Batgirl #23 Reviewed

The penultimate instalment of Stephanie Brown's tenure as Batgirl, appropriately entitled "Here Endeth The Lesson", opens outside Gotham Central Police Department as we witness a group of police officers enjoying the evening air, coffee and reminding one another what a unique city Gotham is.

The calm is broken as first one and then a whole group of tech-suited figures demand access to the building. Inside, and this time it's the officers who are armed as they open fire on another, similarly suited, intruder.

As an officer Finch calls for backup the red-suited intruder - apparently known as Miranda - signals a colleague - Jabberwock - who crashes through the ceiling and into action, ripping apart the evidence room doors to reveal Slipstream and Harmony's suits.

Elsewhere in Gotham: Batgirl, Detective Nick Gage and a number of his officers stand over the twisted, lifeless body of The Grey Ghost, Clancy Johnson. In "The Reaper's Lair" emotions are running high as, at first through a whisper, Stephanie tries to explain, without giving too much away, that she had to leave town recently, it wasn't her choice and sometimes she has to just do what she is told.

As Steph's patience breaks she reminds Gage - as well as the officers present - that if he'd been somewhat more forthcoming about his earlier connections to the Reaper cult then Clancy wouldn't be dead now. Asking for some privacy Gage explains that as a younger man he had been recruited by a Reaper chapter when, during a robbery that went wrong, his fiancée was "caught in the middle" of a fire fight.

Turning their attentions back to the dead man before them Gage explains that Clancy had called the police station looking for help - looking for Batgirl. Although they were too late to save Clancy he'd left behind an encoded video-message for his "dearest violet avenger" ... a message that reveals that the Reapers had struck a deal with a "client" - only to find themselves double-crossed.

As the message ends the enormity of the situation strikes Steph - and she's overcome with a tremendous sense of guilt. Rising to Gage's challenge to use that guilt positively the pair are interrupted by the news of the attack downtown on Gotham Central, and the deaths of many, many officers.

Across the city at Blackgate Penitentiary and as fires burn the aforementioned Jabberwock, now accompanied by Figment, have reunited their fellow Reaper Xane Swift - Slipstream - with his speedster suit. Revealing that Miranda had gone in search of their 'colleague' Harmony Jabberwock responds to Swift's rhetorical question 'who do they need to kill to get out of there ...

"Just the one guy ...".

In a helicopter high over Gotham Steph and Gage are heading towards Blackgate. With Batman and Robin dealing with a situation at Arkham and "Not-Oracle" busy on with Birds of Prey business Batgirl will be going in alone - at least until SWAT and SCU arrive at the island.

Amidst wishes of good luck and apologies for earlier raised voices Steph prepares to leap from the aircraft - but not before she tells Gage to give Barbara Gordon a call sometime ...

"Goodbye, sweet Detective".

Back inside Blackgate Penitentiary and the staff of the facility are being intimidated by the Reapers who themselves are unaware that they now have company. Easily breaking free of Batgirl glooperangs they go on the offensive, Steph just managing to evade their attacks.

With the odds very much against her Stephanie needs to understand why the Reapers have targeted Blackgate and, equally, why they won't leave.

Discovering that the riot is just a distraction while they locate and then kill their "client" Batgirl calls in her own 'girl-power' support team - Stargirl, Bombshell, Miss Martian and Sugergirl. As fists and feet fly blows are exchanged until eventually Steph and her team come out on top, victorious.

With the Reapers taken care off Steph realises that in spite of all the violence and vandalism there's just one door in the facility that's firmly closed ... and that must be where the "client" is waiting.

Kicking down the door Steph gets the surprise of her life when she identifies the occupant.

"Daddy?!".

Issue #23 very much felt like the beginning of the end: on the whole beautifully crafted just at times feeling a little rushed, a little 'convenient'. The story itself certainly took a somewhat darker tone - and well it should with the death of Clancy Johnson, Gage's revelations of his past and the foreboding appearance of Cluemaster.

Understandably, but nevertheless regrettably, all of this impacted on the playful banter that's become such a feature of this book - aside from the closing 3 or 4 pages when Steph was joined by her team of girlfriends the dialogue was much 'straighter' than I've become used to.

The death of Clancy Johnson - as far as anyone ever actually dies in comics it seems - really did surprise me: he'd become something of a comedy, even irritating, sidekick for Steph and as such I, naively I'm sure, don't generally anticipate bad things happening to (on the whole) well intentioned people. While I certainly wouldn't say that I wanted him to die it speaks volumes for Bryan Q. Miller's craft and confidence that he did.

