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.

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

Batman Solicitations - August 2011

Taking a break from my look back at last weekends highlights from BICSPE ... it's that time of the month when DC releases its Batman solicitations, this time for releases during August 2011.

This month I'll be particularly looking forward to picking up Batman #713 written by Fabian Nicieza and featuring this stunning cover from Tony S. Daniel, the conclusion to Scott Snyder's fantastic run on Detective Comics with issue #881 and likewise the second and final part of Marc Andreyko and Billy Tucci's 'War and Remembrance' story in Birds of Prey #15.

Other highlights this month include the Batman 80-Page Giant 2011, my own monthly favourite Batgirl #24 from Bryan Q. Miller and Pere Perez, while David Hine takes over writing duties on Batman and Robin with issue #26.

BATMAN #713
Written by FABIAN NICIEZA
Art by STEVE SCOTT and RYAN WINN
Cover by TONY S. DANIEL and RYAN WINN
Over the years, Dick Grayson has worn several guises: First, he was Robin the Boy Wonder, then Nightwing, and finally Batman. But now that Bruce Wayne has donned the cape and cowl once again, Dick finds himself at an identity crossroads.
On sale AUGUST 17 • 32 pg, FC, $2.99 US • RATED T

DETECTIVE COMICS #881
Written by SCOTT SNYDER
Art by JOCK and FRANCESCO FRANCAVILLA
Cover by JOCK
This is it – the finale so twisted, so shocking we can’t even begin to give away details here! Be there for the extra-sized conclusion of the acclaimed run by Scott Snyder, Jock and Francesco Francavilla. DETECTIVE COMICS #881 is the issue everyone will be talking about. Believe it.
On sale AUGUST 10 • 40 pg, FC, $3.99 US • RATED T

BIRDS OF PREY #15
Written by MARC ANDREYKO
Art and cover by BILLY TUCCI
In the concluding chapter of “War and Remembrance,” Lady Blackhawk and the original Phantom Lady are in the clutches of an enemy whose evil has lain dormant for decades! Can the Birds of Prey find and rescue their captured compatriots before it’s too late for them … and the world? This is the thrilling conclusion to a story fifty years in the making! Written by fan-favorite MANHUNTER scribe Marc Andreyko and featuring breathtaking artwork by the amazing Billy Tucci!
On sale AUGUST 10 • 32 pg, FC, $2.99 US • RATED T


BATMAN INCORPORATED #10
Written by GRANT MORRISON
Art and cover by CHRIS BURNHAM
1:25 Variant cover by FRAZER IRVING
In “LEVIATHAN STRIKES,” Batman realizes to his horror that he’s been outwitted as the true identity of Leviathan continues to elude him. Is his deadly adversary an old foe with a grudge to settle, a new face of evil or something completely different? One thing is for sure: The surprise ending will not soon be forgotten!
On sale AUGUST 17 • 32 pg, FC, $2.99 US • RATED T

BATMAN: THE DARK KNIGHT #5
Written by DAVID FINCH
Art by JAY FABOK
Cover by DAVID FINCH
1:25 Variant cover by ANDY CLARKE
David Finch’s brilliant take on Batman continues to explore the darker corners of Gotham City in the penultimate chapter of “Golden Dawn,” now featuring art by Jay Fabok (Soulfire)! As The Dark Knight suffers one of his worst defeats, Jason Blood makes an unexpected move. With a surprise funeral and guest appearances by Etrigan, the Demon and Ragman, this series continues to heat up!
RESOLICIT • On sale AUGUST 24 • 32 pg, FC, $2.99 US • RATED T

BATMAN 80-PAGE GIANT 2011 #1
Written by VARIOUS
Art by VARIOUS
Cover by DUSTIN NGUYEN
Don’t miss this new helping of short stories featuring Batman and his partners in crimefighting, told by some of comics’ newest voices and freshest talents.
ONE-SHOT • On sale AUGUST 3 • 80 pg, FC, $5.99 US • RATED T

BATMAN AND ROBIN #26
Written by DAVID HINE
Art by GREG TOCCHINI
Cover by CHRIS BURNHAM
1:10 Variant cover by J.G. JONES
Le Jardin Noir – France’s very own Arkham Asylum – falls under siege! Someone has freed the lunatics, and unless they can be stopped, they’ll turn Paris into a surreal Hell on Earth! Batman and Robin join Nightrunner in a mind-bending battle with the strangest lineup of villains this side of Bizarro World.
On sale AUGUST 10 • 32 pg, FC, $2.99 US • RATED T

BATMAN: GATES OF GOTHAM #4-5
Written by SCOTT SNYDER and KYLE HIGGINS
Art and covers by TREVOR MCCARTHY
1:25 Variant covers by DUSTIN NGUYEN
Batman, Red Robin, Robin and Black Bat are all thrown into a race against time as The Architect’s true plan is revealed! But what does that mean for Oswald Cobblepot and Tommy Elliot? And just how does the first Super Villain of Gotham City factor into The Architect’s plot to destroy the city’s first families? Be here for the exciting penultimate issue!
And in issue #5, it’s Batman vs. The Architect! The downfall of a major Gotham family! The betrayal of Damian Wayne! It’s all here in this final issue, plus the untold fate of Gotham City’s first Super Villain! Be here as GATES OF GOTHAM sets the stage for a bold new direction in the Bat books!
Issue #4 on sale AUGUST 3
Issue #5 on sale AUGUST 17
4 and 5 of 5, 32 pg, FC, $2.99 US • RATED T

