Work/Life (Im)balance: Batgirl #45

The following is my review of Batgirl #45, which was posted on PopMatters.com.

When it comes to work/life balance, too many people see it as an either/or proposition. You work for 30 hours a day, toiling endlessly in the reckless pursuit of advancing a career that may or may not have room to advance. Or you can work with the same spirit as a Dilbert cartoon, seeing it only as a chore that gets in the way of whatever your true interests might be. There's a vast gray area in which most people operate, but it's also an area that is ill-suited for Batman and others like him.

In that sense, Barbara Gordon makes the most concerted effort of the Batman family to balance work and life. She doesn't dedicate three-fourths of her day to living in a cave, analyzing crime patterns, and endlessly debating with Superman. She actually tries to have a functioning personal life in addition to being Batgirl. She's a college student now, trying to live off a diet of lattes and Ramen Noodle while fighting crime. For the most part, Barbara has managed to avoid having the kind of nervous breakdown that most ordinary college students have during midterms. But like tuition hikes and overpriced textbooks, there are bound to be complications.

These complications in Barbara Gordona's life, both in and out of the mask, have been slowly developing. Batgirl #45 attempts to accelerate that development. While the pace isn't going to be hazardous to anyone with a heart condition, it at least develops the parts of her life that usually get overlooked. It might not be as exciting as a fist-fight with the Joker, but it's still refreshing and meaningful.

There's no crime to fight in this issue. This isn't a case of Peter Parker getting a pay cut because the Hobgoblin attacked him on the way to work. The most pressing concern for Barbara and Batgirl in this issue is her friend Alysia's wedding. On the surface, it's mundane by Batman standards. Unless the wedding is subject to a random attack by Clayface, it doesn't seem like an event worth exploring. But Cameron Stewart and Brenden Fletcher make the case that there is something compelling here.

Usually, when there's a wedding involving superheroes, it's only compelling if it coincides with a disaster that makes the first two Hangover movies look tame by comparison. We've come to expect the life of a superhero to make major events like weddings a magnet for super-villains, assassins, and the occasional killer robot. None of those threats show up at Alysia's wedding, but someone disruptive does enter the picture. And his name is Dick Grayson.

This is where the tone of the Batgirl series as a whole sets itself apart. Rather than put Barbara in a situation where her superhero life gets in the way of her personal life, Stewart and Fletcher blur the line between those lives. They put Barbara in a position where she has to deal with someone who was and still is part of both lives. It's an awkward position to be in, even when it's not on a friend's wedding day. But it's that awkwardness that makes it compelling and not in the same mold as a typical Jennifer Anniston movie.

While there's no major crime for Batgirl to fight, she does don her costume. She does end up chasing Dick in a way that helps them relive their history together. It's a history where major complications have kept them from developing a serious relationship. And Dick being "dead" is hardly the biggest complication.

Throughout the course of the Batgirl series, Barbara has focused on moving forward with her life. She's established herself as both a superhero and a college student. She even managed to find time to make new friends, some of which act as de-facto allies to the Batman family. She also has a new love interest in her life in Luke Fox. These are the new facets of her life. Dick Grayson is one of those old facets. He's not one of those bitter exes that would post embarrassing pictures on Facebook, but he makes clear that he still has an impact on Barbara.

It's this impact that gives the issue meaning. It provides a unique context to the progress Barbara has made with her life at this point. She's trying to move forward, but her behavior around Dick Grayson shows that a part of her is still clinging to the past. And it's not just because Dick Grayson has a way of making women weak in the knees. He and Barbara have a much richer history than Barbara and Luke Fox. And it's not like that history became tainted by a deal with Mephisto. It still has emotional weight.

In some ways, that's the biggest shortcoming of Batgirl #45. As meaningful as the interaction is between Barbara and Dick, there's never a sense of closure. It has emotional depth, but it doesn't give the impression that anything has changed. Barbara and Dick still can't be part of each other's lives. There's still an emotional connection between them. But beyond that, there isn't much progress in terms of character development. And what little there is certainly doesn't give the impression that Barbara Gordon and Luke Wilson will be DC's next power couple.

