Birds of Prey #10 Reviewed

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"You know, I kinda missed that guy".

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

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

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

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

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

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

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

"Become better liars".


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

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

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

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

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

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

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

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

Whether our friend Noctis would agree is anther matter though!

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

Really Hank?

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

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

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

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

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

An enjoyable read – highly recommended.

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

Birds of Prey #9 Reviewed

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

Birds of Prey #9

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

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

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

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

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

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

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

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

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

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

"That's complicated" he's told.

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

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

But first, she needs to be somewhere else.

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

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

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

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

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

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


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

This was an excellent issue.

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

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

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

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

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

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

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

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

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

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

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

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

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

Birds of Prey #8 Reviewed

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

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

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

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

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

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

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

Can't they?

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

Birds of Prey #7 Reviewed

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

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


Birds of Prey #7

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued ...


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Batman Solicitations - January 2011

January looks like being another fantastic - and expensive - month for fans of the Bat-books: aside from regular highlights that for me at the moment include Batgirl, Batman - good to have Tony Daniel back on the book - Batman & Robin and Red Robin, we've got the first issue of Batman: Europa, a four-issue mini conceived by Brian Azzarello and Matteo Casali, Batman Beyond becomes an ongoing series and Azrael gets stronger with every issue thanks to the talents of David Hine.

The covers of a number of the regular titles take on a distinctive new look in January, some examples of which I've included here with the solicitations, and while I certainly appreciate the artwork - particularly the unbridled joy on Steph's face on Batgirl and the fantastic illustration from Stanley 'Artgerm' Lau on Birds of Prey - I think I need to see the finished, titled covers before I make up my mind whether I'm a fan of the format: with the plain backgrounds and single colour logos they lack, for me at least, a little of the warmth I'm used to.

BATMAN: EUROPA #1
Story by BRIAN AZZARELLO & MATTEO CASALI
Written by MATTEO CASALI
Layout art by GIUSEPPE CAMUNCOLI
Painted art and cover by JIM LEE
1:10 Variant cover by TBD
Superstar artist Jim Lee returns to The Dark Knight with this painted issue! The impossible has happened and Batman is on the verge of being taken down by an enemy he cannot defeat: a virus for which there is no cure! And his only possible hope for salvation is The Joker! Who infected Batman, what does the Clown Prince of Crime know, and how will The Dark Knight get that information? Together, the enemies crisscross Europe, desperate to find answers before time runs out.
Co-conceived by Brian Azzarello (100 BULLETS) and Matteo Casali and written by Casali, this 4-issue miniseries event will feature painted art by many of the industry’s top talents over layouts by the incomparable Giuseppe Camuncoli (HELLBLAZER, Dark Wolverine)! Future artists providing stunning overlay paints will include Diego Latorre (DANTE’S INFERNO) and Jock (DETECTIVE COMICS), with the first issue painted by none other than Jim Lee!
Retailers please note: These issues will ship with two covers each. Please see the Previews Order Form for more information.
On sale JANUARY 5 • 1 of 4 • 40 pg, FC, $3.99 US

BATMAN BEYOND #1
Written by ADAM BEECHEN
Art by RYAN BENJAMIN & JOHN STANISCI
Cover by DUSTIN NGUYEN
Yep, you read that right – the future of the DC Universe continues, as BATMAN BEYOND becomes an ongoing series! Terry McGinnis and Bruce Wayne are stronger than ever after the battle with “Hush” brought their alliance close to the breaking point. But now a super-powered criminal has gotten in way over his head – and the whole Justice League has come to Neo-Gotham to hunt him down! To top it all off, the crook’s taken hostages... including Terry’s mom! It’s the start of a story that will change Terry’s life — and the BEYOND universe — forever... so don’t miss out!
On sale JANUARY 5 • 32 pg, FC $2.99 US

BATGIRL #17
Written by BRYAN Q. MILLER
Art by PERE PEREZ
Cover by DUSTIN NGUYEN
Batgirl has been given her first sanctioned Batman Incorporated assignment solving a series of high-profile kidnappings, and she’s thrilled! Well, she was – until Damian Wayne decided to ride shotgun. Can the Dysfunctional Duo stop fighting long enough to save the children of Gotham City’s elite?
On sale JANUARY 12 • 32 pg, FC, $2.99 US

BATMAN #706
Written by TONY DANIEL
Art and cover by TONY DANIEL
A powerful relic, hidden and protected by an ancient order, falls into the hands of one of Batman’s deadliest foes! The Dark Knight and his allies are outnumbered and outmatched as they struggle to free themselves from their merciless adversary. With death and destruction imminent, Batman must make a crucial sacrifice...
On sale JANUARY 19 • 32 pg, FC, $2.99 US