Perhaps one of my favourite scenes from this issue was the moment Stephanie couldn't hold her emotions any longer and she turned on Detective Gage, pointing out in no uncertain terms that if he'd been more honest about his past the tragedy could have been avoided. Steph's harsh words really did appear to take the wind out of the Detective.

I have to admit I was a little disappointed with the speed with which Detective Gage's dark past was reintroduced and then almost immediately put to one side. Gage's 'mysterious and shameful' past has been alluded to several times throughout the series and I was looking forward to seeing this particular thread play out. Of course I imply no criticism of Mr Miller for this - as I understand things Stephanie's run as Batgirl had been originally been mapped out across 30 issues and this quite naturally explains why certain elements felt rushed, too convenient and a little, just a little, unsatisfactory.

Running the risk of revealing too much about her own background and identity I found myself smiling through the scenes with Gage and Stephanie where first the officer shocked Steph with his belief that she was a college student and, later in the story, when the pair briefly held hands, calmed the troubles between them and, much to Gage's surprise this time, Steph said he should give Barbara Gordon a call.

"Goodbye, sweet Detective" indeed.

The ongoing story of The Reapers has been, and continues to be, enjoyable and thought provoking. As we began to learn that the group have been operating at the behest of a 'client' I don't mind admitting that I hadn't suspected The Cluemaster - although of course after the reveal he's an obvious and entirely appropriate choice. With a mixture of emotions I'm certainly looking forward to picking up the next issue to see how this story concludes.

As I've said before, I've become a real fan of the artwork of Pere Perez throughout his run on Batgirl. In this issue, again in partnership with colourist Guy Major, the interior artwork was everything I've come to expect and appreciate. In keeping with the overall tone of this issue the art was perhaps a little darker than we've seen before, the page layouts perhaps a little more 'conventional' until ... the arrival of Steph's backup team and then the panels were a riot of colour, the page layouts provocative.

From Dustin Nguyen we were treated to another wonderful 'more than at first meets the eye' cover. At first glance it's Batgirl, poised for action, seemingly being pursued by Harmony. And it is until, on closer inspection, we see that Steph's exit is blocked by a second Reaper and, through the mist and her billowing cape, we can just make out the shadowy figure of a third over her shoulder. Fantastic.

There we have it: as I say, the beginning of the end. Next months concluding issue will be bitter-sweet for sure.

In summary - another hugely enjoyable issue in this most enjoyable series.

Batgirl #23
Written by Bryan Q. Miller, art by Pere Perez, colours by Guy Major, letters by Carlos M. Mangual, cover by Dustin Nguyen
Published by DC Comics, September 2011

Footnote to my review:
Following on from my comment - indeed complaint - regarding the appalling use of a banner advertisement on the cover of Batgirl #22 I have another comment – yes, a complaint - for the editorial/marketing teams concerning layout: advertisements that are intended to look like pages in a Batman comic are not helpful when used in a Batman-family comic: they take the reader, this reader at least, out of the moment, breaking the story momentum that the writer and artists have carefully crafted. To me this shows a lack of respect for the reader, and the creative team.

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]

Batgirl #22 Reviewed

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

Batgirl #22

Amidst all the news coming from DC over the past month or - and worries for the future of some of our favourite characters - it's been easy to forget that there's still the present. Issue #22 of Batgirl is entitled "Five Minutes Fast" and opens at the home of Stephanie Brown and her mother.

Closing the door to her bedroom behind her Steph throws herself onto her bed, exhausted as she is after a long night looking after the citizens of Gotham City. No sooner has she hit the bedclothes than she receives an electronic message accompanied by a shadowed Bat-signal.

"You.Have.Been.Activated".

Several hour later, with her mother believing she's on a school trip, Stephanie - under the unlikely pseudonym Constance Aberthine - steps out of Heathrow International Airport and into the cool London air.

We're not told it's cool but it's London so it seems likely.

Gathering her thoughts Steph reminds herself that her plans involve meeting up with someone she's never met, crossing a city she's never visited to find a hotel she never knew existed.

Thanks Bruce.

As Steph is woken from her daydream by a loud, unfamiliar voice she looks up to see a young woman on a motorcycle, with side-car, waving a sign with her name on it. Well, not her name exactly - "Aberthine".

With their clumsy introductions out of the way Steph's driver - Beryl Hutchinson, also known as Squire - apologises that because of a prior commitment her partner Knight isn't able to join them, while encouraging Steph to take her place in the side-car.