As a part of the story in Barbara Gordon's new life, this issue acts as a meaningful connection between the past and present. It lacks action in that this is one of those rare comic book weddings where the ceremony isn't ruined by a super-villain, alien invasion, or something of the sort. It's not meant to be the Red Wedding episode of Game of Thrones.

As such, it's not going to generate a lot of excitement or a lot of outrage from One Million Moms. It tries to do something different. It succeeds in part, but lacks the impact to make it feel complete. It's still another step forward in this new life for Barbara Gordon. The fact that she could make it through her friend's wedding without someone being abducted puts her way ahead of Peter Parker.

Final Score: 7 out of 10

Feminine, Sexy, and So Much More: Starfire #4

The following is my review of Starfire #4, which was posted on PopMatters.com.

Comic book fans are known for a lot of things, including elaborately detailed costumes and a love of writers with thick English accents. There are also a number of unspoken commandments such as thoust shalt not retcon needlessly or thoust shalt not tolerate delays of the Mark Millar and Bryan Hitch variety. However, as unreasonable as many fans can be, they can also be pretty forgiving.

It wasn’t that long ago that Starfire became the buxom symbol of everything DC Comics did wrong with the New 52 reboot. She went from this overly immodest yet inherently likable alien girl to a walking sexbot with the personality of Jessica Rabbit. Her role in Red Hood and the Outlaws was so crude that even the most ardent anti-feminist would roll their eyes. More than any other DC character, she needed a fresh start. That’s exactly what Amanda Conner and Jimmy Palmiotti gave her in the new Starfire series.

As a concept, a Starfire series sounds antithetical to the recent surge in female-friendly comics that are trying to do more than just pander to every male fantasy imaginable. However, Starfire at her core still embodies many powerful feminine traits. Those traits have often been lost because of her overt sexuality. And what has made this series work is that it doesn’t try to circumvent that sexuality. It tries to build a personality around it. And in Starfire #4, the formation of that personality feels complete.

A big part of rebuilding Starfire in a more likable, less pornographic context has been dedicated to establishing a new life in Key West. Given Florida’s capacity for tolerating both diverse personalities and the Bush family, it has proven to be a fitting home. She’s teamed up with a local sheriff named Stella to establish herself in this unique environment. It’s not Gotham. It’s not Metropolis. It’s not Disney World either. It’s a sunny, tropical environment for an alien girl with orange skin and few qualms about nudity. It’s perfect for her.

With that life established, completes Starfire #4 the process by getting Starfire back to basics. That includes fighting off killer monsters, which tend to pop up in every part of the DC Universe at some point. It sounds pretty standard. A beautiful alien female beating up a monster is nothing new. Wonder Woman has been doing it since 1941. However, Connor and Palmiotti find an interesting way to make it engaging while keeping Starfire fully clothed.

They do this by getting Terra, another Teen Titans veteran, involved in the story. She’s actually the one the monster is targeting in this conflict. That alone is pretty novel because whenever a superhero sets up shop in a new town, their enemies follow them like vindictive IRS agents. The fact that Starfire didn’t attract this kind of danger is somewhat jarring, but it doesn’t stop her from helping Terra out. Starfire isn’t just overtly sexual. She’s still a superhero every now and then.

Terra even offers Sheriff Stella some background as to why monsters are trying to kill her. It’s a bit disorganized in that it interrupts the flow of action, but it helps build on the context. It’s also a context that evokes Starfire’s excessive compassion. That’s another trait that often got lost in her overt sexualization and it’s a trait that helps set her apart from the Supergirls and Wonder Woman’s of the world. She’ll let herself get emotional. She’ll let herself cry and hug someone whereas Wonder Woman would probably tell someone to suck it up.

It’s this trait that brings out the best in Starfire, both in this issue and throughout the series as a whole. She’s a more open and emotional character. She’ll embrace total strangers, be the Terra or some immature guys trying to buy her a drink at a bar. She doesn’t do it in a way that feels fake or insincere. At no point does she ever come off as ditzy in the Kelly Bundy tradition. She just conveys the personality of someone who is loving and affectionate to everyone around her.