BATMAN & ROBIN #19
Written by PETER J. TOMASI
Art by PATRICK GLEASON & MARK IRWIN
Cover by PATRICK GLEASON
“Dark Knight, White Knight” part 3 of 3! A wave of light blankets Gotham City as The White Knight makes his horrific mission personal! Meanwhile, Robin is targeted for death, and Batman must find a way to save the Boy Wonder and the countless other Gotham innocents whose lives are now
at stake!
On sale JANUARY 12 • 32 pg, FC, $2.99 US

RED ROBIN #19
Written by FABIAN NICIEZA
Art and cover by MARCUS TO & RAY MCCARTHY
When Red Robin and his friends are trapped in the unknown world of the Unternet by the Calculator’s fail-safe program, it’s Batman and Robin to the rescue – but which Batman and Robin is it? If the Unternet is a telepathic communications gestalt where the villains’ dreams come true, can Red Robin become its waking nightmare?
On sale JANUARY 12 • 32 pg, FC, $2.99 US

BIRDS OF PREY #8
Written by GAIL SIMONE
Art by ARDIAN SYAF & VICENTE CIFUENTES
Cover by STANLEY “ARTGERM” LAU
The stunning “Death of Oracle” arc continues, with complications that will resonate through the DC Universe! And find out more about Mortis, the most twisted BIRDS OF PREY villain ever, as she sets her sights on Hawk and Dove in this BATMAN INCORPORATED tie-in!
On sale JANUARY 12 • 32 pg, FC, $2.99 US


BATMAN INCORPORATED #3
Written by GRANT MORRISON
Art and cover by YANICK PAQUETTE & MICHAEL LACOMBE
1:25 Variant cover by J.H. WILLIAMS III
Batman and Catwoman travel to South America to reunite with Gaucho, Argentina’s Batman Incorporated representative. But their trip may be cut short when an unexpected adversary sends things spiraling downward!
Retailers please note: This issue will ship with two covers. Please see the Previews Order Form for more information.
On sale JANUARY 19 • 32 pg, FC, $2.99 US

DETECTIVE COMICS #873
Written by SCOTT SNYDER
Art and cover by JOCK
Now at the mercy of the deadly Mirror House, Dick Grayson must fight for his life against one of Gotham City’s oldest and most powerful evils!. Be here for the shocking conclusion to “The Black Mirror,” the first arc by the highly anticipated new creative team of writer Scott Snyder and artist Jock!
On sale JANUARY 26 • 32 pg, FC, $2.99 US

KNIGHT & SQUIRE #4
Written by PAUL CORNELL
Art by JIMMY BROXTON
Cover by YANICK PAQUETTE MICHAEL LACOMBE
The Knight battles against his own armor – in his own castle! Elsewhere, Squire struggles with romance and the possibility that she’s being set up for betrayal! And meet Hank, the Knight’s very American butler...
On sale JANUARY 12 • 4 of 6 • 32 pg, FC $2.99 US

GOTHAM CITY SIRENS #19
Written by PETER CALLOWAY
Art by ANDRES GUINALDO & BIT
Cover by GUILLEM MARCH
With Talia al Ghul’s treachery behind them, Zatanna approaches Selina with an offer Selina never even dreamed of – erasing Batman’s secret identity from her mind! The question sends Selina on a spiritual journey to learn what it means to love and live and how significantly memory plays into both.
On sale JANUARY 26 • 32 pg, FC, $2.99 US

BATMAN: STREETS OF GOTHAM #19
Written by PAUL DINI
Art by DUSTIN NGUYEN & DEREK FRIDOLFS
Cover by DUSTIN NGUYEN
In this penultimate issue of “House of Hush,” a forgotten villain steps into the spotlight – Dr. Death! Batman is shocked to learn that the very first villain he ever faced once posed a deadly threat to his mother and father. Now, years later, the bad doctor is back, and Hush has him! Their sinister alliance spells destruction for all The Dark Knight holds dear!
On sale JANUARY 19 • 32 pg, FC, $2.99 US

OUTSIDERS #36
Written by DAN DIDIO
Art by KEITH GIFFEN & MICK GRAY
Cover by DAVE JOHNSON
It’s an unhappy homecoming for Black Lightning when his reunion with his daughters, Thunder and Lightning, brings his Outsiders into a direct confrontation with the Justice Society of America!
On sale JANUARY 19 • 32 pg, FC, $2.99 US

