Batgirl and the Birds of Prey #4
Writers: Julie Benson and Shawna Benson
Artist: Roge Antonio
Publisher: DC Comics
While on the trail of a mysterious new Oracle, the Birds of Prey – Batgirl, Black Canary, and Huntress – have tracked down Santo Cassamento, one of their only leads to Oracle’s location. Unfortunately for the Birds, a group of snake-themed villains were able to kidnap Santo following a deadly skirmish between the two groups. After a heated argument between Batgirl and Huntress over Huntress’ murder of a mob gangster, Huntress decides to go off on her own, leaving the Birds of Prey short one member.
This month, Batgirl and the Birds of Prey #4 gives us an extended look at Helena Bertinelli’s childhood, finally revealing why she’s hell bent on pursuing Gotham’s mob families. For those of you who are nostalgic for 90’s era Helena, you’ll be happy to know that her past is still intact in this iteration. For those of you who prefer the New 52’s Matron, this current Helena is so different from her portrayal in Grayson that they might as well be different people. It’s honestly a little jarring, and I hope Benson and Benson are able to go backwards a little bit and add in some of the cool, mature mystique that made Matron such an interesting character.
One of my favorite parts of this issue, and really the entire series in general, is how great the action sequences are. Benson and Benson have done a great job developing the team dynamic between the three main characters, and the fight sequences are a great way of showcasing that development. Unfortunately, the villains they go up against are so bland and forgettable that it really serves to dampen how cathartic and emotionally impactful these scenes could be. I mean, how do the Snakes serve to challenge the heroes in any way other than physically? Other than serving as a group for the Birds to take down, are they really necessary in moving the plot forward?
Over in the art department, it’s a toss-up over who I prefer between Roge Antonio, this issue’s artist, and Claire Roe, who drew the last three issues plus the Rebirth one-shot. I know for sure that I prefer Antonio’s softer, rounder faces over Roe’s angular jawlines and thin, flat eyes. On the other hand, Roe’s action shots definitely feel more forceful and kinetic, and that goes a long way in such a fast-paced series. Regardless, the character art in this issue really doesn’t do the Birds of the Prey justice, and that’s a shame. The background art in this issue, however, is great, due in no small part to color artist Allen Passalaqua. Some backgrounds, like the starry nighttime sky in the first few pages, or the yellow-to-red sunset in one of the flashback scenes, are strikingly beautiful. Kamome Shirahama’s variant covers are also some of my favorite covers in DC’s entire lineup. In my opinion, the rounded, anime-inspired characters are more appropriate than what either Roe or Antonio are giving us. I’d like to see her give a shot on the interior art.
In my opinion, Batgirl and the Birds of Prey #4 isn’t the most compelling comic in DC’s current lineup. Ultimately, it comes down to having a shaky, convoluted plot plus what might be the least interesting group of villains in all of Rebirth (although the other Batgirl series might take the cake for that one). We do get some stellar background art, but Antonio’s character art ranges from decent to distracting, which is kind of a shame considering the legacy of these characters. If you’re a fan of Batgirl, Huntress, or Black Canary, then I’d say go and pick this one up, since the team dynamic and character writing is really quite good, but otherwise there are definitely better choices out there.
Artist: Roge Antonio
Publisher: DC Comics
While on the trail of a mysterious new Oracle, the Birds of Prey – Batgirl, Black Canary, and Huntress – have tracked down Santo Cassamento, one of their only leads to Oracle’s location. Unfortunately for the Birds, a group of snake-themed villains were able to kidnap Santo following a deadly skirmish between the two groups. After a heated argument between Batgirl and Huntress over Huntress’ murder of a mob gangster, Huntress decides to go off on her own, leaving the Birds of Prey short one member.
This month, Batgirl and the Birds of Prey #4 gives us an extended look at Helena Bertinelli’s childhood, finally revealing why she’s hell bent on pursuing Gotham’s mob families. For those of you who are nostalgic for 90’s era Helena, you’ll be happy to know that her past is still intact in this iteration. For those of you who prefer the New 52’s Matron, this current Helena is so different from her portrayal in Grayson that they might as well be different people. It’s honestly a little jarring, and I hope Benson and Benson are able to go backwards a little bit and add in some of the cool, mature mystique that made Matron such an interesting character.
One of my favorite parts of this issue, and really the entire series in general, is how great the action sequences are. Benson and Benson have done a great job developing the team dynamic between the three main characters, and the fight sequences are a great way of showcasing that development. Unfortunately, the villains they go up against are so bland and forgettable that it really serves to dampen how cathartic and emotionally impactful these scenes could be. I mean, how do the Snakes serve to challenge the heroes in any way other than physically? Other than serving as a group for the Birds to take down, are they really necessary in moving the plot forward?
Over in the art department, it’s a toss-up over who I prefer between Roge Antonio, this issue’s artist, and Claire Roe, who drew the last three issues plus the Rebirth one-shot. I know for sure that I prefer Antonio’s softer, rounder faces over Roe’s angular jawlines and thin, flat eyes. On the other hand, Roe’s action shots definitely feel more forceful and kinetic, and that goes a long way in such a fast-paced series. Regardless, the character art in this issue really doesn’t do the Birds of the Prey justice, and that’s a shame. The background art in this issue, however, is great, due in no small part to color artist Allen Passalaqua. Some backgrounds, like the starry nighttime sky in the first few pages, or the yellow-to-red sunset in one of the flashback scenes, are strikingly beautiful. Kamome Shirahama’s variant covers are also some of my favorite covers in DC’s entire lineup. In my opinion, the rounded, anime-inspired characters are more appropriate than what either Roe or Antonio are giving us. I’d like to see her give a shot on the interior art.
In my opinion, Batgirl and the Birds of Prey #4 isn’t the most compelling comic in DC’s current lineup. Ultimately, it comes down to having a shaky, convoluted plot plus what might be the least interesting group of villains in all of Rebirth (although the other Batgirl series might take the cake for that one). We do get some stellar background art, but Antonio’s character art ranges from decent to distracting, which is kind of a shame considering the legacy of these characters. If you’re a fan of Batgirl, Huntress, or Black Canary, then I’d say go and pick this one up, since the team dynamic and character writing is really quite good, but otherwise there are definitely better choices out there.
A Look Inside
Comments
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Overall, I really enjoyed dissertation uk this comic! I never read any Birds of Prey comics before, but now I’m itching for the next issue. While yes, the dialogue could be improved slightly, the humorous banter between the three leads definitely makes up for it. In an age where DC is dominated by heavyweights like Superman and Batman, it’s great to know DC hasn’t forgotten about these characters. I cannot wait to see where the Benson sisters will take the Birds of Prey next and their inevitable showdown with Blackbird.