It’s a trait that’s distinct to her character and distinct to feminine themes. She doesn’t try to be tough enough to fight alongside the Supermans and Batmans of the world. She doesn’t try to be too much like Supergirl or Wonder Woman either. Starfire is her own person and even when she keeps her clothes on, she’s lovable and friendly in a way that Jessica Rabbit will never match.

While Starfire #4 does a good job of conveying Starfire’s toughness and compassion, there are times the narrative gets a bit chaotic. Terra’s inclusion in the story overshadows Starfire at some point, but it’s only temporary. In addition, there are hints about other conflicts emerging that don’t involve monsters that look like they were ripped from a Resident Evil game. However, these hints are overly vague and don’t offer much insight into the complications that Starfire faces.

It still doesn’t take away from what this story has accomplished. Connor and Palmiotti have done something truly remarkable here. They took a character that once embodied everything that was wrong with female characters in comic books and turned her into someone that appeals to curious women as much as it does horny men.

Starfire is still a sexual person by nature, as shown in her love of bikinis and casual nudity. But now those sexual traits are in the context of a character who is open, emotional, and affectionate to everyone around her. She’s like a movie that is only bad if the wrong scenes are emphasized. But when the right scenes are given proper focus, it makes for an entertaining and compelling narrative. Starfire #4 is proof that a female character can be sexual, feminine, and likable while still beating up monsters on the side. She’s not going to become a feminist icon anytime soon, but she’s already proven that she doesn’t need to be in order to be special.

Final Score: 7 out of 10

Superman #700 - Giant Sized Awesome

Thanks to likes of Blackest Night and Brightest Day my love for DC Comics has been rekindled and my wallet hates me for adding that much more to my weekly comic budget. We're not currently on speaking terms, but I'm not letting that stop me from getting awesome comics like Superman #700. I know I normally don't review Superman comics, but this is a Giant Sized anniversary issue and I just couldn't resist. These kinds of books are like a winning season for the Detroit Lions, rare in it's frequency yet beautiful in it's own right.

The book itself is divided into three self-contained stories. All of them are awesome in their own right, making it a three for one deal that offers more bang for the buck. Your wallet and bank account may just like you a little bit more, although my wallet still hates me. The first story centers around Clark and Lois. Now it may seem strange that the most iconic relationship in the history of comics has been lacking lately, but between Blackest Night and War of the Supermen these two haven't really gotten a lot of screen time. They're long overdue and they get their chance when Lois gets into trouble (as she's so prone to do) with Parasite.


What happens next is classic without being cliched. Superman shows up and saves Lois. I know, some are rolling their eyes because that's what Superman has been doing for nearly a century. My response to them (other than "what the fuck is your problem?") would be this is who these characters are. This age old story of Superman saving Lois is ingrained in their persona and it helps drive their relationship in a unique way that makes it the most iconic in comic history. Add to that, Superman still looks pretty badass when he beats the shit out of guys like Parasite.


After a classic super ass-kicking, Clark and Lois get more personal and this is where the real meat of the story resides. Clark fills Lois in about what happened on New Krypton (read War of the Superman if you're scratching your head) and they have a brief discussion. It's not as cliched as one would expect. These two, like any serious couple who doesn't want to end up in divorce court, don't gloss over these facts and confront them. I know that may seem counter-intuitive to readers raised on the merits of make-up sex, but in the real world and with characters like these confronting these issues is what makes a relationship actually work. Yet to satisfy these twisted notions, Clark and Lois do have an intimate moment.


After some super cuddling, the couple go out for a stroll. And by stroll I mean flying through the sky at speeds that would make most people shit themselves. This is Superman we're talking about. Everything he does is done with super dedication and that includes Lois, who by now should be plenty used to flying over the city as no mere mortal woman ever has. Here they share another moment that is very reflective of their relationship. Lois wants Superman to promise that he'll never leave her again. Now most men when their woman tells them this are obligated to say one thing: "Yes dear. I will never leave you again." Anything less will result in couch banishment for a full year and no sex for possibly longer.