Just a few minutes later, with Steph wearing some of her hastily purchased souvenirs of London and clinging onto the side-car for dear life, the pair are stopped in their tracks by The Beatles crossing Abbey Road (!) when they hear the shrill cry of an alarm.

Nearby, at the Ministry of Management and Proper Accord, that same alarm has been silenced thanks to a gunshot blast from a particularly unpleasant looking character - known as The Orphan - who is, in turn, surrounded by a number of his men wearing similarly outdated clothing.

Having watched on for a few moments Batgirl and Squire, by this time in their crime fighter costumes, leap into action as fists, elbows, knees and feet fly. As the group - minus their obvious leader - are taken care of Steph wonders aloud just what could they want at the Ministry: all they could find to steal there is clocks and more clocks.

Isn't it?

"He's after the Mean", explains Squire, "the Greenwich Mean". No, really, it's an actual thing - a physical thing Squire goes on to explain as she and Batgirl make their way deeper into the bowels of the Ministry. Continuing her fantastic tale it appears that during the blitz a crack in time was opened that only the Greenwich Mean could plug ... holding time together.

As the two young women again come face to face once again with The Orphan they discover that he's about to free the Greenwich Mean - that takes the form of an impressive-looking sword - from its binding, thus reopening the crack in time.

Warning the pair that they ought to be more concerned by the bombs his men - his 'Urchins' - had strapped to the Ministry staff The Orphan releases some sort of energy pulse from the Mean, knocking Batgirl and Squire off their feet. As The Orphan makes his exit the two young women set off in pursuit only to be stopped in their tracks when they discover that everything - everything - appears to be frozen in time.

Outside the Ministry building the enormity of their task begins to, initially at least, overwhelm Batgirl and Squire. As this leak in time spreads it'll reach Europe and beyond.

"... Batgirl and Squire have to save the world".

As Batgirl wonders aloud where The Orphan could possibly have disappeared to Squire has a 'eureka!' moment and pieces of the puzzle start to fall into place for her ...

Shortly after, and elsewhere the time-slip has reached Knight's 'prior commitment'. With everyone at the charity event frozen in time The Orphan is seeking his own particular brand of justice as he positions the tip of a jousting pole in front of Knight's face and in line with his brain. We do a lot of jousting here in Britain.

As Squire and Batgirl warn him to step away The Orphan orders more of his 'urchins' to deal with his unwelcome visitors - an act that surprises as Steph wonders just how his men are able to move when everyone else around them can't.

while more fists fly reality strikes ... it appears the urchins are each wearing some sort of mechanical device - clocks - around their waists, and when those devices are destroyed they also become frozen.

Unable to rely on the support of his men The Orphan attempts to make his exit before being confronted by Squire. Easily knocking his opponent to the ground he explains that the time-slip is starting to affect her - and when he returns the Greenwich Mean to its rightful place Knight will be finished. While taunting Squire it appears that The Orphan had forgotten about Batgirl - and he's rudely reminded that the fight isn't over as Steph launches herself at him, knocks him off his feet and 'pick pockets' the Greenwich Mean ... sending The Orphan himself into the time-slide.

Soon afterwards, and with the crisis averted, the honour of returning The Greenwich Mean to the Ministry of Management and Proper Accord falls upon Stephanie, accompanied by her new friend Beryl. As the pair head back across the city they discuss their own relationships with their 'mentors', Knight and Batman. Beryl explains to Steph that she and Knight have been through so much, they've shared both good and bad times. These comments strike a chord with Steph who admits that she's just a little jealous of the relationship.

"... you are most certainly not a sidekick" Beryl tells Steph.

Finally, with the world once again safe, Steph reaches the comfort of her hotel room. Once again shutting the door behind her and falling onto her bed she's reminded of the reason why she came to London in the first place ... coming out of the shadows in the room it's Batman.

Fun, delightful, charming, bitter-sweet: all words that come to mind when describing this issue of Batgirl. An immensely enjoyable story that, as so often this title does, focuses on the relationships between its characters every bit as much as it does on the plot.

Bitter-sweet because there are only another two issues of Stephanie Brown's Batgirl before the book is cancelled.

From Dustin Nguyen's striking cover to Pere Perez's wonderful last panel my face was fixed with a smile of enjoyment and satisfaction. Bryan Q. Miller's writing was - and always has been on Batgirl - a delight: real and yet fantastic characters treated playfully yet with a warmth and depth that for me is sadly absent in so many other books in the market today.

