork in the entire issue from Guillem March - the moment he almost exploded with rage when he felt that his waitress wasn't listening to him was absolutely fantastic: unrecognisable and yet unmistakeably Penguin.

Speaking of the interior art I was surprised to turn the front cover and discover another 'new' artist on this title after last months début from Ardian Syaf. Thankfully, for me anyway, I'm a huge of admirer of Guillem March's style and I enjoyed his work throughout this book - I always feel there a great deal of depth to his art as his figures almost stand-out from the page and this issue was no different. Likewise, I've always appreciated that the artist manages to include so much detail in his panels - on first read through the detail can be almost be incidental sometimes only fully appreciated with a second or third read.

The overall quality of the Birds of Prey series has, in my opinion, suffered as a result of so many changes to the books principle artist although the impact has thankfully been lessened by the quality of the artists involved. That said, I look forward to a time when one artist is able to commit to the series for an extended period of time.

Turning to the books cover, and in many ways I can echo my previous comments regarding the cover of Batgirl #17: the illustration, on this occasion from Stanley 'Artgerm' Lau, is simply fantastic: I love the composition of the montage of Birds of Prey team members - although it's somewhat undermined by Barbara's framing which gives me the impression somewhat that Mr Lau didn't quite know how to include her - but I just can't fully appreciate these very stylized special covers what we're seeing across the Bat-family books this month.

In closing, I thought the final page of this issue - both the sentiment it conveyed and the quality of the illustration - was fantastic and almost worth the cover price alone. All in all, another solid read that's left me puzzling about the story and leaves me wanting more. Highly recommended.

Birds of Prey #8
Written by Gail Simone, art by Guillem March, colours by Nei Ruffino, letters by Travis Lanham, cover art by Stanley 'Artgerm' Lau
Published by DC Comics, March 2011

Birds of Prey #7 Reviewed

Happy New Year one and all! While I didn't get as much reading done as I'd hoped over my Christmas and New Year break I did find time to read, and review, the latest issue of Birds of Prey - delivery of which had been delayed by a week or so because of the wintery weather we'd been experiencing here in Britain.

One of the things I enjoy about undertaking these in-depth reviews of Birds of Prey, and likewise for Batgirl, is that it gives me the opportunity, you might even say it forces me, to really think about so many different aspects of the book that I wouldn't perhaps otherwise consider. With this issue of Birds of Prey I found that the more I thought about it the more I found to appreciate.


Birds of Prey #7

'The Cape and the Cadaver' - first of the four part 'Death of Oracle' story-arc - opens at the window of a fairly anonymous looking Gotham City high-rise. At the window stands a man - The Calculator - surveying the city before him, wondering aloud just why Gotham's villains choose to make the city their home, the scene of their crimes.

Interrupted by one of his associates, Calculator is introduced to a visitor: Brian Durlin aka Savant. Comfortable that Savant isn't carrying a weapon Calculator welcomes his visitor with open arms. Refusing the hospitality that's offered to him Savant reminds his host that he's there for one reason and one reason only – cash, in exchange for Oracle's precise location ...

Elsewhen we witness Barbara Gordon - Oracle - on patrol in the alleyways surrounding the Gotham City docks: one of the city's worst neighbourhoods we're reminded. Rounding a corner Babs comes face to face with one of the gangs of 'tweakers and bangers and pimps' that call this neighbourhood their home.

As the gang advance and confront her, Babs muses over the irony that since the local drug lord was 'convinced' to leave the docks violent crime has risen - and she's about to experience that violence first hand.

Using a dustbin lid as a missile Barbara hits out first then follows up with blow after blow from her billy sticks. In no time at all three of the gang are grounded and unconscious. Moments later a forth man - the apparent leader of the gang - charges at Barbara with a knife but he is also swiftly dealt with: to her embarrassment landing head first in her lap.

Spurred on by a young female the last gang-member standing draws his gun and places his finger on the trigger. As her assailant approaches Barbara realises that, thankfully, she's not alone as Batman - Bruce Wayne Batman - swoops down into the alley and effortlessly overcomes the gunman. Turning immediately Bruce disarms the young girl, tells her to get along to Dr Lesley Thompkins clinic where help is at hand ... and threatens her never to come back to the docks unless she's 'clean'.

