Bloodstone by Dan Abnett & Andy Lanning, Michael Lopez, Scott Hanna, et al.

from Bloodstone #1

In 2001, twenty-five years after Ulysses Bloodstone was killed off, Marvel brought him back... sort of. Bloodstone was a four-issue miniseries focused on the daughter who never knew her father. Eighteen-year-old Elsa and her mother move to Massachusetts, having inherited a mansion from Elsa's father; down on their luck, they have no other financial resources. Elsa's mother doesn't want her to know her heritage... but of course she soon stumbles on it and ends up taking her father's monster-fighting mantle.

As I said in my previous post (see item #1 in the list below), Bloodstone ends up retooled a bit here. Elsa inherits a piece of his bloodstone gem in the form of a choker, but other than that, there's no substantive connections to his original 1970s appearances, no mentions of the conspiracy he battled or the gem's importance to his quest to defeat monsters. Instead, he's a more generic monster hunter, battling the kind of creatures that might appear in a Universal monsters film, like Dracula or armies of mummies. He has a Frankensteinesque manservant and a vampire legal executor, and the ability to teleport around the world to deal with monsters.

from Bloodstone #4

So this all is what Elsa inherits, accidentally teleporting into danger and figuring a way out of it with the help of the manservant (Adam) and a nerdy teenage boy who has a thing for her. The result is pretty fun, actually. This is nothing deep, but if you don't want to read about a sarcastic teenage girl mocking an undead warlord trying to raise an army of mummies in Egypt... why are you even here? This is pure comics.

The art is occasionally a bit skeevy, and sometimes a little confusing, but it's exactly the kind of art the story calls for, I think. Notoriously, this story was recently revealed to be rewritten by Gail Simone in one of her earliest comic assignments; my understanding is that she punched up the dialogue (to make it more Buffyesque) after the comic was written. I think you can see the signs of this if you know; Joss Whedon talks about how he was once hired to punch up the dialogue on an already recorded film. This meant everything he added had to be done via ADR, and thus the characters became wittier when they were offscreen and he didn't have to match mouth movements. Similarly, here there's a lot of jokes that come from off-panel and aren't totally reflected by the visuals, tonally. Still, if you hadn't told me, I don't think I'd've noticed, it all works together fairly well.

from Bloodstone #2

Bloodstone has never been collected, though Marvel has twice solicited printings of Bloodstone & the Legion of Monsters claiming it will be included. When I first conceived of this project reading through Marvel's Bloodstone stuff, the four issues could be found fairly cheaply on the secondary market, but since then 1) the Gail Simone reveal came out, and 2) Elsa Bloodstone appeared in a MCU animated film on Disney Plus, so now people are more interested in the character, and the issues range from $30 to $150 apiece on MyComicShop.com. Thus, I had to settle for getting them on comiXology.

This iteration of Elsa Bloodstone made just one further appearance of sorts, in a handbook-style one-shot called Marvel Monsters. The book presents profiles of various Marvel monsters, from Bombu of Oobagon VIII and Devil Dinosaur to the Molten Man-Thing and Rorgg, in an in-universe style. It's made up of blog posts by Elsa and e-mails to and from her as she tries to assemble information on all sort of monsters from across Marvel continuity. Again, you can get it on comiXology. I found it hard to read every word—I just don't care about Marvel monsters that much—but I did find it occasionally interesting, and Elsa's voice gave it a lot of charm. There are a lot of goofy monsters in the Marvel universe!

Bloodstone was originally published in four issues (Dec. 2001–Mar. 2002). The story was written by Dan Abnett & Andy Lanning [with dialogue by Gail Simone], penciled by Michael Lopez (#1-4) and Tom Derenick (#4), inked by Scott Hanna, lettered by Jon Babcock, and edited by Mike Marts.

Marvel Monsters: From the Files of Ulysses Bloodstone and the Monster Hunters was originally published in one issue (Jan. 2006). The issue was written by coordinator Michael Hoskin, with Madison Carter, Jeff Christiansen, Sean McQuaid, Stuart Vandal, Eric Moreels, Ronald Byrd, and Barry Reese, and edited by Jeff Youngquist.

