Comic review – Batwoman #5

Batwoman #5

W. Haden Blackman and J.H. Williams III‘s Batwoman has been the closest thing to comic perfection I’ve experienced in a long time.

Since the first issue 5 months ago, I’ve found myself looking forward to the next with an eagerness I’ve not felt since those early days of 2000AD when I was a kid. And, as with Tharg the Mighty‘s old esteemed organ, wishing Batwoman made a weekly appearance rather than a monthly one too.

However, every issue has been worth the wait, with Williams III’s beautiful painterly art deserving the critical praise heaped upon it; and both his and Haden Blackman’s bold and non-exploitative characterisation and script giving Kate Knight and her companions much more depth than the average two-dimensional comicbook hero.

Indeed, Batwoman‘s story – the first arc of which concludes with this issue – has a maturity and complexity to it that is no doubt attracting the attention of the Hollywood scriptwriters: though it’s hard to imagine how any medium other than comics could achieve this level of visual and dramatic allure.

A short title, the first few pages of Batwoman #5 see Kate facing the supernatural child-snatching foe she’s been tracking for five issues – as well as some inner demons of her own. Here, Williams III’s signature art style shines, with double-page panels flowing around the narrative and action and creating something quite unique.

The second part of the book deals with a choice Kate is forced to make, and one which promises to have serious ramifications. Driven by a desire to do the right thing, but with her options severely limited, it looks like Batwoman will be treading a lonely – and dangerous – path in the months to come.

And I’m already counting the days until #6…

Comic review – Wonder Woman #4

Wonder Woman #4

Although the myth of Wonder Woman‘s origin was remoulded in last month’s issue, here Brian Azzarello sculpts it into something epic, giving her enough dark and vengeful motivation to keep this title going for years.

Diana is drowning out the memories of recent events back in London a local rock gig, but still not letting the pregnant human Zola out of her sight. Hermes and Strife manage to conceal their true natures, blending in with the rest of the alternative crowd as they discuss what they’re going to do next.

Meanwhile, a vengeful Hera pays a visit to Queen Hippolyta and the rest of the Amazons on Paradise Island – by the time she has left, things – not least Diana herself – will never be the same again.

Azzarello spins a tale worthy of the Greek myths on which the characters are based. Immortal affairs resonate throughout the world, whether it’s a bored and listless War propping up a bar in Darfur, or Hera’s revenge casting a dark shadow over Diana which may never be lifted. The tale has an epic melancholia to it: and you get the sense that the true terrible impact of the gods’ affairs on Diana and the world at large is still to be felt.

Cliff Chiang‘s art continues to have a suitably mythic look to it, with the characters’ chiselled features and statuesque forms fitting the scope of the story well. Muted colors from Matthew Wilson complement this mood, especially in the melancholic blue tones of a storm-beaten Paradise Island.

By the end of the issue, the stage is set for a series of terrible conflicts. And even with the gods’ divine powers, it would take a brave person to bet against a guilt-ridden and vengeance-fuelled Diana in the inevitable war to come.

Verdict – 9 / 10

Comic review – Batgirl #3

Batgirl #3 by Gail Simone

Quietly and without fuss, amidst the re-imaginings of bigger budget superheroes, Gail Simone is turning Barbara Gordon into one of the most three-dimensional characters in comics.

In this issue, Batgirl is hot on the trail of current nemesis Mirror, a dispassionate killer with a grudge against humanity. In an all-action sequence set aboard a speeding train, Barbara starts out full of self-confidence and bravado, then – as she realises she’s made a fatal error – despair and self-doubt kicks in.

“How quickly our self-regard shifts,” as she puts it herself. “Right away into nothing, sometimes.”

Simone’s Batgirl has spent the last three issues of this book walking on a knife-edge between jubilation and despair. Recently restored to crime-fighting action, she has something to prove – most of all to herself.

Simone manages to depict this without making the character whining or annoying. Indeed, in a brilliantly-written scene between Barbara and her father (Commissioner Gordon) where what remains unsaid is more important than the words they exchange, the depth of her frustration is clear: evoking a great deal of empathy for this ‘breakable’ Batgirl.