Having been relieved of her earlier embarrassment Barbara braces herself for a ticking-off from Bruce - patrolling around the entrance to her safehouse is one thing, but doing it alone is another. Much to her surprise Bruce ignores her admission that she's probably been a little irresponsible as he surprisingly suggests ... a hug.

Across the city the other members of the Birds of Prey are out celebrating the birthday of Dove - Dawn Grainger - at a nightclub. The focus of their attention are The Conga Cowboys - erotic dancers - and it's fair to say that the occasion is just a little much for Dawn. Alongside her team-mates Helena, Zinda and Dinah - respectively Huntress, Lady Blackhawk and Black Canary - are having a fine time until Dinah wonders aloud where Hank Hall - Hawk - is on this evening of celebration.

Realising that Dinah's comments are more than just idle chatter Dawn defends her friend - as the scene cuts to outside the club where we see Hank stop, toss aside a beautifully-wrapped gift addressed to Dawn, turn-around and walk away.

Elsewhere, in a roof-top garden, Calculator and his associate have met with a mysteriously veiled young woman who introduces herself as 'Mortis, Goddess of the Forgotten Dead'. Challenged by Calculator to prove that her so called gift is real Mortis gently takes the hand of his associate - and in an instant the man breaks into tears, an uncontrollable sweat and charges through a glass window falling, we assume, to his death.

Returning to Barbara and her safehouse Bruce has been handed a list - 13 names excluding her own - of those people that have been entrusted with the location of and access to the safehouse. Barbara goes on to explain that her base can be accessed from four different entrances throughout the city linked to a largely pre-existing network of tunnels. Furthermore, her base - inside Kord Tower - has been constructed by numerous contractors meaning that no one person knows everything.

Arriving at the elevator entrance Bruce is met by a familiar adversary - Aleksandr Creote - who Babs introduces as her personal assistant. Entering the observation platform Barbara and Bruce look out across the city - their city. Bruce reveals that things in their world are going to change and that he's looking for support from all of his 'family' ... and particularly from Oracle.

Without looking up and catching Bruce's eye Barbara explains that it's probably better if he doesn't refer to her as that - Oracle - '... because tonight Oracle dies. Once and for all'.

At that moment the two friends are joined by Savant who Barbara introduces as her 'IT guy' before asking how things went, whether 'they' believed him. Explaining more to Bruce, Babs asks that he trust her, if no-one else, as she's of the belief that too many people know about Oracle - and that puts every one of those people in danger.

Back across the city the Birds of Prey are continuing to enjoy their 'girls night out' until ... a huge explosion admits some unwelcome guests to the club. Dinah orders her friend Helena to get away: an order that Helena refuses to follow of course. As Zinda gets back on her feet - having been knocked to the ground by the earlier explosion - Helena does her best to revive Dove who, it appears, is sleeping off her evening of excesses!

Believing that the Birds are no physical match for the aforementioned unwelcome guests, who include 'Mammoth' Baran Flinders in their ranks, Dinah realises that the only weapon available to them - her Canary Cry - is just too dangerous to use in the crowded club.

With Dove now awake and aware Zinda urges her to target 'the big one' – Mammoth of course. This she does but with little or no success as he returns her assault and knocks Dove off her feet and across the room.

Seemingly at a loss as to how they can overcome their aggressors the Birds fear the worse as the violence pauses ... and Mortis enters the club demanding to know which of the women is Oracle.

To be continued ...


First things first, I thought on the whole this issue was quite a satisfying read - a nicely-told, well-paced story accompanied by some very nice cover and interior artwork.

For me the Birds of Prey series has suffered, beyond the first couple of issues, as a result of some jarring inconsistencies in the interior art - I'm referring to changes within an issue rather than issue-to-issue. Therefore, I appreciated reading a whole issue illustrated by one penciller - Ardian Syaf - and one inker - Vicente Cifuentes. As a result the story felt a lot more 'fluid' than in recent months and, therefore, a more enjoyable read.

Not being particularly familiar with Mr Syaf's work I must say I was quite taken with the level of detail he was able to include in pretty much every panel - from the complex facial expressions on 'secondary' characters to location backgrounds including a highly effective use of shadows.