I really didn't know what to expect when I read that Steph was heading to London for her team up with Squire. For one, Knight and Squire aren't particularly characters that I have much history with. For two, I find 'Britishness' often gets overplayed and what to some may appear as 'quirky' often crosses the line for me and becomes just silly or strange.

Although we had a plenty of the 'Britishness' in this issue Mr Miller, as I've come to trust, kept it right on the edge, skilfully avoiding the so often taken route of 'overplaying' this aspect and therefore slipping into the aforementioned silly or strange.

One or two of the scenes did, to me at least, come across as being a little wordy - particularly when Batgirl and Squire confronted The Orphan as he was about to remove the Mean - which seemed a shame because as much as this meant a lot could be said in a relatively short span of time, the panels themselves felt a little overwhelmed by the speech bubbles.

As for the plot itself, I loved the interpretation of the Greenwich Mean Time as a 'thing' - something that could be stolen - leading into the idea of a time slip: great fun and an imaginative core around which the issue could play-out.

I appreciated the themes of trust and respect that I picked up from the book - Bruce trusts and respects Steph enough to engage her in Batman Incorporated business; Beryl respects, and envies a little, the relationship that Batgirl shares with Batman and the place that she holds within the Bat-family and, in her own right, within the crime fighting community. I only wish the publisher had as much trust and respect for Stephanie as Batgirl.

Pere Perez has become a firm favourite through his work on this title and this issue added to my admiration. Steph's 'disguise' when leaving the safety of Heathrow Airport was wonderfully illustrated - I don't even think her mother would have recognised her! - and I've said many times about how much I appreciate how he draws Steph as Batgirl.

The Orphan and his gang of urchins were very nicely portrayed I thought - Victorian-styled clothing that very much leant itself to a story about time, I noticed that even the firearm the groups leader used had the appearance of a highwayman's pistol rather than a more modern weapon.

If I can use the word again, fun is very much the word to describe Dustin Nguyen's cover - each with such a wonderful expression on their face, hanging way above street level from the hand of an impressive-looking clock face, cape and hair billowing behind and below them. This image - minus the inappropriately placed advert for the Green Lantern film - will indeed be one of my favourites from the entire series.

Great writing with stunning interior and cover artwork. Top marks to the creative team.

Buy Stephanie Brown's Batgirl while you still can.

Batgirl #22
Written by Bryan Q. Miller, art by Pere Perez, colours by Guy Major, letters by Carlos M. Mangual, cover by Dustin Nguyen
Published by DC Comics, August 2011

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

Forza Alberto! Forza Stephanie! ... Batgirl #21 Reviewed

So, I'm back from my holiday and the 2011 Giro d'Italia - and the pile of comics I'd planned to read during this time away is just as large as it was a week ago! I did read just one comic - the latest issue of Batgirl - and as I finished my review where I wonder what direction some of my favourite characters are heading the DCU looks like it's about to go through a renumbering/reboot/ reimagining/refresh* (*delete as appropriate) that may make my thoughts and wishes redundant.

I'm naturally a conservative person so my first impression is not positive I have to say ... but over time I'm learning to hold back and reserve judgement. I'm not going to say much more until more facts are known but in the meantime I'd refer you to The Batman Universe and Batgirl to Oracle for information about how these changes may/will affect the Bat-books and to Newsarama and CBR and, of course, DC Comics themselves for news about the extended DCU.

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

Batgirl #21

Seemingly skipping ahead from the previous issue, 'Batgirl: The Lesson - Unchained Melody' opens with Stephanie Brown - aka Batgirl - in a whole heap of trouble.

Buried under a pile of rumble and masonry Steph reminds herself how she finds herself in such a situation: 'adopted' by the well-intentioned Clancy Johnson, who goes by the name The Grey Ghost, she's come face to face with another of the Reapers ... and clearly she's come off worse following their initial encounter.

Wriggling her arms free Steph looks up to see the mysterious 'Harmony' above her closing in to finish the job off. Brushing aside accusations of murder Harmony lets loose with a smash across Steph's face followed by a deafening sound-wave as Steph realises that despite the attacks on her over a period of time, the Reapers are under instruction not to kill her.

As Harmony closes in for another round she's almost immediately stopped in her steps ... "Deet ... Deet ... Deet" ... she realises that Steph has planted a series of explosive charges that take out a row of pillars in the abandoned convent, bringing down the vaulted ceiling onto her head.