BATMAN: ARKHAM CITY #5
Written by PAUL DINI
Art and cover by CARLOS D’ANDA
The miniseries that leads you into the video game comes to its dramatic conclusion. The die is cast and the criminal gulag known as Arkham City is now in place. But even with its imposing walls and security measures, is anyone in Gotham City really going to feel safe with a legion of criminals living next door? Batman’s determined to enter the belly of the beast and find out just who is pulling the strings.
On sale AUGUST 24 • 5 of 5, 32 pg, FC,
$2.99 US • RATED T

BATGIRL #24
Written by BRYAN Q. MILLER
Art by PERE PEREZ
Cover by DUSTIN NGUYEN
Stephanie Brown has done her best to put her past behind her, but as the Repears’ mysterious client stands revealed, Batgirl’s going to learn the hard way that those who fail history are doomed to repeat it. This issue has it all: Secrets unearthed! Alliances broken! Splash pages!
On sale AUGUST 10 • 32 pg, FC, $2.99 US • RATED T

BATMAN BEYOND #8
Written by ADAM BEECHEN
Art by CHRIS BATISTA and RICH PEROTTA
Cover by DUSTIN NGUYEN
Batman’s slipperiest foe steps out of the shadows and into the spotlight for a “Legends of the Dark Knight” issue that reveals, for the first time, the full story of Inque! Her past is blacker than anyone ever knew… and considering the new ally she’s fallen in with, her future could be darker still!
On sale AUGUST 3 • 32 pg, FC, $2.99 US • RATED T

RED ROBIN #26
Written by FABIAN NICIEZA
Art and cover by MARCUS TO and RAY MCCARTHY
Ready to operate from his new HQ, Red Robin knows that before he can fulfill his crimefighting destiny, he must close out one outstanding issue. His father’s killer, Captain Boomerang, was brought back to life… The time has come for him to return to the grave!
On sale AUGUST 10 • 32 pg, FC, $2.99 US • RATED T

GOTHAM CITY SIRENS #26
Written by PETER CALLOWAY
Art by ANDRES GUINALDO and LORENZO RUGGIERO
Cover by GUILLEM MARCH
A secret that goes back to the very first issue of GOTHAM CITY SIRENS will be revealed at last! But will it spell the end of the Sirens? One thing is certain – none of them will be the same!
On sale AUGUST 24 • 32 pg, FC, $2.99 US • RATED T

More details, including full cover previews, can be found at DC's The Source.

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

Batgirl #17 Reviewed

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

Batgirl #17

Opening in their sumptuous quarters high up in Wayne Tower this latest instalment in Bryan Q. Miller's Batgirl series opens with Alfred Pennyworth entering Damian Wayne's bedroom carrying a hearty breakfast for his young master, drawing back the curtains ... only to discover young Damian hanging upside down from a rope secured to the ceiling.

Although initially startled Pennyworth quickly regains his composure and enquires whether the boy might be wise to spend his evening sleeping rather than exercising - a suggestion immediately batted away with the retort that if his father Bruce Wayne manages with just a couple of hours sleep then so can his son.

Not convinced Pennyworth points out that without adequate rest and nutrition Damian will inevitably find that his growth is "stunted" - and again his words of concern are instantly dismissed by the youngster who, as we know, is more than a little touchy about his age, size and perceived lack of experience.

Moments later, alone in his room, Damian takes a bite from his breakfast, activates his personal audio-recorder and dictates Red Casebook entry number 345 - there is, we learn, hope for Alfred yet in the young boys eyes.

Elsewhere, a sound-asleep Stephanie Brown - Batgirl of course - is in the middle of either a dream or a nightmare before being woken by her mother with breakfast-in-bed. As she realises that she's once again overslept Steph jumps from her bed in a panic, grabs her breakfast and begins to dress for the day ahead: one day into her first real Batman Inc assignment from Bruce we learn and she's already running late.

As her concerned mother wonders out-loud whether her daughter has taken on a little too much Steph looks on startled as she wonders whether her secret identity has been 'outed' ... only for her mother to question whether she's not studying just a little too hard at the moment.

(Minor) crisis averted!

Later that morning, across Gotham City, Damian Wayne - Robin - stands on top of an apartment building apparently spying on a school crossing guard as he, the guard, escorts a group of young children across the road. Turning once again to his voice-recorder Damian observes what he sees as the sadness, the futility, of the children as they spend their young lives travelling to and fro school.

Moments later Damian breaks off from recording his observations as he sees a young girl fall to the ground and notices that the crossing guard appears very concerned that the girl may be falling behind some sort of schedule.

In an instant the STOP sign clatters to the floor as the guard is 'extracted' from the street, and hauled up the side of the apartment building by a rope tied around his ankles, where he comes face to face with Robin: Batman "isn't available" retorts Damian when the crossing guard thanks his good fortune that he's not faced with Batman.

Challenged to explain precisely why he's so concerned with getting the children to school on time the guard maintains that he's simply doing his job but Damian's having none of it and accuses his prisoner of behaving very suspiciously ... as right on cue we hear a sarcastic voice from out of panel. Batgirl - or 'girl blunder' as Damian snaps back.