Equal credit should also be extended, I believe, to regular series colourist Nei Ruffino, who's work perfectly captured the tone of this issue - naturally dark yet clear and crisp, some most striking use of colour - blue, auburn, green - set against often sombre backgrounds represented by alleyway brickwork and the sometimes cold, clear, Gotham sky.

In terms of writing, as I previously intimated, I felt this was a solid enjoyable story that proved to be a good set-up for this new story-arc. After recent troubles - well documented through the series so far - I can totally see that Barbara would be looking for a less high-profile Oracle, for a while at least, although just how far writer Gail Simone can take this theme only time will tell of course.

While I'm sure that 'the death of Oracle' doesn't - couldn't - mean the death of Barbara Gordon, by the same token with Oracle one of the cornerstones of this particularly large chunk of the DCU, can Oracle truly die 'once and for all'?

Those, and other questions, are some of the reasons why we'll continue to follow along of course.

The central appearance in this issue of the Calculator was a surprise, a puzzle and, to be honest, a little of a disappointment. If I remember correctly it was just a few short months ago, in the pages of the Batgirl title, that we saw Calculator carried away by the authorities with his daughter Wendy's words that he 'won't be bothering anyone for a very long time' echoing around the room and yet here he is, apparently back on his feet with his 'empire' in place around him.

Maybe Calculator's recovery, his renaissance, is covered in another title that I'm either not currently reading or have fallen behind with and that'd explain my sense of puzzlement but my disappointment ...? I believe I understand his complicated history with Oracle but, having been a central character in Bat-family history over the past year or so I felt we'd moved on to other adversaries, for the moment at least.

Changing focus, the Hawk and Dove 'relationship' hasn't landed with me as yet: each contributes their own unique qualities - Dove with her really quite endearing naïveté and Hawk with his brusque and surly demeanour - and I'll be interested to see if their importance to the team grows as time passes.

The appearance - albeit fleeting - of Mortis, the 'Goddess of the forgotten dead' likewise intrigues me. I like the concept of the villain that, with a single, brief, touch of her hand can compel a grown man to leap to his death from a rooftop and I hope we see much more of her over forthcoming issues.

Finally, the cover from Stanley 'Artgerm' Lau. If you've read any of the other reviews of books that Mr Lau has contributed to you'll know that I'm a big fan of his work and this image - Bruce Wayne's Batman solemnly standing over Oracle's gravestone - is absolutely fabulous.

As simple and stark as it at first appeared the artist has expertly captured a tremendous sense of sorrow, regret, maybe even guilt. I'm not, however, entirely sure it was the right subject for this particular issue - aside from the fact that Oracle isn't, as yet, dead, I'd have liked this cover of Birds of Prey to feature ... one or more of the Birds of Prey team.

Accepting, and very much appreciating, that the Bat-family books feed off of one another this cover felt, to me, like it was being used to promote the title as part of 'Batman, Incorporated' rather than on its own merits. All of that said, I did very much enjoy Bruce's appearances within the pages of the book - from their initial encounter in the alleyway, through the somewhat awkward 'reintroductions' to Bruce's validation that now, perhaps more than ever, he'll be relying on Barbara and her team.

Birds of Prey #7, The Death of Oracle, Part 1: thought provoking, puzzling, pleasurable, most definitely gratifying ... well worth reading.

Birds of Prey #7
Written by Gail Simone, pencils by Ardian Syaf, inks by Vicente Cifuentes, colours by Nei Ruffino, letters by Travis Lanham, cover by Stanley 'Artgerm' Lau
Published by DC Comics, February 2011

Birds of Prey #6 Reviewed

The second part of this two-part story-arc is entitled 'Two Nights in Bangkok' and starts immediately as the first part ended: Huntress and Lady Blackhawk - Helena Bertinelli and Zinda Blake - coming face to face, face to fist even, with their friend Black Canary - Dinah Lance - and a group of bodyguards loyal to White Canary.

Aware that their confrontation will likely endanger onlooking members of public and at the same time conscious that the authorities are on their way Dinah orders one of her aids - a young woman named Terry - to gather everyone together into a commandeered taxi cab. Another of the guards takes Huntress's arm to help her towards the vehicle but not before apologising for his earlier actions: it's too late though as she punches the enormous man in the face and knocks him out.