This is the second post in a series about Elsa Bloodstone. The next installment covers Nextwave, Agents of H.A.T.E. Previous installments are listed below:

1. Bloodstone & the Legion of Monsters (1975-2012)
   

Faster than a DC Bullet: Project Crisis!, Part LXXII: Convergence: Flashpoint, Book 1

Comic trade paperback, n.pag.
Published 2015 (contents: 2015)
Borrowed from the library
Read July 2017

Convergence: Flashpoint, Book 1

Writers: Dan Jurgens, Greg Rucka, Frank Tieri, Alisa Kwitney, and Gail Simone

Art: Lee Weeks, Dan Jurgens & Norm Rapmund, Cully Hamner, Vicente Cifuentes, Rick Leonardi & Mark Pennington, and Jan Duursema & Dan Parsons
Colorists: Brad Anderson, Dave McCaig, Monica Kubina, Steve Buccellato, and Wes Dzioba
Lettering: Sal Cipriano, Tom Napolitano, Corey Breen, Nick J. Napolitano, Dezi Sienty, and Carlos M. Mangual

The Flashpoint volumes of Convergence strike me as distinct from the earlier ones. Almost all of the characters in the Crisis, Infinite Earths, and Zero Hour volumes continued to exist after the points where they were plucked from for these tales: the Earth-One Legion had many more adventures, so did the Justice Society, so did Aquaman and Kyle Rayner. Those stories mostly revisited old status quos that the characters had moved on from. But Convergence: Flashpoint picks its characters from around the time of Flashpoint: this is, from around the time they ceased to exist. After Flashpoint, the Superman we'd been following in DC Comics since 1985 was gone, so was Renee Montoya, so was Stephanie Brown, so was Nightwing and Oracle. DC brought them back in different forms, but these characters just stopped, without endings.

So Convergence: Flashpoint is different, in that many of its stories seek to give closure to characters whose stories never received it. How did Clark Kent's marriage to Lois Lane turn out? Did Barbara Gordon and Dick Grayson get over there will-they-won't-they thing? How did Stephanie Brown's tenure as Batgirl go? What ever came of Renee's weird relationship with Harvey Dent, the man who had outed her?

All of these questions (with the added complication that the characters spent a year in a domed Gotham) are answered in Convergence: Flashpoint. Unlike with some volumes of Convergence, these are character versions I'm familiar with: I know the post-Crisis, married Superman; I know Nightwing and Oracle from reading all of Birds of Prey; I know Renee Montoya from Gotham Central and 52. So these stories carried a lot more weight than the ones in, say, Infinite Earths or Zero Hour. Plus, in many cases, the writers in this volume worked on these characters themselves. Dan Jurgens wrote and drew the post-Crisis Superman a lot in the 1990s, Greg Rucka didn't create Renee but he may as well have, and Gail Simone defined Oracle in what's still the best Birds of Prey run.

All of this is to say that as exercises in nostalgia and loose ends, these stories mostly worked for me. The Superman tale, where Lois ends up giving birth to a super-baby, is a heartwarming one of how Superman stands for light against darkness. I liked that Rucka used the Convergence framework to have "our" Harvey Dent confront a version of himself who never became Two-Face in a city-to-city fight unlike any other in the series so far. I actually haven't read a lot of Stephanie Brown Batgirl stories, but this seemed a fitting and cute way of tying up her adventures, with her finally finding an identity of her own. And though I never was a Babs/Dick shipper, letting them both get married and be badasses one last time is a nice final story. There's some great art, too; both Lee Weeks and the Dan Jurgens/Norm Rapmund team draw a stunningly heroic Superman; and I was delighted to see Jan Duursema (who I know from decades of Star Wars comics for Dark Horse) doing her thing in the DC universe.

The book's not perfect. I've complained before that the rules for city battles are different in each story, and the ones in the Stephanie Brown story are in particular difficult to reconcile with other volumes-- Stephanie finds out she's Gotham's champion from watching tv (did Telos send them a news bulletin?) among other weirdnesses, and in the Nightwing/Oracle story, Telos has enforcer robots that appear in none other of the thirty-five Convergence battles I've read thus far. Also, I've never read the pre-Flashpoint Justice League, but Frank Tieri's take on it doesn't make me want to. They're obnoxious "strong female character" types, and they don't exactly acquit themselves well here.

The title has a double meaning. These are the versions of the characters from the time of Flashpoint, but in all of the stories, they're fighting Gotham from the "Flashpoint" universe. This actually worked surprisingly well, especially in the first story, where Jurgens extracts some pathos from having the Flashpoint Kal-El ("Subject One") meet the Earth-Zero Lois Lane, and having the Flashpoint Thomas Wayne (who realizes these characters come from the same world as the Flash he met) get to talk to Superman about the kind of man his son became. Wayne's sadness that his universe didn't vanish in a flash is a nice touch.

Next Week: Nothing! This feature goes on temporary hiatus as I transition between states and jobs. Once I get reliable access to an interlibrary loan service again, though, things will pick back up with Convergence: Flashpoint, Book 2 on some future Wednesday. I had hoped to get through all of Convergence before the hiatus, but it was not to be.