With Harmony down - but apparently not out - Steph's comms unit crackles into life: it's The Grey Ghost Clancy Johnson, and he's in need of Steph's help.

Elsewhere, back in Gotham City under a blood red sky a reflective and rather downbeat Wendy Harris - Proxy - looks across the city skyline, the Bat-signal lighting up the sky. Wondering out loud, and to herself, just why she's such an angry young woman, she's taken aback to see her brother - her deceased brother - stood behind her.

On the verge of a breakdown Wendy asks whether Marvin had sacrificed himself to save her and expresses just how much she misses her brother. In this issues first example of 'tough love' Marvin urges Wendy to honour his death by doing something with her own life - something that makes her happy.

With his advice dispensed Marvin's job, for now, appears to be complete.

Back at the abandoned convent Steph has located Grey Ghost and, after splinting his injured leg, helps her 'partner' to his feet. Questioning quite how he knew where she'd be Steph appears to accept Grey Ghosts explanation that he happened to be out looking for his "Violet Avenger" when he heard Harmony on her comms unit arguing about "the plan".

With an unidentified figure looking on Steph dismisses Grey Ghost's comments as she realises that Harmony is once again on the move ... and it doesn't appear that she's now a threat to them. Questioning his motives Steph challenges Grey Ghost to explain whether he's working for the benefit of the city or for himself: questioning that isn't appreciated.

Realising perhaps that this particular partnership isn't working it's Steph's time to dish out some tough love as she warns Grey Ghost that if their paths cross again ... he'd better beware.

Elsewhen, at The Thompkins Clinic, we find Dr Thompkins studying Wendy Harris's x-rays while pointing out to Wendy that while she isn't as badly injured as their friend Barbara Gordon she suspects that it's her ego - as much as her wounds - that is standing in the way of her physical rehabilitation.

Turning her shoulder on her Doctor Wendy explains that she need more than a workout and a pep-talk - what she feels she needs is "peace".

Doctor Thompkins reveals that she knows where Wendy could find that peace.

Back at the abandoned convent and Steph has, unnoticed, crept up behind Harmony who appears to be taking some sort of sample from the remains therein. Amid a flurry of batarangs the two engage once again ... back and forwards fists and feet fly as both woman spill blood until one final blow from Steph secures the victory.

Another time, another place and Barbara Gordon and Wendy - along with brother Marvin - are enjoying a meal at a local diner as Wendy clumsily, reluctantly, finally plucks up the courage to ask Babs for her help, and financial assistance, to help her get away from Gotham to find the peace that she needs ... in Nanda Parbat.

Choking back her coffee Babs challenges Wendy as to whether she really - really - wants to make the dangerous journey to Nanda Parbat: and Wendy is in no doubt that she does indeed.

Later on, on the Gotham University grounds, Stephanie and 'Professor' Gordon - Barbara of course - are taking stock of their situation. Having taken care of Harmony - student Tracey Graham - and Slipstream - Xane Swift - there are 3 more Reapers somewhere across the campus ... and as we all know they are in need of a large amount of money. Reminding herself that rather than grave robbing Harmony was 'harvesting' DNA from the remains of a nun who herself had an ability to "remove maladies from the accursed" Steph suggests to Babs that they get Wendy working on monitoring campus communications for more information.

Ah yes, "About Proxy ..."

As this instalment of the story closes we witness Grey Ghost handing over his weapon and striking a deal with a very, very, surprising partner ...

First things first, let's look at Dustin Nguyen's striking, eye-catching, colourful cover. Taking the form of a stained-glass window - complete with stone surround with ornate decoration - I thought this was an inspired composition.

Stephanie looks almost regal posed as she is in a familiar crouched position, her "violet"-accented cape billowing out behind her; her long golden hair wrapping itself around the cowl of her costume; staff in hand; carefully surveying her environs.

Looking beyond Stephanie onto the window itself - a riot of colour; a visual kaleidoscope of symmetrical panes of glass with, at its centre, The Grey Ghost: the figure of Clancy Johnson looking as sombre and faded as the surrounding sunburst and flower garland look warm and inviting.

Quite simply, beautiful.

Contrary to the billing on the cover this issue saw Mr Nguyen - as always wonderfully complemented by Derek Fridolfs inks and Guy Major's colours - returning to interior artwork duties. I know I've said this before, probably several times in fact, but haven't we been fortunate with the wonderful artists that have worked on this title?

Credit must go to 'the powers that be' (presumably the editorial team) for ensuring that when the books 'main' artist - be it Lee Garbett or Dustin Nguyen - have for whatever reason not worked on an issue or issues their replacements - Pere Perez and Ramon Bachs spring readily to mind - have done a fantastic job and the book hasn't suffered.