Once in the car Dinah instructs Terry to drive them to what is described as the 'holding facility'. As Terry again refers to Dinah as her 'mistress' Huntress realises that the situation the friends find themselves in is beyond complicated: Dinah looks a beaten woman, almost like she's resigned to circumstance.

More than a little curious to know what's happening Helena wonders to herself just how open the friends can be with one another - clearly Dinah has been compromised. Dinah explains that both Helena and Zinda will be held for 24 hours and then permitted to leave ... at which point 'it won't matter'. What won't matter one wonders?

Not content with such a vague explanation Helena demands to know more. Reluctantly, and in an almost matter of fact tone, Dinah explains that White Canary is holding her 'daughter' Sin, along with the girls foster parents, as leverage to ensure she goes through with her task - namely that she challenge Lady Shiva to a dual 'to the death'.

Shocked by this news Helena asks whether Dinah could possible win such a contest - the answer, regrettably, is that it's extremely unlikely. In fact Dinah is beaten before she begins because she's convinced that this is one fight she in fact simply can't win.

Listening intently, silently, to the conversation the young 'student' Terry explains that while she may be studying under White Canary all she has ever cared about has been martial arts and she wants no part in this particular scheme. She offers the Birds her support - which is declined for the young woman's safety.

Desperate for answers Zinda questions why Lady Shiva is playing along with White Canary's plan - and Dinah, reluctantly, regrettably, finds herself excusing Shiva on the grounds that she's likely doing it for Sin's sake as well as her own.

Arriving at their destination - the aforementioned holding facility - the women are surprised by the grand, almost luxurious, facility that is to serve as their prison for the next 24 hours.

Half-way around the world we return to Gotham City. Firstly to the Sacred Hands Hospital where Hawk - Hank Hall - is recovering from the wounds he incurred earlier. Dove - Dawn Granger - urges him to take things easy but he won't hear a word of it - he's determined to seek vengeance on those that harmed them ... until he's stopped in his tracks by the remote voice of Oracle - Barbara Gordon - instructing him to stand down.

Despite reassurances from Hank that he won't take any action Barbara reveals to Savant and Creote, who are watching over events at the hospital with her, that she doesn't believe - trust - him for a minute.

Returning to Bangkok and Helena, Dinah and Zinda are 'enjoying' their evenings entertainment - in front of them is a sumptuous meal and traditional dancing but the women, of course, find it impossible to relax in their surroundings. Across the room from the women sit White Canary and beside her Lady Shiva. Struggling to understand events Helena wonders aloud whether 'food before fighting' is a tradition while Dinah suspects that it's an attempt to shame her. It's not enough, she suspects to bring her down but she has to bring her name down as well, her mothers legacy.

Realising that rather than tradition the women are dealing with a matter of honour and pride Helena is at first shocked when Dinah asks her to act as her second - to issue the challenge to Shiva - and in turn to let both Barbara and Oliver Queen know that she loves them.

Unable to contain herself, and seizing her opportunity, Helena rushes across the room but rather than simply challenging Shiva on Dinah's behalf she soaks her with the contents of a glass of water, tells her to shut-up, to back down and, realising that Dinah is in no physical - and just as importantly mental condition - to fight, throws down a gauntlet herself: a 'fight to the death'.

With the challenge accepted Helena, Dinah and Zinda leave the banquet to prepare for the dual. Explaining to her friend why she's going ahead with the challenge Helena asks Zinda to take Dinah away - before she privately falls to her knees to pray.

In the dining hall, meanwhile, Dinah confronts Shiva and demands that she fight her as originally planned: a demand that is declined on grounds of, again, honour as Shiva calmly explains that she is already committed to fighting Helena. As Huntress reappears and beckons her opponent the young student Terry quietly explains to Dinah and to Zinda that she knows where Sin is being held ...

As the challenge gets underway both women agree that the only rule of their fight is there are to be no weapons - street fighting. Within seconds Huntress is overwhelmed as Shiva demonstrates her speed and experience are, for the moment at least, too much. With blood splattered across her face from countless punches Huntress manages to get back to her feet every time she's knocked down, taunting Shiva as she goes.