Faster than a DC Bullet: All-New All-Different DC, Part XIV: The All New Atom: The Hunt For Ray Palmer!

Comic trade paperback, 126 pages
Published 2008 (contents: 2007)
Borrowed from the library
Read April 2017

The All New Atom: The Hunt For Ray Palmer!

Writer: Gail Simone

Penciller: Mike Norton
Inkers: Dan Green, Trevor Scott
Letterers: Pat Brosseau, Travis Lanham, John J. Hill
Colorist: Alex Bleyaert
Bonus story writer: Roger Stern

This volume isn't great, but it's finally beginning to feel like Gail Simone and her artistic collaborators are getting a hold on the premise and character of The All New Atom. In this volume, Ryan Choi is recruited to find his predecessor, first by one of Ray Palmer's enemies, and then by the Challengers from Beyond from Countdown to Final Crisis. The inventive, fanciful ideas are in full force, as Ryan encounters a race of tiny aliens, half of whom consider the Atom a god and half a demon, then travels into a simulation of the afterlife where he meets the Ted Kord Blue Beetle, then helps prevent a giant monster attack on Ivy Town, then stops an evil alien using 1960s music to control the town.

But I can't help feeling that though this book has good jokes (the Ray Palmer impersonator in the tiny village is great), it's completely unfocused and not in a good way. Like, the whole fake afterlife thing is largely tossed off and irrelevant, even if it does give us Ryan kicking a jetpack-wearing Hitler in the face:

Related to this: Ryan declares that reality itself has jumped the shark.
from The All New Atom #14 (script by Gail Simone, art by Mike Norton & Trevor Scott)

I mean, one issue ends with the Challengers finding a message written in blood from Ray Palmer:

Faster than a DC Bullet: All-New All-Different DC, Part X: The All New Atom: Future/Past

Comic trade paperback, 127 pages
Published 2007 (contents: 2007)
Borrowed from the library
Read March 2017

The All New Atom: Future/Past

Writer: Gail Simone

Pencils: Mike Norton, Eddy Barrows
Inks: Andy Owens, Trevor Scott
Letters: Pat Brosseau, Travis Lanham
Colors: Alex Bleyaert

Like the previous volume, Future/Past doesn't deliver on the potential that I see in the "all new" Atom, Ryan Choi. What makes him interesting is his academic background (okay, maybe as a college instructor I'm a little biased there) and the setting of Ivy Town, a place where so much mad science has been practiced that "normal" is a meaningless term. And I liked the cast of characters Gail Simone and John Byrne set up in volume one, Ryan's eccentric fellow professors who all play poker together.

This guy's research credentials had better be amazing, given how awful a teacher he is. Here I am slaving away in adjunct-land, and this awful guy has a tenure-track position at an Ivy!
from The All New Atom #7 (art by Mike Norton & Andy Owens)

The first story collected here, "The Man Who Swallowed Eternity," promises time-travel shenanigans, but is really depressingly straightforward. Ryan is told by a Linear Man* to turn in a guy if he asks Ryan for help, the guy appears and Ryan doesn't turn him in, the Linear Man comes back and Ryan persuades him to not kill the guy anyway. That's it, but somehow it takes two issues to play out. The fact that the Linear Man sends cowboys after Ryan, or that Ryan and the fugitive end up in a dystopian future Ivy Town, are just irrelevant side-shows. Neat ideas in this story, but nothing neat is done with them.

That said, Mike Norton does good, slick, action-filled artwork. Wish he was the primary artist for the series...
from The All New Atom #7 (art by Mike Norton & Andy Owens)

The second story, "Jia," feels like a misstep for the book at this stage: a girl Ryan loved from afar asks him to come back to Hong Kong to help deal with an abusive husband, who used to bully Ryan... only she neglected to mention that the husband is already dead but still angry! Ryan's bullied-nerd background is dull and stereotypical, and Jia's portrayal as a woman being fought over by two men is pretty surprising coming from the writer who coined the term "Women in Refrigerators," especially given the last twist in the story. The three-issue detour back to Hong Kong is mistimed for a book that's barely done much with its actual setting thus far. Let's see more of Ivy Town! Most of the book's recurring cast doesn't even appear in this volume, unfortunately. Establish your world, then take a break from it.

...as opposed to Eddy Barrows, who is terrible at drawing Asian faces. (Or maybe just faces.)
from The All New Atom #10 (art by Eddy Barrows & Trevor Scott)

So far The All New Atom isn't really delivering on its potential. Hopefully this happens in the third volume... because we're running out of volumes, as it only lasted four!