What is there to say about Nguyen's artwork that I haven't said before - with their invariably simple, even plain, backgrounds his panels serve as a springboard as the characters almost leap off the page. A sense of movement is, I'm told, notoriously difficult to capture in a comic book panel and yet, for me, that's very much one of Nguyen's strengths.

From a visual point of view a couple of my favourite pages from this issue don't feature Batgirl/Stephanie Brown and feature Wendy Harris and her brother Marvin. For me these pages stand out from the [beautiful] others largely because of the rich, warm colouring of Guy Major that accentuates Nguyen and Derek Fridolfs wonderful pencils and inks.

Having experimented with one or two different looks over time I think the creative team may have found the definitive Wendy Harris. Here she appears as an older younger woman, perhaps in her early to mid twenties and, in contrast to her sharp features, there appeared at a times a warmth in her appearance, no doubt aided by the warm dark red colouring.

A close second favourite scene featured Stephanie and Babs at the university campus - again the talented art team delivered two or three fresh, eye-popping pages that were in complete contrast to the earlier deliberately darker tones of the preceding pages.

As I started reading this story I had a sense that I'd in fact missed an issue - we left issue #20 with the introduction of the mysterious Harmony and by the first page of issue #21 Batgirl and Harmony had said their hellos, introduced themselves and spent some time getting to know each other. Now, I for one would have liked to have actually seen this happen - I think it would have given us plenty of 'yikes!' moments - although I accept that with the limitation of just 20 story pages ("drawing the line at $2.99") something has to give.

In terms of story and character progression the two stand out themes for me in this issue were Steph and Clancy's ongoing fractured relationship alongside Wendy's potentially life-changing decision to get away from all that she knows and travel.

Aside from wondering exactly what the consequences of Clancy's betrayal might be I enjoyed, if that's the right word, seeing Steph finally lose her patience and warn him that he needs to leave her alone. The look on both Steph and Clancy's faces during their exchange was priceless: "tough love" indeed.

The Wendy Harris 'journey' story interests me I must say. She's a character that's been largely on the periphery of Team Batgirl and I suspect I've not been alone in assuming that at some point everything in her life would fall into place as she became the new 'Oracle' ... and maybe it will but for now she's off on her very dangerous journey to Nanda Parbat for a "system reboot".

Aside from anything else I find myself wondering just how this story might play into the pages of our monthly Batgirl fix or whether it'll be told in a spin-off series (I hope the former).

There we have it, another enjoyable issue of Batgirl.

Batgirl #21
Written by Bryan Q. Miller, pencils by Dustin Nguyen, inks by Derek Fridolfs, colours by Guy Major, letters by Carlos M. Mangual, cover by Dustin Nguyen
Published by DC Comics, July 2011

Birds of Prey #11 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!

Birds of Prey #11

After the 'Death of Oracle' this latest issue, entitled 'Which Reason Knows Not Of', opens in the Chinese district of Gotham City as Huntress - Helena Bertinelli - charges through a busy street market in pursuit of a jewel thief: just an everyday event in Gotham we're reminded!

AS the thief prepares to speed away on a motorcycle Huntress shouts out her final warning ... before drawing her crossbow, letting fire and puncturing a tyre, sending the rider head first over the front wheel and towards to road. To Huntress's surprise, and a little admiration, the thief manages to land on his feet and take off down the street - Huntress does enjoy a chase doesn't she!

Moments later she's tracked her prey down but he's half-way up a fire escape - again, not a problem as another crossbow bolt pierces the man's right foot, certainly slowing him down and giving Huntress chance to catch up.

It seems the individual is part of gang of four guys who have stolen priceless Egyptian antiquities from an exhibition, shot a guard, and took a hostage - and shooting an innocent person and taking hostages crosses the line as far as Huntress is concerned.

Engaging the thief and planting her knee firmly into his stomach Huntress's comms link crackles into life - it's Oracle, or at least Barbara Gordon - advising that the circumstances are about to get worse: the hostage, Mimi Ardrian, the assistant curator at the exhibition bravely volunteered to be taken ... but she suffers from extremely bad health and without her medication - which was left behind - she's in grave danger.

Perhaps distracted - uncharacteristically - by Oracle's news Huntress finds herself in a very precarious situation: with the thief pointing a gun at her as he shakes uncontrollably.

"Careful, Helena".