Demanding to know why Stephanie has interrupted his investigation Damian is more than a little put-out to learn that Steph has her own mission - a mission from "Batman himself. Batman-Batman" she explains - that involves the crossing guard. Steph goes on to say that there have been a series of kidnappings involving school children and she's been tasked with finding out more and it appears that the man currently hanging by his ankles off the side of the apartment building may be a lookout for the kidnap gang.

Later that morning and Batgirl and Robin have, reluctantly I'm sure, teamed-up. Once again taking up their observation point the pair are following the movements of a school bus as Damian questions why the children would have left school so soon after they had arrived - clearly, Steph explains, he's not familiar with the concept of a "field trip" ... the best part, she explains, of going to school is when you get the chance to leave the classroom and learn something about the outside, real, world: a concept that Damian, perhaps surprisingly, seems to appreciate and understand.

Noticing that the children were filing off the bus and into a museum - Gotham Children's Museum - Steph realises that they need to follow them into the building but that in their Batgirl and Robin identities they'd stand out: not to worry though, she has a plan and it will certainly involve Damian!

Cargo shorts, trainers, a loud baseball cap and even louder t-shirt later a humiliated Damian finds himself
in amongst the children who are having fun in the museum. Stephanie - still dressed as Batgirl - on the other hand has broken into the buildings security office and starts scanning the closed-circuit monitors for anything out of the ordinary.

Waiting for instructions Damian discovers that he's made a friend - a young girl called Nell who we first met, I believe, with her mother aboard the runaway train at the start of The Flood story-arc - who urges him to go with her to play. Doesn't she realise that he doesn't 'play'?

Back in the security office Stephanie spots some unusual activity on one of the upper floors of the museum and draws Damians attention - moments later he uncovers a bound and gagged man dressed in just his underwear who he realises is the children's bus driver ... the gang, it seems, aren't just after one child - they're after them all.

Boarded with children and under the control of the kidnappers the bus hurtles along the expressway. As one of the gang closes-in and threatens Damian's "girlfriend" Nell - she doesn't have a lot of luck with public transport does she? - he gets the fright of his life as a blade pierces the roof of the bus and misses him by inches. On the outside of the bus we see Damian and Steph doing what, in many ways, they do best together - bickering with one another.

As bullets from the inside of the bus pierce the roof, narrowly missing them, Batgirl crashes through the glass windscreen, takes out the driver and disarms the gang members as Robin seizes control of the steering wheel and guides the vehicle - and its passengers - to safety.

Minutes later, as we learn that the city authorities have discovered and released the other kidnapped children, Steph and Damian pause to catch their breath while discussing their 'team work'. Not wanting to praise her young friend too much Steph explains to Damian that he's still got one or two things to learn that might be of help out in the field.

What, challenges Damian, could she possibly have to teach him ...




The theme of "The Lesson" continues in this latest issue of Batgirl and I really enjoyed and appreciated that, this time, it was largely Stephanie Brown doing the teaching.

I've written previously about just how much I enjoy the Stephanie Brown/Damian Wayne dynamic - it's fun, funny, cute, touching and always very, very enjoyable. In fact, the duo are so good together one of the great challenges that series writer Bryan Q. Miller must surely face is not overusing them and therefore spoiling the impact of their volatile relationship: thankfully after 17 top-notch issues I don't think there's the slightest risk of that happening - this book is in very good hands.

Prior to picking up the first issue of this current run of Batgirl I'd only a cursory history with Stephanie Brown in her roles as Spoiler and as Robin and as such have so enjoyed learning about and getting to know the latest Batgirl as she, in turn, as learnt about and gotten to know herself. Therefore, for me, Mr Miller is currently writing the definitive Stephanie Brown - her voice, her actions, her emotions ... they all feel so right.

This issue is no exception and, indeed, enforces those feelings. From the moment Steph interrupted Damian on the fire-escape I knew we were in for a good ride but, that said, I don't think I expected the storyline to play out quite as it did. I loved how, by the end of the book, it was Stephanie that was helping Damian understand what it meant to be carefree, to have fun ... to be a child.

Occasionally only when things are farthest away from us can we possibly really see them clearly and I absolutely loved the moment in the museum when Steph, following Damian through the security cameras, realised for the first time that Damian, this 10-year old boy, didn't know how to be a 10-year old boy: to play, to go on a school field trip, to have fun for the sake of having fun. Culminating in the final couple of pages I think this on the face of it small acknowledgement has been one of the highlights of the series so far for me.

As I've already intimated, some of the dialogue in this issue was an absolute treat - "Think, Batgirl -- what would Oracle do", "Batman-Batman ... Not to devalue the other Batman-Batman", "I'm thinking of stabbing you" - the list is endless and I defy anyone not to read this book with a smile on their face. As well as the charming and humorous we're also treated to some very touching dialogue, nonemoreso that when Damian, grasping for a pseudonym to give to Nell, says his name is "Bruce".

While I understand that all of the Bat-books this month have adopted similar formats for their covers I'm not a big fan of this sparse design. Dustin Nguyen's Batgirl illustration is absolutely beautiful - again the sense of fun and enjoyment on Stephanie's face is abundantly clear, the rich, warm colours combine to give her real depth and yet with the stark white background and the empty yellow Bat symbol this cover just didn't satisfy me: the more I've found myself looking at it the more I've felt aware of the empty space.