Next Week: Blue Beetle has to Reach for the Stars!

* Since when are the Linear Men murderous jerks, anyway?

Faster than a DC Bullet: All-New All-Different DC, Part VI: The All New Atom: My Life in Miniature

Comic trade paperback, 160 pages
Published 2007 (contents: 2006-07)
Borrowed from the library
Read January 2017

The All New Atom: My Life in Miniature

Writer: Gail Simone

Pencils: John Byrne, Eddy Barrows
Inks: Trevor Scott
Letters: Travis Lanham
Colors: Alex Bleyaert

At the end of Identity Crisis, Atom Ray Palmer vanished-- and given what had happened to him, it's hard to complain. The All New Atom follows the adventures of Ryan Choi, a young Ph.D. from Hong Kong who takes Palmer's place at Ivy University, Ivy Town, as a professor of nuclear physics. Choi was a correspondent of the Atom from a young age, and of course doesn't just take Palmer's place in the laboratory/classroom, but soon finds himself stepping into the role of the Atom.

The basic premise of this book is excellent. As an academic, I like that the book is not only set in a college town, but uses that-- Choi's best friend is another professor, and Choi is supported technologically by a group of professors who get together to play poker and complain about things. The Dean is a key character in the book. (That said, apparently the Dean of this university hires professors without campus visits!) I especially like the idea that years of wacky happenings have totally rewritten the laws of physics within Ivy Town:

It seems like someone should be doing more about the witch-burnings than they are.
from The All New Atom #4 (art by Eddy Barrows & Trevor Scott)

Also there are some good academic jokes:

This is like when my union local asked me to sign a petition supporting more STEM funding. I was like, "Where I'm standing from it seems like STEM has more than enough funding. How about some Humanties love?" I didn't try to murder anyone over it, though. Also I don't think the composition of reality was at stake.
from The All New Atom #6 (art by Eddy Barrows & Trevor Scott)

Plus John Byrne pencils most of the book, and you can almost never beat Byrne on a superhero book. Clear storytelling, good facial expressions, bold action:

Surely a car would be a faster way to travel?
Well, maybe not given the roads in some college towns.
from The All New Atom #2 (art by John Byrne & Trevor Scott)

I also liked Simone's device of placing quotations (mostly from scientists, real and fictional) juxtaposed with the dialogue, a nice comics-dependent device.

Unfortunately, the book's actually story remained too muddled for me to get into it. What exactly was at stake in the weird war between cancer and tiny people? What did the Dean and a serial killer have to do with it all? Why was there all of a sudden a threat to the President that was resolved just as quickly? Why would the Dean call in the father of a professor he's worried about-- and how on Earth could the father of a professor make him go home? I just never really got the relationships between a lot of what was going on throughout most of the book, making for a confusing and disappointing reading experience. Hopefully future volumes deliver on the strong premise of this series.

Next Week: Manhunter is back, and ready to be Unleashed!

Faster than a DC Bullet: Birds of Prey, Part XXI: A Clash of Daggers

Comic trade paperback, n.pag.
Published 2013 (contents: 2012-13)
Borrowed from the library
Read June 2016

Birds of Prey, Volume 3: A Clash of Daggers

Writers: Duane Swierczynski, Gail Simone

Artists: Romano Molenaar, Vicente Cifuentes, Admira Wijaya, Daniel Sampere, Juan Jose Ryp

Letterers: Dezi Sienty, Dave Sharpe

Colorist: Chris Sotomayor

A Clash of Daggers opens with a standalone tale about Batgirl, Jim Gordon, Catwoman, and a leftover Talon from the Night of the Owls. It's a neat, character-driven story, where Batgirl, Catwoman, and the Talon, later given the name Strix, all have to learn to trust one another, making leaps of faith for their various own reasons: Catwoman allows herself to be arrested to delay the police so that Batgirl can take Strix in and help her reacclimate from being a tool of the Court of Owls.

But it's okay for Batgirl to be a roommate to a girl who's never known anything but killing?
from Batgirl Annual vol. 4 #1 (script by Gail Simone, art by Admira Wijaya & Daniel Sampere)

The next story must take place before that one, because the Birds, Batgirl included, are still recovering from Poison Ivy's toxin in Your Kiss Might Kill. Katana's sword is stolen by the Dagger clan, and the Birds accompany her to Japan to steal it back; they also bump into Condor, a sort of clumsy oaf of a superhero. Though the details of the Dagger plot kind of escaped me, this is one of Duane Swierczynski's better Birds of Prey tales: the girls work together as a team, Condor is fun, the banter is good, and Romano Molenaar and Vicentue Cifuentes turn in the best art the book has had in a long while.