Before she has time to consider her next move Huntress is surprised to discover that there's a third person atop the building's roof with them - Thomas Blake, also known as Catman.

Lifting the man up off the ground by his jacket Catman demands to know if he has any idea who he's pointing his gun at. Clearly terrified, the mysterious thief/gunman can only apologise - but it's not to Catman's satisfaction as he threatens the throw his opponent off the roof to the street below.

With events unfolding in front of her Huntress remembers a time when she once fell for Catman ... and if circumstances had been very, very different, they may be together now. Gathering her thoughts she points out that the man is needed for information and that throwing him off the building just isn't an option.

Catman doesn't, or won't, listen and makes for the ledge ... and with no other option open to her Huntress once again draws her crossbow and warns him to step back.

Knowing what's good for him he obeys - of course - but not before tossing his captive across the roof into Huntress's arms with a warning of his own: the "lady" wants some answers ... and "watch your damn mouth". Helena can't quite believe what she's seeing and hearing from Blake.

Back at base, a recently-woken Barbara offers to send back-up - and Huntress is in two minds whether she needs it, after all, Catman is trying to help.

At least, she thinks he is.

Now very cooperative the thug explains, with a little help, that while he doesn't know who's making all the decisions he does know that the man who shot the guard is his former Blackgate cell-mate Rickie Lowlife. Realising that they've got all the information they are going to get Catman 'thanks' their informant before turning his focus back to Huntress.

What do I mean by 'focus'? Have you seen this issues cover?

A slap in the face later and both Huntress and Catman are confused - she didn't ask to be swept up in his arms and kissed like that ... and she certainly didn't ask him to stop.

After hearing that he's in town on "business" Huntress enlists Catman's help in tracking down the missing hostage Mimi Ardrian as Oracle updates her about Rickie Lowlife's criminal background.

As our unlikely crime-fighting partners set off to Lowlife's home address our focus switches back to Kord Tower where Barbara is joined at her control by Black Canary - Dinah Lance. Bringing her friend up to date on what's going on across the city - explaining how following a period in Africa Catman turned himself from a "rotund loser" to "Brad Pitt's hotter brother", and alluding to his earlier romance with Huntress - Babs suggests that Dinah keeps her distance from her at the moment: she's not been feeling well and wouldn't want to pass her germs on.

Minutes later, and while pausing for a moment outside of Lowlife's apartment, Catman wonders aloud who Huntress has been communicating with. Doing her best to appear calm Huntress explains that her information is coming directly from her partner - The Canary. Explaining that he's heard about Oracle's death - and Two-face's subsequent celebrations - Catman suggests that he's ready to enter the apartment as Huntress reminds him to be careful - after all, their target is a known "gun nut".

Bursting through a window Lowlife jumps back as his companion, a pregnant woman, sets about attacking Catman - who swiftly deals with her attention in his own, inimitable, way. Distracted by Catman's actions Huntress takes her eyes off Lowlife for just a moment - as the "gun nut" indiscriminately opens fire, hitting Catman and narrowly missing both Huntress and the pregnant woman.

Letting off a bolt from her crossbow Huntress looks on as Catman pins the now injured Lowlife to the apartment wall and demands information about the robbery. Seemingly with tears in his eyes Lowlife explains, as we know, that he served time with one of the gang; another, the man giving orders, is from out of town while the last remaining member of the group is his cousin Markie: and Markie likes to fight so he'll be glad of a visit from Catman and Huntress - besides it was his idea to take a hostage.

Realising that they've got all the information they are going to get Huntress silences Lowlife in *her* own inimitable way before switching her focus onto treating Catman's wound. While wrapping a bandage Huntress asks about her patient's past: he's sorted his life out it seems; it was an accident when he killed his mother ... it was anything but an accident when he killed his father.

Sensing that she's in the company of a kindred spirit Huntress explains that in life some people are very good - "Captain Marvel, Superman" - and some very bad - "The Joker, Luthor" - and in between there's people like them. As she hands him the cross from around her neck and takes off she urges him to get out of that middle ground and to "pick a side".

Later on, thanks to Catman's hunting skills, the pair find themselves outside what appears to be a disused industrial building. After a brief interlude for flirting - and questions about whether Catman really cares about the safety of the kidnapped curator - they kick down a door and rush into the building only to discover Markie stood over the hostage holding a large sword.

As Catman immediately identifies the female hostage, Huntress sets after her captor and knocks him off his feet. With Markie taken care off Catman revives the young woman and frees her from her bonds - and as she comes around and catches sight of her rescuer she starts screaming once again, pleading not to be hurt further.