I was somewhat surprised to see Pere Perez on art duties for this issue - I'd quite forgotten that back in October of last year he'd been solicited to work on this issue - and again, I'm on record saying just how much I enjoy his and colourist Guy Major's work. To my eye Perez draws a younger, slightly less graceful (my way of saying 'clumsy'!) Batgirl than others while, curiously, his Stephanie Brown appears more self-confident, maybe even a little wiser, than we've so far seen throughout this series and I'm enjoying seeing these different sides of her personality. Mr Perez draws a great - albeit brief - chase/fight sequence towards the close of the issue - there was a tremendous sense of movement, speed and chaos in each panel which was captured through some detailed illustration and imaginative page layouts which were complemented by Guy Major's magnificent colouring.

In summary this was a fantastic told-in-one story with character development that I think we'll remember for some time to come. A wonderful collaborative production.

Little boys are, we are reminded, made from "Frogs, Snails & Puppy-Dog Tails" and many of us could easily be charged with ignoring that Damian Wayne is still a little boy. Not Batgirl. Not Stephanie Brown.

Batgirl #17
Written by Bryan Q. Miller, art by Pere Perez, colours by Guy Major, letters by Travis Lanham, cover by Dustin Nguyen
Published by DC Comics, March 2011

Bruce Wayne: The Road Home - Batgirl Reviewed

Our story opens with a flashback with Batman - Bruce Wayne - giving Stephanie Brown - as Spoiler - a dressing down. His message is clear: she needs to accept that Bruce is in charge and things will be done his way.

Fast forward to current day and Stephanie - this time as Batgirl - is inside Waynetech Research & Development looking on as an unidentified intruder overpowers four of the security guards. As Oracle, via the comms unit, advises caution Stephanie pretends she can't hear her friend and mentor as she reveals herself and confronts the intruder.

Back at 'Firewall', the Batgirl centre of operations, Oracle - Barbara Gordon - detects some anomalous readings from Stephanie's suit - and we return to Waynetech just in time to see Steph diving for cover as she comes under fire from her opponent. As Steph returns fire with a flurry of batarangs she's knocked from her feet as the mysterious figure retaliates.

Taking stock of her situation Steph realises that she's up against the odds - heatvision, lantern power ... this must be the villain 'Amazo' she's fighting she thinks but Babs is not convinced. As the figure disappears at supersede Steph chases in vain - and the identity of her opponent is revealed to the reader ... Bruce Wayne, on the 'Road Home'.

Later on, Barbara quizzes Steph at her office at Gotham University about the days earlier events as she reveals that Batman and Robin - Dick and Damian - also encountered the mysterious figure earlier in the week: and likewise they came off second best. As Babs considers whether she needs to call in the Birds of Prey she asks for Steph's word that she - Batgirl - will not get involved for the moment.

'Scout's Honor'.

Any promise, of course, can be invalidated with a simple crossing of fingers and before the day is out Stephanie is on patrol in Devil's Square, aided this time by young Wendy Harris - Proxy - back at base. Wendy explains that the 'perp's' suit has left a trail of interference that enables her to track his movement - and the trail ends with Steph in Devil's Square.

As Stephanie makes her way into one of the derelict buildings Wendy finally has details of what was stolen from Waynetech - technology and hardware that enables a bullet to be fired from distance through walls ... and, as she points out, you don't steal such a weapon unless you plan to use it.

Uncovering a map, highlighting 'crime alley' Steph wonders to herself just why it is she can't let go of this particular puzzle - as she's jolted out of her thoughts by a screech of interference from her ear-piece ... and her quarry is again the source of the interference, this time accompanied by half a dozen or so thugs. Donning her balaclava Steph grabs a nearby pipe and confronts the thugs - taking them down one at a time.

Believing she's disabled all of her targets Steph turns her back and sets off for safety ... just as one of the thugs pulls a gun on her. Taking aim the man is about the pull the trigger as the mysterious - almost ghostly - figure knocks the weapon to the ground: none of which Steph is aware of.

As Steph reappears in Crime Alley she finds herself in the middle of a large crowd of Gotham citizens and, on a stage ahead of a public event, numerous members of the Wayne family. Foiled in her attempt to speak with Tim Drake by event security Steph comes to the conclusion that the Wayne family are likely at risk from the stolen high-tech weapon and, with Wendy able to trace the destination of a video feed, again comes face to face with the man who just a few moments before had saved her from a bullet.

Demanding to know the identity of her opponent Stephanie is, unsurprisingly taken aback as Bruce Wayne reveals his identity. Steph's surprise very quickly turns into anger as she gives Bruce a verbal volley before slapping him around the face and almost immediately regretting her actions.

Returning to activities at Gotham U and Barbara finds herself being harassed by Vicki Vale. With Vale making suggestions as to the identities of members of the Bat-family Babs is forced to deflect her accusations before the two women are interrupted by their mobile phones as they bid one-another a frosty goodbye.

Across the city, Stephanie and Bruce once again come face to face, and this time things are a good deal calmer. Steph explains why she reacted the way she did: partly out of fear - that her new life and identity was coming to an end - and partly out of anger - that because of his actions she feels Bruce has no right to take Batgirl away from her.