AZRAEL #16
Written by DAVID HINE • Art by CLIFF RICHARDS
Cover by GUILLEM MARCH
Azrael’s fate lies in the hands of Ra’s al Ghul, and not even Batman may be able to help him! And what part will the mysterious Suit of Sorrows finally play?
On sale JANUARY 5 • 32 pg, FC, $2.99 US

BATMAN CONFIDENTIAL #52
Written by MARC GUGGENHEIM • Art and cover by JERRY BINGHAM
In “Super-Powers” part 3 of 5, Batman faces the Justice League for the first time! The landmark meeting triggers a memory back to the time he met his first super-powered team – The Zhuguan! Take a trip down memory lane to a time when a young Bruce Wayne traveled the world to find the methods he’d need to embrace his fate as The Dark Knight!
On sale JANUARY 5 • 32 pg, FC, $2.99 US

More details, and cover previews for each of the books, can be found at The Source.

Batgirl #14 Reviewed

As promised I have returned, refreshed and re-energized after a few days away following The Tour of Britain and with my bank balance in a sorry state thanks to a hugely enjoyable day buying comics and 'stuff', as well as meeting creators and fellow comics fans, at the superb Exeter Comic Expo.

I'll write about the Expo in a bit more detail later on this week (I'll spare you the cycling talk unless you're really interested?!) but to get us underway after my break here's my review of Batgirl #14 - while you read this I'll be working my way through a weeks worth of emails and Google reader updates ...

Batgirl #14

We're promised 'Terror in the 3rd Dimension' in Batgirl #14 and as the story opens we see Batgirl - Stephanie Brown - and Supergirl - Kara Zor-El - struggling to release themselves from their captive: as Stephanie explains, she was just hoping for a quiet, normal, evening; kicking back, relaxing with a friend - instead, these friends find themselves in a grip of a monochrome Dracula!

Much earlier, at the Brown household, we are witness to a much calmer scene as the young Stephanie is slumped over the table clearly less than engrossed by the game of Scrabble she is playing with her mother - we're told Babs is away on Birds duty 'again' and new friend Wendy is working back at Firewall.

At that moment the door bell rings and Steph leaps into the air - saved by the bell - apologises to her startled mother and races to the door where she's delighted, relieved probably, to discover her friend Kara, hovering in the air in Supergirl guise. The girls say their hellos as Mrs Brown joins Stephanie at the door - and in the nick of time Kara switches to her 'civvies'.

After some quick introductions the two young women set off for what they hope will be a 'normal' evening - of course there's no chance of that when Batgirl and Supergirl get together!

Having headed to the University campus Kara's enthusiasm gets the better of her as she takes in the sights of sounds of college life. Kara suggests they head to a keg party, have a pillow fight and Steph realises that Kara's experience of college life is, at best, limited.

As the two continue their catch-up they're hit from behind and knocked off their feet by a young man who's in a desperate hurry - as documents litter the air the young man mutters that he's got to get to his lab before ...

As the man scurries away Kara spots the student theatre and discovers they are screening a 3D revival of 'Vampyres Bryde' and talks Steph into going in.

Across campus in the 'requisite super-collider lab' we witness the clumsy, desperate young man who knocked Steph and Kara from their feet arguing with a security guard - it seems that the project is being closed down due to a lack of funds but the man - Newton or Newt - is having none of it: he needs to project to continue to earn credit and if it's results that the authorities are after he'll deliver results he says. As he pulls on a lever the lab equipment - presumably the aforementioned super-collider - comes to life with a rumble, a cloud of smoke or steam before, much to the guard and Newts surprise, overwhelming the pair of them.

Back at the campus theatre a packed audience of students is lapping-up the film: some enjoying it more than others. As Steph and Kara tuck into their popcorn they are blinded (figuratively) by a flash of white light coming from the screen in front of them. Removing her 3D glasses Steph is startled to see a number of figures - Draculas - coming out of the screen and into the theatre. Not realising what was happening Kara continues to marvel at what she believes are the 3D effects of the film before listening to her friend, removing her glasses and agreeing with Steph that the situation calls for a 'team-up'.

With the audience either having fled the audience or being otherwise distracted Batgirl and Supergirl join forces to bring down the first of the Draculas.

Scanning the frozen figure Kara proclaims that the body is empty, literally, as the aforementioned Newt looks on with a mixture of wonder and puzzlement: his experiment - to create a three dimensional construct - appears to have worked as the lab overloaded the theatre, and the film in particular, bore the brunt.

Furthermore (and here's the science) as the film runs at 24 frames a second there would be 24 Draculas on the run! The only way to stop them, it seems, is to drive a control rod into the empty body ...