Realising that all is not as it at first seemed Huntress assures Ms Ardrian that she'll be okay - but no thanks to Catman. Piecing clue after clue Huntress reveals that it's become clear to her that he - Catman, Thomas Blake - was involved in the robbery and kidnapping and while she knows that it's impossible to prove he'd better get far away from her or she won't be held responsible for her actions.

With nothing left to lose Catman finally shows Huntress some honesty, some decency, by telling the truth: he's had a son by a "very bad woman" and his son has been kidnapped but he thinks - just thinks - that he's alive.

Close to tears, and sinking to his knees, Catman pleads for Huntress's help. Gathering Ms Ardrian into her arms and turning towards the door Huntress tells him that he'll need to help himself ... and reminds him to stay away from her.

As the issue closes Thomas Blake is in conversation with a hidden figure - 'his plan was all wrong, too elaborate, time to move on. Besides, she's just a woman and there are plenty more like her out there'.

As his companion's identity is revealed Blake declares that there aren't ... "No, there really aren't".


Let me start out by saying that, in my opinion, this issue features one of the most strikingly beautiful covers, courtesy of the supremely talented Stanley 'Artgerm' Lau, I have seen on any comic for a while - Mr Lau has simultaneously captured a tender, personal moment between Huntress and Catman while tempering that moment with a sense of disregard and distrust - as the pair embrace their weapons are drawn and ready for use: fantastic. With clean lines and featuring tremendous depth the cover is wonderfully coloured: this needs to be published as a poster!

After the potentially game-changing events of the Death of Oracle story-arc it was nice to pick up and read what could be very much considered a one-shot - it's a practice that's working very well on the Batgirl title at the moment as well isn't it? With little or no knowledge of the histories of either Huntress or Catman, or the Birds of Prey themselves for that matter, I'd suggest any reader could pick up this book and thoroughly enjoy it.

I found Gail Simone's story to be well paced, action-packed and yet, at the same time, thought provoking. Catman himself behaved like a man out of control - by his own admission he'd lost his soul - and despite not having a lot of history with the character I did find myself wondering what had driven him to this point in his life. As the issue closed I'd been teased enough by references to his young son that I'd be interested to see that particular story thread expanded upon in future issues.

Furthermore, I found myself wondering just how Catman had got himself mixed up with this gang of 'lowlife' street thugs in the first place - again, I'd enjoy learning a little more about that particular story sometime.

As with my comments about the cover I enjoyed Simone's take on the relationship between Huntress and Catman - the attraction was clearly still there ... and yet at times it was clear that they perhaps didn't even like each another very much.

I enjoyed the obvious visual-ties with the most recent issue of Batgirl - featuring Barbara and Black Canary at Kord Tower studying Rickie Lowlife's case file - and I'm really interested to see where Simone's story is heading with references to Barbara's health - again, as featured in Batgirl: something tells me these references aren't incidental!

As I've said in my review of an earlier issue I've been enjoying learning more about Helena Bertinelli through the pages of Birds of Prey and once again I appreciated the focus on Huntress in this issue.

The interior artwork is some of the finest I've seen since the series relaunch - Pere Perez left an impression on me with his work on Batgirl and he's continued with that onto Birds of Prey. He's got a fantastic ability to capture and portray emotion in his characters - witness the never-far-away sense of rage that seems to surround Catman throughout the book.

What's more, Catman has always struck me as something of a visually uninspiring character - his costume appears quite plain and not particularly eye-catching - and yet Perez does a fine job of making him appear quite an imposing figure without every overlooking his sense of desperation and vulnerability.

With panels that consistently feature fantastic detail without ever, to my eyes, appearing cluttered or confusing and coupled with his imaginative page composition and layout Mr Perez has been a good fit with the Birds of Prey title and I'll be glad to see his work continue.

As always, much credit for the look and feel of the book must go to colourist Nei Ruffino - his work here is simply stunning. Throughout the issue I felt a sense of warmth from the central characters and at the same time a chill from the circumstances they found themselves in and I suspect that's in no small part down to Ruffino's contribution.

In summary, this was an absolutely fantastic read and I'd go as far as to say this issue is quite possibly my favourite of the first eleven in this series: top marks.

Birds of Prey #11
Script by Gail Simone, art by Pere Perez, colours by Nei Ruffino, letters by Carlos M. Mangual, cover by Stanley 'Artgerm' Lau
Published by DC Comics, June 2011