Almost confrontationally Steph explains to Bruce just what being Batgirl means to her and why she simply refuses to give up her new role ... music to Bruce's ears it seems.

Later on, in the shadows off Crime Alley Bruce and his butler and confidant Alfred Pennyworth are discussing the days activities - and it seems that Stephanie has made an impression on the two men. Confirming that he's content to allow Steph to continue as Batgirl Bruce nevertheless advises Alfred that she and Wendy Harris, as daughter of criminals, will require careful watching.

Elaborating further, and to Alfred's surprise, Bruce explains that in the event of his death or disappearance he had briefed the previous Batgirl - Cassandra Cain - to hand over the Batgirl mantle to young Stephanie believing, as he does, that in life everyone deserves a second chance ...


Prior to picking up this book I'd read that the 'Road Home' series of one-shots was intended as an opportunity for readers to catch their breath before Bruce Wayne's return and as such I wasn't, if I'm honest, sure just how relevant to Stephanie Brown's journey as Batgirl the title would be. By the time I reached the last page of the book not only had I enjoyed my read I felt like I'd learnt an awful lot about Steph and what being Batgirl means to her.

First things first though, Shane Davis and Barbara Ciardo's cover - ahead of publication I'd seen and enjoyed the fantastic eight-cover Road Home 'banner' but did wonder just how eye-catching and effective the individual elements would be as stand alone covers. Of course I needn't have worried as we were treated to a fantastically detailed, warm, representation of Stephanie Brown as Batgirl standing proudly in front of the appropriately coloured Batgirl logo.

In terms of storyline, dialogue and narration I really don't know of a better written book than the one we're currently receiving from Bryan Q. Miller and this issue continues that trend. Likewise, the quality of the interior art throughout the series has been particularly high and Pere Perez - who I'm becoming a big fan of - reaches the heights I've come to expect from him.

It's almost a superfluous observation to make (I'm going to make it anyway!) but Mr Miller really does have Stephanie off to a tee. I simply love her dialogue - at times she comes across as a vulnerable young woman in need of direction and support and, elsewhere she's headstrong, determined and formidable. Alongside the quips and throwaway one-liners we hear strong declarations of intent linked-in with, at times, thoughts of frustration and regret - and it all blends so naturally.

I enjoyed how, early in the issue, despite coming up against a formidable opponent, Steph's cheekiness shone through - pretending that her comms link was breaking up as she went into combat, spelling out words in clearly defined syllables as things started to get out of hand before recovering her composure with a confident 'peek-a-boo'. Genuinely quite charming.

Although only running across two or three pages the scenes which Steph spent with Barbara at her University office were something of a highlight of the issue. I sensed the feeling of safety that I believe Steph feels when she's with Babs - perhaps in a way that she can only otherwise feel with her mother. It feels like a time when she's able to relax, lower her guard and behave like any young woman of her age would ... safe in the knowledge that her 'safety net' - Barbara Gordon - is there to catch her if - when? - her enthusiasm gets the better of her. These pages are made all the more touching, I think, as artist Pere Perez adopts a subtly different, softer, style with a bright, clean colour palette.

I thought the scenes where Bruce eventually unveiled and explained himself to Stephanie told us a tremendous amount about the young Batgirl. From initial anger, through shock and panic to considered determination. I found it interesting how, in the series as a whole, we've reached the point where Steph has accepted and embraced her role and yet here we're reminded that her appointment had never been endorsed by the one person who has the ultimate say. Two speech-heavy pages of Steph explaining to Bruce what she's been through and how she feels ending with a refusal to give up being Batgirl told me just how much thought she's given to the position and responsibilities she currently holds.

I also found it noteworthy that having in recent issues declared "I am Batgirl" Steph concluded her impassioned speech with "I want to be Batgirl" which spoke to me of a heightened sense of insecurity upon Bruce's return.

The reveal from Bruce that he'd left quite deliberate instructions with Cassandra Cain to pass the Batgirl mantle over to Stephanie in the event of his death or disappearance intrigued me and I'll be very interested to hear more about this particular aspect of the story.

The closing pages of the issue, featuring as they did Bruce confiding in Alfred, were particularly thought-provoking I thought. As the two men discussed Stephanie it was clear that she'd made a big impression on the two men, that Bruce was reassured that she'd grown - and grown-up - that he could rely on her but that he didn't completely, for now at least, trust her because of her background.

As I've already indicated, the interior art from Pere Perez throughout this issue was very much to my liking. Capturing the warmth of the panels that I've been enjoying throughout the series so far I appreciated how he captured Steph's youthfulness at the same time as he's able to represent Batgirl's maturity. As I've said before in previous reviews, I'd have been very happy for Mr Perez to continue on the book in Lee Garbett's absence.

As the book closed we caught a glimpse of pages from Bruce Wayne's 'White Casebook' - I thought this was an interesting and enjoyable way to close this particular chapter of the story and gave us a nice insight into how Bruce now perceives Steph in her new role.

Top marks - recommended reading.

Bruce Wayne: The Road Home - Batgirl (One Shot)
Written by Bryan Q. Miller, art by Pere Perez, colour by Guy Major, letters by Dave Sharpe, cover by Shane Davis and Barbara Ciardo
Published by DC Comics, December 2010

Batgirl #13 Reviewed

With the events of 'The Flood' firmly behind her, Stephanie Brown has most certainly grown - both as a young woman and, just as importantly, as a member of the Batgirl 'team'.

