Faster than a DC Bullet: Project Crisis!, Part XIX: Superman: Sacrifice

Comic trade paperback, n.pag.
Published 2006 (contents: 2005)
Borrowed from the library
Read April 2014

Superman: Sacrifice

Writers: Greg Rucka, Mark Verheiden, Gail Simone

Pencillers: Ed Benes, John Byrne, Karl Kerschl, Rags Morales, David Lopez, Ron Randall, Derec Donovan, Georges Jeanty, Tom Derenick, Tony Daniel
Inkers:  Alex Lei, Rob Lea, Mariah Benes, Nelson DeCastro, Karl Kerschl, Bit, Mark Propst, Dexter Vines, Rob Petrecca, Cam Smith, Sean Parsons, Marlo Alquiza
Colorists: Rod Reis, Guy Major, Tanya & Richard Horie
Letterers: Todd Klein, Rob Leigh, Nick Napolitano, Jared K. Fletcher

When planning out my "Infinite Crisis" reading project, I almost skipped over this one, but it turns out to be somewhat less tangential than I imagined. It starts with a story called "Power," where Superman overreacts to a villain's threat. Poor guy, between this story, For Tomorrow, and Day of Vengeance, he is not having a good time this year.

We then jump ahead to "Sacrifice," which takes place between the pages of The OMAC Project. Here, we learn that Maxwell Lord has been undermining Superman, slowly conditioning him into a weapon he can activate at command. Much of this was covered in a text recap page in The OMAC Project, and I'm not sure it really benefits from being fully dramatized here; the story is pretty repetitive: first Superman imagines Brainiac is controlling Lois, then Darkseid. At least John Byrne is there to draw (some of) the pictures! The best part of the story is definitely the final one, already reprinted in The OMAC Project, where Wonder Woman resolves to do what she has to do to put an end to all this.

Then there are three followup stories, one ("Affirmative Defense") where Wonder Woman tries to decide if she did the right thing, all while handling the next crisis, and another ("Fragmentation") where Superman remembers everything you just read in "Sacrifice," though this time he imagines it was Doomsday going after Lois. Again, the Wonder Woman one is the more interesting: I think I just don't care about the "dilemma" posed by this strand of Superman stories, an examination of whether or not Superman is too dangerous/powerful to even exist. It's just totally a false dilemma: Superman is not the danger, Maxwell Lord is. If Superman didn't exist, the threat posed by Max would be no less potent. Finally, in "Home," Superman and Superboy team up to save Steel from an OMAC at the North Pole. It's perfunctory and not very interesting.

Though Sacrifice promises fascinating repercussions (we'll see if these actually happen), it's just not a very interesting story on its own, I think. I like what I saw of it in The OMAC Project, but what we see here is mostly the set-up, not the pay-off.

Faster than a DC Bullet: Birds of Prey, Part XV: End Run

Comic hardcover, n.pag.
Published 2011 (contents: 2010-11)
Borrowed from the library
Read April 2013

Birds of Prey: End Run

Writer: Gail Simone
Pencillers: Ed Benes, Adriana Melo, Alvin Lee
Inkers: Ed Benes, Mariah Benes, J. P. Mayer, Jack Purcell
Colorist: Nei Ruffino
Letterer: Steve Wands

Can you go home again? That's the question asked by End Run, as Oracle, Black Canary, the Huntress, and Lady Blackhawk reunite as the Birds of Prey once more. Black Canary is fresh off of a disastrous Justice League tenure and an even more disastrous divorce... who knows what everyone else has been up to, except that Misfit is sadly nowhere to be seen despite being left in the care of the Huntress in The Cure. The answer seems to be yes, as we're treated to about eight thousand caption boxes where Oracle, Black Canary, and Huntress express their happiness as the reunion ad nauseam.