Elsewhere in the facility Dinah and Terry have managed to locate Sin. After comforting the child Dinah instructs Terry to take Sin, find her foster parents and to take them all to safety ... she has 'business to finish'.

Returning to the main hall and Huntress continues to receive a beating. Coughing up a handful of blood which she then throws in Shiva's face temporarily blinding her, Huntress seizes her moment and lands a tremendous upper blow that knocks her opponent from her feet. Just moments later though Shiva recovers her position and the two women prepare to engage one more time. In her heart of hearts Huntress realises that this is a fight she can't win, but she's determined to give a good account of herself.

With Sin now safe and sensing that she has an opportunity to stop the fight Dinah steps in and explains that while she understands it's a matter of duty, of honour as has been explained, the fight has to end - for now at least to be revisited at a later time. Turning their attention to White Canary the women - now joined side by side by Lady Shiva - explain that their challenge is indeed now over.

As White Canary walks away she issues a threat - 'death will come ... may your sleep be restless and filled with dreams of me'.

Finding her feet, to her surprise with the help of Lady Shiva, Helena embraces Dinah glad that their ordeal is over.


After several recent disappointments this issue felt like something of a return to form from the Birds of Prey creative team. I felt we were treated to an enjoyable story which was complimented by some pleasing interior art and, once again a fantastic cover.

It really was a treat that the book was largely written from Huntress's perspective: the narration was hers, we were reminded, or learnt, of her weaknesses and regrets as much as her strengths and I found myself truly appreciating the depth of characters that are encompassed by the Birds of Prey title. I'd have been happy to see this short story-arc run a little longer which, in turn, might have allowed writer Gail Simone to expand a couple of elements that I'd like to have read more of.

Firstly, the build up to Helena's initial confrontation of Lady Shiva - culminating in her throwing the glass of water - felt all too short and I'd have liked to hear more from Shiva at this point to better understand her motivation. In a similar vein, Dinah's reunion with Sin felt all too brief and we saw nothing of her 'extraction' along with her foster parents - I trust this is a thread that will be told else when.

While clearly the 'fight to the death' was never going to end in any of the main characters death I enjoyed how Gail Simone dealt with this issue without, in truth, the story feeling like a compromise. The short scenes featuring Hawk & Dove and Barbara, Savant & Creote while introducing an element of fun - Dove's reaction when Hawk removed his hospital gown - and intrigue - Barbara confirming that she doesn't trust Hawk - felt a little out of place and these are the pages I'd like to have seen used to expand the main feature.

The interior art was, in my opinion, much more satisfactory than in the previous issue. There was a greater sense of consistency throughout the book although I was still troubled by a couple of pages towards the end of the Huntress/Shiva fight. I enjoyed the level of detail that Alvin Lee and Adriana Melo were able to include in every panel and thought that throughout the book the facial expressions were fantastic - telling the reader more about the characters mind-set than was possible through words - although, if I'm being picky, I struggled once of twice to distinguish between some of the characters: Dinah and Zinda, Helena and Shiva for example.

Minor gripes aside, I get a sense that the interior art is getting back to the standard we saw from Ed Benes in the early issues of the series. As I declared in my review of the previous issue of Birds of Prey I'm a huge fan of Alina Urusov's covers and this issue doesn't disappoint. I love the different techniques used here with Shiva and Huntress pictured bold and colourful while the background figures appear faded and out of focus with the street architecture - buildings, signs, fire-escapes etc - almost disappearing then reappearing before our very eyes. I appreciated how Urusov had captured the look of anguish on Huntress's face which is in stark contrast to the sense of calm, determination and, with hindsight, regret from Shiva.

To sum up, and as I've already intimated, this was an enjoyable, satisfying read that told a largely self-contained story, left me with numerous unanswered questions - a good thing in my book - and I'm once again looking forward to following the ongoing Birds of Prey story.

Birds of Prey #6
Written by Gail Simone, pencilled by Alvin Lee & Adriana Melo, inked by Jack Purcell & J.P. Mayer, coloured by Nei Ruffino, lettered by Swands, cover by Alina Urusov
Published by DC Comics, January 2011