Our story - appropriately entitled 'Trust' - begins with Stephanie, sweat dripping from her brow, facing her opponent who in turn stares back and throws down a verbal challenge. Moment later, it's game on as Steph lets loose a tremendous shot ... much to the surprise of her opposite number.

We're at Gotham U, it's the second half of the academic year and Stephanie is playing table tennis with Padma, a fellow student - and she's winning. It's Tuesday, the one day a week when Steph doesn't have any classes, and we get the impression that she usually - maybe always - wins at table tennis!

Just as the contest looks like it might be getting out of hand Stephanie's phone rings and, excusing herself from the game, she answers her caller Oracle with a cheeky greeting only to be instantly reminded that - again - it's not Oracle on the line but her new handler Wendy 'Proxy' Harris. Moving past this awkward exchange Wendy advises Steph that the police have trapped a man who's suspected of killing his wife and she believes that they could use a hand.

Across the city in the Gotham financial district the police, led by Detective Nick Gage, have their prey - a Mr Griswald - trapped inside his mini van. Attempting to talk their target out of the van and into custody the officers come under fire and as the situation escalates the SWAT team announce that they're taking over. As they rush the van Griswald launches a petrol can into the air which turns into a blanket of flames under fire. Amid the confusion Gage spots Griswald running from the scene and sets off in pursuit.

Never more than a few steps behind Gage tries to talk Griswald around but he'll have none of it - eventually coming face to face on a roof-top Gage pulls his gun as his target challenges him that he couldn't possibly know what it feels like to lose a wife, could he?

As rage gets the better of him Griswald explodes ... into a torrent of clay and sends Gage flying off the building top and plummeting to the ground. As he mumbles what may be his final words he surprisingly receives help: Stephanie - Batgirl - swoops in and grabs him and the pair safely make their way to the alleyway below.

After a flirtatious exchange with Gage Batgirl takes her leave as Wendy reveals that she has located Griswald - Clayface of course - entering Gotham Bank & Trust through a roof-top service unit. Following him into the building Batgirl makes her way through a maze of ventilation shafts before finding herself with a view of the banks main floor, filled with customers, tellers and security guards.

Sneaking behind the service desk Steph activates the banks security measures and locks down the building. Believing that she is attempting to rob the bank the security guards rush at Steph and as they draw their weapons she unleashes a couple of 'gooperangs' that disable the guards allowing her the opportunity to explain that she's trying to help, not trying to rob the bank.

One of the tellers replies that she ought to speak with the banks manager Mrs Griswald who, in the event of a robbery, in required to make her way to safety in the vault.

Did he say Mrs Griswald?

Moments later, at the entrance to the vault, Mrs Griswald realises that she is just moments away from achieving her objective as Batgirl challenges her - 'Clayface!'. Turning and changing from human form Clayface targets Steph who only just manages to leap to safety. Responding with batarangs Stephanie is momentarily overwhelmed by the shear size and power of her opponent. Swept up by a column of clay Steph finds herself transported back to the banks main floor and, as Detective Gage looks on Batgirl fights ... Batgirl.

'You have got to be freakin' kiddin' me'.

Turning to Gage, Batgirl - one of the Batgirls - orders him to shoot her. Gage takes aim and fires ... on the 'other' Batgirl and as the bullet pierces her costume she 'bleeds' clay. As the detective continues to fire Clayface begins to take his more familiar form and Stephanie lets lose with the contents of her utility belt.

Out of ideas Steph turns to Wendy for advice - 'use your surroundings' she's told. With water pouring from the banks sprinkler system Batgirl lets fire with a freeze-batarang - and Clayface is frozen, overcome and neutralized.

With Clayface on his way to Arkham Asylum Batgirl and Nick get to the bottom of why he targeted this particular bank: it seems that the vault contained a picture of himself - Basil Karlo - and his wife, his dead wife that he wanted to look at.

As Batgirl questions Clayface's actions - Detective Gage seems frozen by the moment, turns and walks off down the street ... alone.


The first issue of the second year of Stephanie Brown's Batgirl certainly didn't disappoint - the writing, the interior and cover art were great, everything I look for from a comic book, and then some.

The issue felt as if it was set a little time after the events of The Flood story-arc as Stephanie appears to be settling quite nicely into her multi-faceted life: daughter, student, Batgirl ... and by the same token Wendy Harris seems to be getting to grips with her role as Proxy - but not without one or two enjoyable 'what do I do next?' moments.

Following the events that saw The Flood conclude - which as I said at the time felt like something of an anniversary or 'coming of age' issue for Steph and, to a lesser extent Wendy - I was curious how Bryan Q. Miller would choose to progress the immediate story and with his 'some time later' approach, for me, Mr Miller really hit the mark.

I liked the sense that Stephanie and Wendy had developed their relationship - that both women were becoming more and more comfortable and confident in their roles while at the same time not being afraid to ask the other for help. One of my favourite moments in the whole book was when, having frozen Clayface Batgirl suggests to Proxy that she sends someone to clean up ... as Wendy frantically thumbs through the pages of a phone directory!

The scenes that opened the book - set in a recreation room at Gotham U. - were particularly timely I thought: it was nice to see the spotlight return to Stephanie as student as much as Stephanie as Batgirl. After the heavy(ish) events of Steph's encounter with Calculator it was good to start this issue on an altogether lighter note.