This frustration comes to a head in the second half of the issue, in an flirtatious and emotionally-charged encounter between Batgirl and Nightwing. As the two young heroes circle each other like the creatures of the night they take their inspiration from, a realistically-portrayed and at times touching relationship is explored – even if it does culminate in an explosive outcome.

Ardian Siaf‘s pencils switch between the action and characterisation with deft strokes; with Vicente Cifuentes‘ colours bringing a muted night-time feel to proceedings.

But it’s Simone’s intelligent and exciting writing which truly shines: making the New 52 incarnation of Batgirl a flawed – but fascinating – character.

Verdict – 8.5 / 10

Comic review – Catwoman #3, DC Comics

Catwoman #3

If the last two issues of Catwoman have been all about the sex, then this one’s definitely got the violence covered.

I’m in two minds about Catwoman, to be honest. Whilst I’m a fan of the character, Judd Winick seemed intent to focus on the titillation; with Guillem March seeming to relish the chance to draw Selina Kyle in as many compromising positions as possible.

In this issue, the balance is redressed (so to speak) – more attention is given to Catwoman’s grief and rage following the killing of her fence, confidante and friend Lola at the hands of Gotham hoodlum Bone and his henchman. And when that rage is unleashed, she comes out fighting tooth and claw in some explosive and bloody vengeance-fuelled violence.

Batman puts in an appearance again: here however, he’s not succumbing to Selina’s ample charms, but instead is trying to stop her from killing. The relationship between the two characters is far better handled here now that they’re not preoccupied with how to get each other out of their suits. The fascination with each other is still there, but Winick uses some well-executed writing to focus on their differences.

Catwoman #3 is the strongest book in the relaunched series to date. Deserving of its Teen+ rating thanks more to some mature writing rather than panels of flesh, it bodes well for the title’s future direction. March’s artwork continues to impress too with its strong inked outlines and manga-esque character design, making the pages enjoyable to look at.

And whilst I expect she’ll get up to all sorts of feline fun in future, Selina Kyle is slowly becoming the well-rounded and interesting character she deserves to be.

Verdict – 7.5 / 10

Comic review – Birds of Prey #3, DC Comics

The team grows…

Birds of Prey #3

Duane Swierczynski and Jesus Saiz continue to whip up a whole flock of fun with the third issue of Birds of Prey.

This month sees the team reach its full complement, with Black Canary‘s latest recruit Poison Ivy adding a certain toxic charm to the group.

The first half of the issue deals with Pam Isley’s induction into the Birds, with Starling and Katana not taking too kindly to her supervillainous talents. However, in a selfless act of ‘taking one for the team’, she extends the tenuous tendrils of truce and an uneasy – and enjoyable – alliance is formed.

Things swiftly move on to the Birds’ prey – the mysterious force tracking them and causing people to explode left, right and centre all over Gotham. On a speeding train bound for Metropolis, the girls home in on their target, until a cliffhanger ending which leaves a long fuse burning until the story continues next month.

I wasn’t sure about Birds Of Prey when it kicked off: it seemed a bit like a no-brain all-action disposable title that wouldn’t hold my interest. Now, after two months, it’s near the top of my list. It has none of the po-faced seriousness of some other books; and the interplay between the girls is well-scripted by Swierczynski, particularly now the morally ambivalent Poison Ivy’s onboard.

Saiz’s artwork continues to impress, showing an adeptness for depicting the human figure and expression in a well-drawn and coloured title. There’s an explosive splash page in the centre this month which shows this off to perfection, with all four of the Birds flying out the page in a fiery blast of colour and action. Nicely done.

So, Birds of Prey is a keeper for me. As I wrote last month, Katana (sadly not featured much this month) is one of my favourite characters now; and Starling’s rockabilly burlesque style is also original and appealing (even though we don’t really know what she does yet, apart from wisecrack).

It doesn’t require you to work hard and it certainly doesn’t require you to think, but after a shaky take-off, Birds of Prey is now flying high.