It's also the question asked outside of the comic, as this brings Gail Simone back to the title-- alongside Ed Benes, her original art partner. End Run provides a decent story, as the Birds battle the mysterious "White Canary," and it seems like some very near and dear to them have suffered because of them. (They have, though not quite in the way they imagined.)  The plotline with Oracle trying to figure out what happened to Savant and Creote is probably the best part of this; I found myself less enamored with the Birds' field team being constantly attacked again and again.

For all that parts of this book work, other parts just don't add up. Black Canary is threatened with exposure of her civilian identity... but back in Simone's first run on the title, Dinah actually published a book about her life as the Black Canary! She also frets over being a murderer like Ollie... you know, the guy who killed a man who killed millions but is demonized for it for no readily apparent reason. Also, Hawk and Dove join the team, and as to who Hawk and Dove are and why you should care and why Oracle picked them... well, don't look for any answers here. I guess it's because they've got bird-themed names?

(There are captions for the first appearance of each character. Not just in the book, but in every. single. issue.  But I've read "Hawk: Avatar of War" six times now, and I'm no closer to knowing what it means or who he is. Cut these things out of the collection, for goodness sake!)

I did like the two-issue story at the end, where Dinah is forced to fight Lady Shiva for the sake of her adopted daughter Sin... only the Huntress has other plans. Any plotline that showcases how awesome the Huntress is is fine by me, and this is definitely one of them.

Like I said earlier, Ed Benes is back, but I'm not sure why. He manages to complete one whole issue; a couple more he starts, and someone else finishes. (I can't tell who, because there's no individual art credits.) Benes, of course, can't draw a picture undefined by the male gaze, but he did good work on this title in the past, and this isn't up to those standards-- his faces are blank and dull and filled with pouty lips. The storytelling is confusing and sloppy, and as always, anyone pretending to be Benes is even worse than Benes. The overly-done coloring seems to work against the whole effect, too.

End Run isn't maybe as bad as this review makes it sound, but it could be a lot better, and I don't of yet see the point of the Birds' breaking up and reunifying. (I'm sure there wasn't one, but still...) This great return hasn't yet convinced me it was worth the effort.

Faster than a DC Bullet: Birds of Prey, Part VII: The Battle Within

Comic trade paperback, 237 pages
Published 2006 (contents: 2005)
Borrowed from the library
Read February 2013

Birds of Prey: The Battle Within

Writer: Gail Simone
Pencillers: Joe Bennett, Ed Benes, Tom Derenick, Joe Prado, Eddy Barrows
Inkers: Jack Jadson, Ed Benes, Bob Petrecca, Robin Riggs
Letterers: Jared K. Fletcher, Phil Balsman

The fourth collection of Gail Simone's Birds of Prey run is where her take really clicked with me-- perhaps because this collects twelve issues, a full year of her run, rather than the usual 6 or so, allowing one to really dig into her interweaving plots. This is odd, as I found the first few stories pretty disposable: the Birds, in their new mobile home Aerie One, travel to Dayton, Kansas, and Metropolis to rein in overeager vigilantes. I'm not sure why Barbara decided this was their new purpose in life, but there you go.

We get a few done-in-one (or -two) stories that are strong in character for the regulars, which is nice, but little else. It's nice to see Helena actually doing educational stuff, and there's one of my favorite moments in the whole series thus far when she crossbows a guy in hospital and shrugs it off. Zinda turns out to be a fantastic addition to the Birds, rarely at the center of the plots, but always fun in how she changes the dynamic. On the other hand, Kansas is portrayed in an utterly condescending way, and Tom Derenick and Bob Petrecca's art is so off that when a mystical creature ages Dinah twenty years in the middle of combat, you can't even tell.

The plot in the book's second half, as the Birds of Prey being to disintegrate and also take on some gangs internationally, was much more consistent. Helena leaves the group to do things in a way that combines her original one with Barbara's, and in doing so, we get our best understanding of her character in the series so far: someone violent and brash, but dedicated to doing good in whatever way works best. Helena trying to infiltrate the Gotham underworld (and tussling with Dick "Nightwing" Grayson, who is doing the same) is one of the series' most interesting undertakings. Meanwhile, Barbara must undergo surgery and Dinah has to organize the defense of Gotham City with just hand-on-hand combat. The interweaving of plot and character has never been sharper in the title, and I have never liked all three characters more.