Clayface isn't one of my favourite DC characters I have to say but I thought this story portrayed him in a much more personal and human way than many that I've read - I was actually quite touched by the thought that his actions were motivated by a burning desire to see his wife - albeit a photograph of his wife - one more time.

Throughout the Batgirl series so far one of the recurring themes has been friendly, and at times not so friendly, 'banter' - Steph and Damian, Barbara and Steph, Wendy and Barbara, Steph and Barbara and Nick Gage - and this issue was no different. I found the exchanges between Batgirl and Detective Gage really very charming with their clumsy puns, Steph's endearing thoughts - 'please be less attractive', 'squee' - and Gage's comments that 'for whatever reason' he trusts her.

While the tone of this title has always been light it's never lacked the ability to stimulate my thoughts and as I reached the last page I found myself intrigued by Detective Gage's story - as he fell from the roof-top early in the book we heard him saying 'sorry, babe' and as he and Steph discussed Clayface's actions at the end of the story I got the sense that the events had touched a nerve - I'm looking forward to seeing how this develops for sure.

Throughout recent issues I've become a fan of Pere Perez's artwork - it's both complimentary to the excellent work of Lee Garbett while at the same time he has a distinct style of his own and I'd have been happy to see him take on Batgirl art duties on a permanent basis. Although we now know this isn't going to happen I'll be interested to follow his work on other titles.

Although not his best in this series in my opinion I enjoyed Stanley 'Artgerm' Lau's eye-catching cover - once again it had a somewhat 'retro' feel about it and felt it really set up the issue very nicely.

If I say this felt like a 'bridging' issue that'll immediately sound like a negative and it's certainly not meant that way - but that's what this was for me: 'we've' been on an amazing journey over the past year and I sense that journey is only going to get more incredible over the next 12 months. This issue was a chance for us all to catch our breath, remember where we've come from, where we've been and anticipate where we may be going.

A simple story, beautifully told. Fantastic.

Batgirl #13
Written by Bryan Q. Miller, art by Pere Perz, colours by Guy Major, letters by Travis Lanham and cover by Stanley 'Artgerm' Lau
Published by DC Comics, October 2010

Batgirl #12 Reviewed

This issue of Batgirl has very much a 'coming of age' feel about it as we witnessed the concluding part of the 'Batgirl Rising: The Flood' story-arc and with it the end of Stephanie Brown's first year in the role of Batgirl.

Having leapt from an aircraft piloted by Wendy Harris at the close of issue #10 this issue opens with Stephanie plunging towards Calculator's compound in deep in Slaughter Swamp. In the compound, she knows, is Oracle - Barbara Gordon - who's being held captive.

As Steph's parachute opens she reminds herself of the magnitude of the task in hand and her responsibilities to her friend Barbara - the one person who's ever really cared about her - and just as importantly to herself, as she reminds us who she is ... Batgirl!

Inside the compound, and more precisely inside Calculator's mind, we see a young Noah Kuttler imprisoned in a cage. As Babs - or a least Kuttler's impression of Babs - approaches the small child she's violently attacked from behind and sent tumbling to the floor.

Elsewhere, Stephanie has entered the compound only to be faced with some elaborate - and life threatening - security measures. Wendy meanwhile, is in communication with Steph from high above the compound. Bemoaning that she isn't able to help more Wendy wistfully recalls the motivation for her and her brother to run away from home and join the Teen Titans: to protect the world from men like her father, the Calculator.

As Steph skillfully evades the first of the deadly security measures she stumbles - literally - upon the lifeless body of Marvin, Wendy's brother. No doubt sensing the emotion in Wendy's voice Steph questions whether she ought to have said anything to Wendy at that time. Wendy meanwhile, with tears running down her cheeks, comes to a decision - she feels she can't help Steph while she's piloting the aircraft - and warns Steph not to touch anything for fear that her father has planned further deterrents.

Too late!

Elsewhere in the compound, and still in Kuttler's mind, he and Babs tumble through an apartment door - 'You stole my daughter from me' he accuses Babs, 'I saved her from you' she retorts. Moments later the physical and verbal tussle is interrupted by a crying baby - or more to the point two crying babies. Immediately realising what this 'vision' represents Kuttler discovers the bloodied body of his wife who had taken her own life. With her attacker momentarily distracted Babs seizes the opportunity to distance herself and begins the search for a way to separate her thoughts from those of the Calculator.

However, with their thoughts immediately rejoined Babs witnesses Calculator beating up on a bound and bloodied Kid Eternity, while moments later he's seated and calmly explaining that he can, and will, end their mental ordeal - and that he has no intention that either of them will survive the evening.

'Back in the real world' and Stephanie has discovered the device that will, in a matter of seconds, terminate Calculator's army of drones ... and in turn potentially destroy Gotham City. Unable to reach Wendy on the comms unit Stephanie takes aim with her grappling gun, fires into the device and yanks its core away.

Catastrophe averted? Sort of. With the device disabled Steph faces a second, altogether more challenging opponent - a giant 'creature' formed from power or data cables. As the creature targets Steph she's aware of tremendous crashing noise as Wendy plunges her aircraft into the compound, taking out the creature at the same time.