No, it's okay, pick on Condor.
from Birds of Prey vol. 3 #14 (script by Duane Swierczynski, art by Romano Molenaar & Vicente Cifuentes)

The last story sees Strix joining the Birds as a replacement for the departed Katana as they track down a terrorist arms dealer. I don't really care for the subplot about Dinah's malfunctioning powers, but other than that this is a decent, solid tale-- not quite as good as the previous one, but still entertaining enough. It's amazing how much good a consistent art team goes, making the characters feel like real people. It's pretty action-heavy, though, so I hope what comes next can draw out the character dynamics of this constantly fluctuating team a little bit more clearly: I like Dinah, Batgirl, Ev Starling, and Condor, and am prepared to like Strix, but I don't think these birds have yet been allowed to soar.

I couldn't decide if I wanted to do the top half of the page (for some good Starling banter) or the bottom half of the page (for some good Black Canary/Condor banter), so I ended up not cropping it at all.
from Birds of Prey vol. 3 #16 (script by Duane Swierczynski, art by Romano Molenaar & Vicente Cifuentes)

Next Week: A new writer takes over when the Birds of Prey face The Cruelest Cut!

Faster than a DC Bullet: Project Crisis!, Part XXV: Infinite Crisis Companion

Comic trade paperback, 165 pages
Published 2006 (contents: 2006)
Borrowed from the library
Read June 2014

Infinite Crisis Companion

Writers: Bill Willingham, Dave Gibbons, Greg Rucka, Gail Simone

Pencillers: Justiniano, Ivan Reis, Joe Prado, Jesus Saiz, Dale Eaglesham, Phil Jimenez
Inkers: Walden Wong, Wayne Faucher, Marc Campos, Oclair Albert, Michael Bair, Jesus Saiz, Art Thibert, Drew Geraci, Andy Lanning
Colorists: Chris Chuckry, Nathan Eyring, John Kalisz, Rob Schwager, Guy Major, Jeromy Cox
Letterers: Pat Brosseau, Jared K. Fletcher, Rob Leigh

This is a weird book, and by itself, it doesn't really work. It has a followup to each of the Countdown to Infinite Crisis miniseries (Day of Vengeance, Rann-Thanagar War, The OMAC Project, and Villains United), showing what its characters were doing during Infinite Crisis itself. These could have been tacked on to the ends of each Countdown trade, or even better, included in Infinite Crisis itself as they comprise somewhat important parts of its story, showing how the Spectre is brought under control, how the space heroes fight the rift in the Polaris Galaxy, and most importantly, what the heck was going on with that worldwide prison break. By themselves, they're just kinda weird little stories that don't mean anything. Or rather, parts of stories.

In "The Ninth Age of Magic," a group of over thirty magic users draws the Seven Deadly Sins out of Gotham after the explosion of the Rock of Eternity. It's pretty perfunctory: one by one a member of Shadowpact finds and confronts a Sin. Its real interest is in the gaps it plugs, not in it as a story. "Hands of Fate" has a similar problem: adding all the heroes recruited by Wonder Girl to the already-overcrowded space hero group doesn't make these people more interesting. Alan Scott's daughter Jade, who hadn't even been in the story before, is killed off for some reason.

Thankfully, the last two stories are the best. "The Lazarus Protocol" is the least "essential" to Infinite Crisis: Sasha Bordeaux leads a group to finally defeat Brother Eye after it crashes to Earth, but reading Infinite Crisis, you would just assume it was destroyed in the crash itself. But it brings Sasha's story (begun in The OMAC Project) to a nice conclusion, as she learns how to be her own person-- and a hero-- outside the confines of Checkmate, making it the best and most pointful story in the book.

Finally, there's "A Hero Dies But One": the Secret Six try to find their place in the world and Oracle and the Martian Manhunter draw together every hero they can to combat the global prison break. It's not a hugely complicated story, but it is fun. Simone, as always, has a talent for groups and a talent for humor.

Faster than a DC Bullet: Project Crisis!, Part XXII: Villains United

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

Villains United

Writer: Gail Simone

Pencillers: Dale Eaglesham, Val Semeiks
Inkers: Wade Von Grawbadger, Prentis Rollins
Letterers: Jared K. Fletcher, Pat Brosseau

As Lex Luthor unites the villains of the world into a new Secret Society, only six villains remain outside of his organization: Catman (who I remember from Green Arrow where he got eaten by an alien portal or something), Cheshire (a recurrent enemy in Birds of Prey), Ragdoll (son of the villain from Starman), Scandal (daughter of Vandal), Deadshot (I think he's a Batman villain?), and Parademon (a parademon from Apokolips). Like the old Secret Six, they're working for a mysterious Mockingbird whose true identity and agenda remain an enigma to them.