Unfortunately, the story is let down by the series's weakest art thus far: Joe Bennett and Jack Jadson's women all have plastic faces incapable of displaying emotions other than wide-mouthed; Ed Benes might be cheesecakey, but at least his characters have facial expressions. Worse is the creepy way he draws all Asians. Ugh. One wonders why DC was never able to supply Gail Simone with an artist who could match her writing talent. At least Huntress's costume has lost the belly window.

Faster than a DC Bullet: Birds of Prey, Part VI: Between Dark & Dawn

Comic trade paperback, n.pag.
Published 2006 (contents: 2004)
Borrowed from the library
Read January 2013

Birds of Prey: Between Dark & Dawn

Writer: Gail Simone
Pencillers: Ed Benes, Ron Adrian, Jim Fern, Eduardo Barreto, Eric Battle
Inkers: Ed Benes, Rob Lea, Steve Bird, Andrew Pepoy, Rodney Ramos
Letterers: Jared K. Fletcher, Ken Lopez

This time, the Huntress is the agent of the Oracle out in the field doing crazy things, and it's a nice contrast to what Dinah is normally tasked with; we get to dig into the head of the Gotham vigilante too hardcore for even Batman. Meanwhile, Dinah has to stop Barbara from snapping. There's even a Superman cameo, though it perhaps raises too many questions in the long run. Oracle is given an opponent worthy of her skill, and there's some disturbing visions within her own mind.  On the whole a competent storyline, though perhaps the least interesting one since Simone took over the Birds of Prey title.

A couple single-issue stories finish out the volume. The first features Black Canary and the Huntress beating up some henchmen, and then Black Canary laying the smackdown on Savant, who tortured her back in Of Like Minds; this was an okay story, let down by stiff and difficult artwork.

The last story is just confusing. All of a sudden, Barbara's clocktower and the Birds' base has been blown up! I guess this happening in a Batman story running at the same time, but it seems off that an event of such importance to Birds of Prey would happen in a completely different title, and with us barely getting a glimpse of it. What would bring Barbara to do this? I'll never know, or at least not for a while. This paves the way for a new setup, with Lady Blackhawk joining the team as they move to a mobile aerial base. I was really surprised by this, as it means that the ostensibly classic setup of Simone writing (and Benes usually drawing) Black Canary, Oracle, and Huntress on the team while in Gotham lasts a mere three collections. Given what an impact the series had in this form, I had expected it to last longer.

Faster than a DC Bullet: Birds of Prey, Part V: Sensei & Student

Comic trade paperback, n.pag.
Published 2004 (contents: 2004)
Borrowed from the library
Read January 2013

Birds of Prey: Sensei & Student

Writer: Gail Simone
Pencillers: Ed Benes, Michael Golden, Joe Bennett, Cliff Richards
Inkers: Alex Lei, Ed Benes, Ruy Jose, Mike Manley, Scott Hanna, Michael Golden
Letterers: Jared K. Fletcher, Rob Leigh, Nick Napolitano

This cover indicates that Greg Land isn't even trying anymore; he'll just trace any old woman if they vaguely match what he's going for.

After the very Gotham-focused Of Like Minds, Sensei & Student sees a return to the globe-trotting antics of Chuck Dixon's Birds of Prey stories, though there are no third-world dictators here. Dinah "Black Canary" Lance travels to Hong Kong to pay homage to a dying master who trained her... only to discover that the assassin Lady Shiva was trained by the same master. (The two characters previously appeared together in Green Arrow Annual #1 back in 1989, though there was no such link between them then.) Black Canary and Lady Shiva must team up to find their sensei's killer-- which eventually brings them into contact with Cheshire, the supervillain Dinah once stranded in the distant past. This means lots of opportunities for Ed Benes to drawn cheesecake, of course, but it also means lots of opportunities for fun banter and interplay; the airplane flight is definitely the best part.