So, as Batgirl and Supergirl work their way around the city they are able to take care of Dracula after Dracula - until they are left with just one more to find: Dracula number 24, who they eventually track down to a roof top overlooking Gotham City. As the two young women consider their next move they are startled to find their prey has disappeared - only to reappear behind them moments later ... and we're back where the book started with the two friends lives in jeopardy.

Spotting a stake some yards behind them Batgirl and Supergirl manage to wrestle themselves free, grab the weapon and 'shoonk' - the final Dracula is gone.

Some time later, back at the Brown household, Steph and Kara are hanging out in Steph's room: pyjamas on, feathers falling to the ground - there's the pillow fight! As Kara picks up on trouble back home the two friends strike a deal: next time either of them starts to feel alone, they are to give the other a call.

With that Kara is gone and Steph heads down to the kitchen where her mother has prepared breakfast. Making her apologies for bailing on family game night Steph explains to her mother that she really did have the best of evenings.


Three words describe this issue of Batgirl for me: fun, fun, fun! Since I first heard writer Bryan Q. Miller talking about it on episode 10 of Batgirl to Oracle I'd been looking forward to reading the book and it certainly exceeded my expectations.

The story itself very much had the tone of one of those 1950s horror films: the core plot-point, in this case a machine that could create a multi-dimensional object from a one dimensional image, being deliberately over complicated - as demonstrated by Newt's explanation just over halfway through the book in what must be the largest speach bubble in this series to date! - and dare I say 'unbelievable' while maintaining a simple 'goodies versus baddies' theme. That's how, to me at least, the book read and, as I suggest, I thought Mr Miller did a fine job of finding the tone.

I found the 'friendship' theme between Steph and Kara in this issue particularly poignant - I suppose as I've followed her story over the past year I'd assumed Steph was acutely aware of the support that's around her, most notably from Barbara Gordon - and this was a timely reminder that she's still at heart a girl who's finding her way in the world, in her world.

The dialogue throughout this issue was a joy - light, fun, at times throw-away, at times remarkably sensitive without ever feeling unreal, unnecessary or making the individuals look or sound foolish. The early exchange between Steph and Kara, as they strolled the campus grounds was particularly enjoyable as Kara articulated her idea of what a 'normal' evening is for a university student - she really did come across to me as being endearingly naïve at that point. Likewise I enjoyed Kara's behaviour during the screening itself as she clearly hadn't grasped quite what was happening before her eyes - and the comments between herself and Steph when reality dawned!

As is so often the case with this title I appreciated the pacing of the story, from the slow, mundane opening scenes featuring Stephanie and her mother, through the sense of adventure and possibilities as the two friends shared a 'typical' evening out, through the chaos of the overloaded laboratory equipment and the chase for the 'duplicate Draculas' to the once again sedate, calm, genuinely touching scene as the story closed.

Turning my attention to the art throughout this book - what can I say that I haven't said a hundred times before? To say that I'll miss Lee Garbett's pencils on the Batgirl title would be an understatement of massive proportions. From the first issue of the relaunch I immediately connected with Mr Garbett's take on Stephanie, her Batgirl, Barbara ... the 'tone' of the Batgirl series comes as much from his fine, detailed, delicate pencils as much as Mr Miller's fluid writing, Trevor Scott's inks, the fantastic colouring of Guy Major, Travis Lanham's lettering and the eye catching covers of Stanley Lau and Phil Noto.

Lee Garbett's eye, and talent, for detail is evident throughout every panel - from the oft-acknowledged emotive facial expressions, tone-defining and fluid movement and the often beautiful locations. As has been stated numerous times before I consider that we've been truly blessed that Mr Garbett was tasked with defining the look and visual 'feel' of Stephanie Brown and of Batgirl ... as he now leaves the book with this issue I'd like to express my gratitude for a job incredibly well done, I look forward to following his work on his next book and I look forward to perhaps one day seeing him return to the title.

Throughout the series we've been treated to a number of exceptional covers and this issue is a fine example of this - if you were looking at the cover in a shop or on-line how could you not want to buy this book? It screams of something different, something unique with the two heroines front and centre surrounded by identical monochrome Dracula's, with an illuminated theatre (cinema) display supporting a pair of 3D glasses!

If, by some remote possibility you haven't already jumped on board with Batgirl then now would be a great time. This is a fantastic, stand-alone issue that gives a subtle insight into the mind-set of the central character and introduces a very welcome 'guest star' wrapped around what was a hugely enjoyable, engaging story.

Top marks to all involved.

Batgirl #14
Written by Bryan Q. Miller, pencils by Lee Garbett, inks by Trevor Scott, colours by Guy Major, letters by Travis Lanham, cover by Stanley 'Artgerm' Lau
Published by DC Comics, November 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