Simone, as anyone who read Birds of Prey knows, is good at writing teams, and it is in the character dynamics that this book shines. There's a lot of fun to be had in this group of people: shame about Parademon, actually, and I was surprised by the extent to which I immediately came to like Scandal. Someday, I suppose, I'll read the Secret Six spin-off and find it's as good as everyone says it is.

Where this book becomes less interesting is in the machinations that tie more directly into the impending Infinite Crisis: half of the Secret Society's leadership is actually comprised of lame villains (I am opposed to every story which tries to convince me Deathstroke the Terminator is legit, but this group throws in "Doctor Psycho" too whose power is I think being short), and then there's some stuff about Firestorm that's not really clear; I guess I am supposed to be reading his book. (I don't know why Firestorm always has a key role in these big crossovers, but it's a tradition that has roots going all the way back to 1982's "Crisis on Earth-Prime!" See also Crisis on Infinite Earths, Legends, Millennium, and Identity Crisis. He died in that last one, and he's still back for this one! I look forward to seeing him in Final Crisis.) I must admit, though, that the Mockingbird revelation is really quite neat. I wish I hadn't known about it ahead of time.

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 XVI: The Death of Oracle

Comic trade paperback, n.pag.
Published 2012 (contents: 2011)
Borrowed from the library
Read May 2013

Birds of Prey: The Death of Oracle

Writers: Gail Simone, Marc Andreyko
Artists: Ardian Syaf, Vicente Cifuentes, Guillem March, Inaki Miranda, Pere Pérez, Jesus Saiz, Diego Olmos, Billy Tucci, Adriana Melo, JP Mayer, Eber Ferreira
Colorists: Nei Ruffino, Bob Schwager  
Letterers: Travis Lanham, Dave Sharpe, Swands, Carlos M. Mangual

Like some of the previous Birds of Prey volumes, this is a loose collection of individual stories, so I'll handle them one by one. The first of these is the titular one, "The Death of Oracle," where Barbara decides that these days too many people know there is an Oracle, and that just that bare fact opens her up to too much, and so she executes a masterplan that will allow the world to think that Oracle is dead. Of course, this masterplan goes awry, as the Calculator pulls some unexpected allies in, but not too awry. It's an okay story, with a couple good moments (I love the roles of Savant and Creote in the reconstituted Birds of Prey, and Dove getting drunk for the first time is enjoyable), but mostly it feels like one long fight scene stretched out over four issues. The way the Calculator's henchmen turn on him in the last part comes out of nowhere, too.

It's let down by some inconsistent and often-terrible art. Ardian Syaf and Vicente Cifuentes do a good job on the first chapter, and Guillem March isn't bad on the second, but I find Inake Miranda's work to be plastic and artificial, especially his faces, which seems incapable of conveying real emotion, and his linework is all the same thickness. Especially bad is the scene where Oracle reveals the full extent of her plan to Batman, Batman, Batgirl, Red Robin, and Misfit,* and all the characters stand in a succession of poses.

It's also let down by the fact that it doesn't really matter. The Birds don't seem to operate any differently with a "dead" Oracle, and indeed, they're pretty sloppy about keeping her up the necessary appearances, talking about Oracle right in front of villains they're fighting. What's more, at first Manhunter is specifically shown as one of the characters they're deceiving, but by the end of the book, she's not only in on the deception, she knows that Barbara Gordon is Oracle-- something she didn't know before Oracle was "killed." Some heightening of security.

"Which Reason Knows Not Of" continues the development of the flirtation between the Huntress and Catman begun in Dead of Winter. Their interplay is good, though Catman's triple-bluff plan here is a little too complicated to be believable, and I'm not sure why he even wants the result that he gets, which seems unnecessary given how superficial his relationship with the Huntress is.

"Hostile Takeover" is probably the best story in the book, a simple two-issue caper featuring the Birds teaming up with the Question. Fun and not too complicated, just like I prefer my stories, though there are too many characters. (On the other hand, this is the only time Hawk ever feels interesting.) Jesus Saiz does good art on the first issue, though Diego Olmos's backgroundless panels feel phoned-in. I don't get why the Huntress replaces the Black Canary as field leader, though.