Meanwhile, in Gotham, Oracle and the Huntress are looking into a senator who appeared at the end of the previous volume, in a storyline whose complications and rationales always remained a little obscure to me. Also, they improbably conveniently dovetail with both Oracle's Hong Kong plot and a case never solved by the first Black Canary, which we get to see in flashback. (Which was awesome; I love any and all versions of the Black Canary, and the art on this story was certainly the best in the book.) There's some pretty creepy stuff when Oracle gets hacked, and then she gets captured (I feel like this happens a lot). In the end, the heroines win, of course, in a blockbuster final battle. Fun, if not entirely coherent.

The final issue takes a break from the superhero hijinks to show the Birds relaxing; I'd've found this a lot more charming if the art wasn't so anatomically distorted and just plain awkward. (The previous volume was 100% Ed Benes on pencils; this volume sees a number of fill-in artists, which shows that though I might not like Benes cheesecake, other people's cheesecake is a whole lot worse.) I'm not sure what I think of the ending of the plotline about Huntress and the guy who won a date from her. On one hand, she can sleep with whoever she wants. On another hand, this guy is pretty skeevy! On the final hand, it's hard to imagine Batman in this plotline, at least quite this way. The final page is excellent, though; probably the best in the whole book.

Faster than a DC Bullet: Birds of Prey, Part IV: Of Like Minds

Comic trade paperback, 143 pages
Published 2004 (contents: 2003-04)
Borrowed from the library
Read January 2013

Birds of Prey: Of Like Minds

Writer: Gail Simone
Penciller: Ed Benes
Inkers: Alex Lei with Rob Lea
Letterers: John E. Workman, Rob Leigh, Jared K. Fletcher

The cover of this one made me feel a little skeevy when I picked it up from the library-- only one button, Oracle? a "belly window," Huntress?-- but this is the start of Gail Simone's celebrated run on Birds of Prey. For most of the story, Black Canary is captured and seemingly under threat of torture, an interesting contrast to what happened to her at the beginning of Mike Grell's Green Arrow run in The Longbow Hunters. That torture removed her sonic cry, destroyed her ability to have children, and caused her to largely abandon her crime-fighting career. And, of course, she was utterly dependent on Green Arrow to rescue her. (Though what's not often mentioned is that in the prelude to The Black Arrow Saga a couple years later, Green Arrow was just as badly tortured, and rescued by Black Canary in an amazing example of sheer ass-kicking.) The torture her serves as a rebirth of sorts for Black Canary: she remasters her sonic cry, and she's rescued not by her boyfriend, but by her new best friends, Oracle and the Huntress, working together as they've never done before-- not to mention Canary's own quick thinking. It's an effective way to signal the beginning of a new era.

Otherwise, this is a serviceable but unremarkable superhero story, involving captures, double-bluffs, escapes, and lots of fighting. The best part of it is Simone's grasp of the characters; she ably picks up the ball from Chuck Dixon and carries on the development of Dinah and Barbara, adding Helena into the mix as well. There are a lot of great moments: Helena saving a baby, Dinah having to cope with a wheelchair of her own, Barbara's battle of wits with Savant.

If only Ed Benes didn't feel compelled to show off all the female characters' butts and boobs at every opportunity. Are you fifteen, dude? What is this supposed to be in aid of? I also miss the Black Canary costume introduced at the beginning of Dixon's run; I'm not sure where it went in the gap between Old Friends, New Enemies and this story. Benes also draws Dinah a little too young; especially with that haircut, she looks like she's 20 years old, when in fact she's a few years older than Barbara. On the other hand, I think he gets Barbara down perfectly, and he's pretty adept with facial expressions, which is important when you have a largely immobile character!