With nothing now to stop them Stephanie and Wendy set out to find Barbara and rescue her from the Calculator. Having done so Wendy - once again with streams of tears on her face - makes sure that her father 'won't be bothering anyone for a very long time'.

Later on, outside Gotham City University, Babs and Stephanie talk about their ordeal - Kuttler is in New Arkham, everyone who had been infected no longer remembers and Steph acknowledges that without Babs to lean on for support she was grateful for Wendy's backup. As Nick Gage arrives to meet Babs Steph excuses herself and joins Wendy who, while looking over a family photograph album, talks of needing a fresh start in life. Steph, clearly understanding where Wendy is coming from, offers her support.

Time passes and we find ourselves with Steph - again as Batgirl - in Devil's Square where she encounters a somewhat comedic villain named Blimp Master. Relaying this information back to their 'Firewall' base Babs reveals that Wendy - appropriately enough code-named Proxy - will stand in to help Steph on those occasions that she - Oracle - is unavailable.

Batgirl Rising concludes with a scene in a cell at Gotham Central Lockup where the occupant - Johnny C, last seen I believe in issue #9 - chillingly declares that he's looking forward to seeing Batgirl again because 'she's gonna need all the help she can get' ...


As I say, this certainly felt like a 'landmark' issue, in the same way that a 50th or 100th issue of a book feels different to a 51st or 99th, and as such I've found this a difficult issue to review in isolation and therefore found myself looking at it in the context of such a landmark.

Over the past year we've followed Stephanie and Barbara on what has been a challenging and, at times, uncomfortable journey. A year ago Steph and Babs set out without apparently knowing where they wanted to go - or even sure of their motivation for making the journey - and along the way there have been harsh words, any number of 'I'm out of my depth' situations, lots of bickering, plenty of laughter - to the point that through the pages of this particular issue it's clear that both women now have a clearer picture of what the future holds for them.

We've seen Steph's confidence in herself and her abilities grow and at the same time we've witnessed Barbara's willingness to trust and believe in the new Batgirl.

The inclusion of Calculator as the central villain in this story-arc felt to me, at first, just a little predictable but as the story unfolded I came to appreciate the opportunities his inclusion permitted - Barbara's complicated past, Wendy ultimately breaking out from under her father's shadow, Steph appreciating the parallels with her own father ...

Speaking of Wendy! With her initial, albeit at times brief, appearances in the series it became apparent that she was destined to play a more significant role in Steph and Bab's lives and sure enough, as predicted, she's set to become Batgirl's new 'handler' on those occasions when Barbara is 'unavailable'. I most definitely welcome her inclusion in the Batgirl team and I'm looking forward to seeing her character develop.

I can't say that I've particularly warmed to Wendy's personality so far but then I think it's fair to say that Wendy herself hasn't been particularly fond of herself. Through the pages of this issue I believe we've seen a change in Wendy's outlook on life and as she again learns to like herself the reader will have the chance to do likewise.

From the very first issue the books creative team - on this issue Bryan Q. Miller, Lee Garbett, Pere Perez and Waldon Wong - have consistently found the right tone: fun, funny, purposeful without ever taking itself too seriously and this issue maintains that tradition. I enjoy Mr Miller's writing technique of using of a few words of dialogue as scene transitions and, not for the first time, the 'I'm Batgirl' declaration at the start of the book gives us an insight into Steph's mindset. This time I felt the words were spoken with steel and determination whereas earlier in the series Steph appeared to use them as much to remind herself as inform the reader.

As with the previous issue I appreciated the 'thought' sequences - they may not have made for an easy read at times but they were in themselves quite thought provoking and I found them all the more powerful on second or third read.

I'm not too sure about the idea of Wendy crashing her jet into the compound to aid Stephanie - any more than I was sure about Barbara remotely crashing an ambulance in an earlier issue - but if these instances are the closest the book comes to 'silly' moments then I'm prepared to go with it.

The artwork throughout this issue is, as expected, magnificent: Lee Garbett, inked by Waldon Wong, and Pere Perez make a great team and I think we're lucky to have such talented artists working on the book. I particularly enjoyed the 'I'm Batgirl' splash page early in the book - I love the expression of determination on Batgirl's face - and I found the scenes with Wendy and Steph sitting under a tree getting to know one another really quite touching.

Continuing the theme, Stanley 'Artgerm' Lau provided another superb cover showing Batgirl bloodied, customer torn and yet with a smile that speaks to me of her determination and satisfaction. [Note to DC: this would make a fabulous poster!]

Once again we have been treated to a really great read from what has become a really great series. If there is a better, more enjoyable series being published at the moment then I've not seen it.

It's been a good year to be a Batgirl fan - here's to the coming 12 months.

Batgirl #12
Written by Bryan Q. Miller, pencils by Lee Garbett and Pere Perez, inks by Walden Wong and Pere Perez, colours by Guy Major, letters by John J. Hill, cover by Stanley 'Artgerm' Lau
Published by DC Comics, 32 pages, $2.99


As always when I review Batgirl I'd like to point you in the direction of a couple of great sites that will appeal to anyone with an interest in the Batman family. In addition to carrying my reviews of Batgirl and Birds of Prey you'll find all sorts of Batman and Batgirl-related news, commentary and conversation over at The Batgirl to Oracle Podcast message board and The Batman Universe Editorials - part of The Batman Universe network.