The book (and this incarnation of Birds of Prey) wraps up with "War and Remembrance," a two-part callback to the Golden Age. A post-WWII mission of the original Black Canary, the Phantom Lady, and Lady Blackhawk turns out to have modern-day repercussions. A good idea, but ultimately the story's kind of a muddle, and it ends on a lame "joke" where all the characters laugh. Also, since when was the original Black Canary active during World War II? The art is done by like five different people, and I liked some of it.

Ultimately, I don't know how necessary this revival of Birds of Prey was. Though I didn't like the way that the original series wrapped up, this reincarnation seemed to stagger around without clear direction or purpose. And why go to the bother of getting Gail Simone back if you're just going to pair her with an ever-changing cadre of subpar artists?

* Speaking of Misfit, why is this her only appearance in this whole book? She supposedly moved in with Helena during Oracle: The Cure, but we haven't actually seen her since then, and End Run mentioned she was with foster parents. I miss her!

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 X: Dead of Winter

Comic trade paperback, 124 pages
Published 2008 (contents: 2007)
Borrowed from the library
Read March 2013

Birds of Prey: Dead of Winter

Writer: Gail Simone
Penciller: Nicola Scott
Inker: Doug Hazlewood
Letterer: Travis Lanham

Dead of Winter picks up pretty close to the end of Blood and Circuits: the Spy Smasher has seized control of the Birds of Prey, sending them on a mission into Russia to track down a dangerous weapon, where they come into conflict with the Secret Six, who I guess are a supervillain/mercenary team that Gail Simone has also written for.

There's a lot of running around and fighting; it's a shame that Simone wasn't able to go out with something more character-focused, though Dead of Winter certainly has its moments. I loved the interplay between the Huntress and Catman, Harley Quinn was hilarious, I am starting to like Manhunter (and looking forward to reading her solo series someday), Creote is in it, and the bit where Deadshot shoots the villain was great. There are some confusing continuity touches, though: Ice, of old Justice League International fame, appears, but not in a way that's really clear to new readers. Or even this old one who hasn't read any JLI-era stuff in nearly a decade. Though bringing in other heroes is nice in theory, I think we have more than is needed here; the Birds seem to work pretty well with three or four.

The highlight is definitely the ending, where Oracle finally takes on the Spy Smasher, and we see what really makes her stronger (hint: it's not being stronger). Dinah puts in a final appearance, which is great, and then there's one, final page that sums up everything that's great about Barbara.

For the first time in so many Birds of Prey books I can't even remember it (six, actually), Dead of Winter is illustrated all the way through by one artistic team, Nicola Scott and Doug Hazlewood. The consistency is nice, of course, but what's even better is that Scott and Hazlewood are good. Their heroes (male and female alike) are attractive without falling into male gaze-type territory, and the artwork is nice and clean without being too cartoon-ish on one hand, or too "realistic" on the other. Good faces, especially. I don't like the way they draw Oracle's glasses, but if that's not nitpicking, I don't know what is.

This is the last (for now) Gail Simone volume, and though it's not as good as some (The Battle Within and Perfect Pitch are probably the apex of her run to me), it's a good way to go out. I look forward to seeing what happens next, especially if Nicola Scott and Doug Hazlewood are going to stick around.

Faster than a DC Bullet: Birds of Prey, Part IX: Blood and Circuits

Comic trade paperback, 206 pages
Published 2007 (contents: 2006-07)
Borrowed from the library
Read February 2013

Birds of Prey: Blood and Circuits

Writer: Gail Simone
Co-Writer: Tony Bedard
Pencillers: Nicola Scott, Paulo Siqueira, James Raiz
Inkers: Doug Hazlewood, Robin Riggs
Letterers: Travis Lanham, Pat Brosseau, Jared K. Fletcher, Rob Leigh, Ken Lopez

Even though there's no year-long gap in the middle, Blood and Circuits feels divided in much the same way as its predecessor. The first half continues the Birds of Prey's encounters with the Secret Society of Super Villains that began in Perfect Pitch, as they compete for control of Black Alice. Dinah considers her membership of the team, because of the girl Sin she adopted in that volume, and Helena has another showdown with a mobster from that story. On the other hand, a mysterious wannabe-Batgirl has appeared in Gotham. It's an okay story, worth it as always for the characters' interplay and growth, which wraps up with Dinah really deciding to leave. She also publishes a book about her career, which is charming, though I found it hard to believe that Barbara wouldn't have noticed until it came out!

The second half gives us a very different approach, as Dinah recruits widely to find a replacement for the Black Canary. Huntress and Lady Blackhawk on a mission with Big Barda turns out to be every bit as amazing as you'd imagine, and we also get to meet Kate "Manhunter" Spencer for the first time. She is awesome;  I look forward to reading her solo series someday. We also get a villain matched to Oracle: the Spy Smasher. She seems good so far, though the fact that she went to college with Barbara is a bit much. Unfortunately, the story is hard to judge, as the book ends when it's only halfway over. In retrospect, the last few collections of Birds of Prey could have been handled a bit better, I think, with something like:

• first half of The Battle Within (taking down rogue vigilantes; issues #76-80)
• second half of The Battle Within and first half of Perfect Pitch (up against the Gotham mobs, ending just before the Infinite Crisis; issues #81-90)
• second half of Perfect Pitch and first half of Blood and Circuits (Dinah and Sin, all after the one-year jump; issues #92-99)
• second half of Blood and Circuits and... whatever comes next? (issues #100+)

The best part of Blood and Circuits, by the way, is definitely the little story in the middle, where Dinah explains her history to Sin. Well written by Gail Simone and Tony Bedard, and probably the best art that Paulo Siqueira and Robin Riggs did on the title. The second half introduces Nicola Scott on pencils and Doug Hazlewood on inks, and she's my favorite of the artists paired with Simone thus far; I look forward to seeing more of her work in future volumes.

Faster than a DC Bullet: Birds of Prey, Part VIII: Perfect Pitch

Comic trade paperback, 223 pages
Published 2007 (contents: 2005-06)
Borrowed from the library
Read February 2013

Birds of Prey: Perfect Pitch

Writer: Gail Simone
Pencillers: Paulo Siqueira, Joe Bennett, Joe Prado, Eddy Barrows, Adriana Melo, Bruce Timm, David Lopez, Adam Dekraker
Inkers: Robin Riggs, Jack Jadson, Dick Giordano, Will Conrad, Fernando Blanco
Letterers: Jared K. Fletcher, Pat Brosseau

Perfect Pitch opens with a three-part celebratory story, which is possible one of the funnest Birds of Prey tales yet. The first part gives us a part for the recovered Dinah, with lots of fun moments for each of the characters, especially Zinda's attempts to flirt with Creote, Helena trying a new Italian restaurant's food, and Barbara making up with Dick. (Speaking of which, I feel like I only ever have half the story on that relationship-- was the other half happening in Nightwing comics I haven't read?) Then, there's a crazy story of a cultist attempt to sacrifice reporters in downtown Metropolis while Superman's away, which Dinah defeats with her usual aggressive approach. Bruce Timm's artwork for this tale is, of course, amazing. Finally, Helena gets to do some avenging. I'd say she was rapidly becoming my favorite Bird of Prey, except Barbara and Dinah are just as awesome.

The next story, the titular "Perfect Pitch," puts the Birds of Prey up against the Calculator (last seen by me being an anti-Oracle in Identity Crisis) as they continue their efforts to destroy Gotham's gangs by letting Huntress take over one of them. I didn't like this as much as some of the other recent stories: Batman is a jerk for unexplained reasons (if he previously told Oracle to stay out of Gotham, we never saw it happen in Birds of Prey itself), and Deathstroke the Terminator, possible my least favorite DC villain who is not Mongul, shows up. While him posing a threat to the Birds of Prey is more probable than him posing a threat to the Justice League, he's still completely overdone, and I was beyond pleased to see Dinah get him in the eye! Actually, there are a number of good moments in the story, such as Barbara revealing her new secret identity to her father, Huntress continuing to be badass, Dinah reconnecting with Oliver Queen for the first time since he cheated on her in Straight Shooter, Savant and Creote finally achieving real redemption, Dinah... "thanking" Batman, and Zinda learning the truth about Creote.

There's a year-long gap between "Pefect Pitch" and the next story, "Progeny." By the time of "Progeny," Dinah has left the team to switch positions with Shiva, who she wants to both learn from and redeem. I found that takeaway from Dinah being in the village where Shiva was raised kinda weak: she learns who she really is for the umpteenth time, I think. But I did like the subplot with Sin, even knowing how this will end up in Green Arrow and Black Canary.

On the other hand, Shiva serving with the Birds of Prey as "the Jade Canary" is every bit as delightful as you might imagine. But ugh, Prometheus shows up, and as long-time readers of my reviews might know, I hate him as much as Deathstroke and Mongul combined, probably. How did this many bad villains end up in the same collection? Also, Gypsy joins the Birds in this story... only you wouldn't even know that was her name were in not for the dramatis personae at the volume's beginning! Whoops.

Paulo Siequeira and Robin Riggs draw most of this volume, and they turn out to be Simone's most solid artistic partners yet. Good faces, solid linework. I was amused to notice that in this volume, Helena starts wearing purple lipstick that matches her Huntress costume's colors!

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.