But this is Superman we're dealing with. He's a guy whose righteous to a fault. He can't make a promise he can't keep, even to the woman he loves. He doesn't even flinch. He tells her he can't make that promise. This is why Lois is so right for him. She doesn't just understand. This is a part about him she loves. Many women may find it annoying for a man to be this blunt and morally ridged. But for Lois, for whatever odd tastes she may have, it's the equivalent of a pussy boner. And his response is just what she expected and wanted. If after this you're still cynical about Clark and Lois being the best couple in comic history, then you're just being difficult.


The next story shifts gears a bit, telling a story using the Worlds Finest. For those of you who aren't up to speed with comic lingo, that means Batman/Superman. Only this story isn't a typical Batman/Superman team up. In this story, Robin gets to do the teaming while Bruce Wayne and Batman take a back seat. What happens is Bruce has the standard Wayne Enterprise business he can't miss and Gotham has to go without Batman for the night. Robin is expected to stay home and finish his Geometry homework. But as with any rebellious teenager, he has other plans.


He ventures out on his motorcycle to stop a smuggling ring. There's no Batman to watch his back. He's just a kid in a costume looking to bust some heads. In the context of this story it's pretty predictable what happens next. He's overwhelmed, cornered, and captured by the well-armed smugglers. It seems at this point Robin can't hold his own and the bad guys don't take any chances, knowing Batman won't go down so easily.


But Batman is the least of their worries. As it just so happens, Superman is in town and he lends Robin a hand. He saves him from a concrete slipper and a date with the bottom of the river and makes quick work of the smugglers. Well-armed they may be, but Lex Luthor they are not. They don't stand a chance. Superman takes them out and Commissioner Gordon takes care of the rest.


Now if the story ended here, that would be fairly decent if not sub-par. But there are a few more twists that bring the awesome factor up to par. Not only does Superman fly Robin back home before Bruce can find out, he actually does his geometry homework for him! Seriously, when have you ever heard of a superhero being that cool? That's the kind of hero you don't just admire. That's the kind of hero you'd rather pray to besides some greedy, overly dramatic non-homework-doing super-being in tights. Only Superman can pull it off and it makes for a fun and entertaining end to a story that could have been too bland to mention.


The next story is a bit lighter on the action and much heavier on the drama. It covers Superman being interviewed about what happened with New Krypton by the media. The questions are pretty standard and unlike 99.9999 percent of all politicians and public figures, Superman answers honestly and without hesitation. He even says those three words that no politician is even supposed to think "I don't know." It all seems standard when out of nowhere this woman comes up and slaps him right across the face. No, she's not a super-villain looking to cause trouble. She's a regular woman whose pissed at Big Blue.


Now why is she pissed? It's not because Superman wronged her or lied to her. It's not even because of what happened to New Krypton. She was mad because she just lost her husband to a brain tumor. It seems odd that she would lash out at Superman of all people. He's a guy who fights super-powered monsters, not brain tumors. But that wasn't the point. The point she made was that he wasn't there. He wasn't where he was supposed to be, with the people he was supposed to look after. Some may argue circumstances, but it doesn't make her wrong and Superman knows this.


Superman then flies off, which is sort of his way of saying "no more questions" only in his case the media doesn't give him shit for it. He's clearly affected by what that woman said. He talks to Batman and the Flash about it. He talks about perspective and how they relate to the people they're trying to protect. For a guy who by many measures isn't human, that's an important perspective to have. The events of New Krypton made him forget about that and it's only now he's fully realizing that.


It makes for a fitting and emotional ending to the three stories. It also ties together the after-effects of events like War of the Supermen. It's always easy to gloss over these more personal moments in a story where there aren't giant robots looking to crush everything in their path. It perfectly compliments the first two stories and brings home much of what makes a Superman comic super. It may seem melodramatic to some, but in terms of storytelling it adds to a sense of completion.

In terms of a Giant Sized anniversary issue, Superman #700 can be considered a standard by which all others like it are measured. It's one of those issues where the writers seem to put extra effort. Some might find themselves wishing "why the hell can't they do this with every issue?!" Well that's not how these stories work. They are best told in a certain way and under the right circumstances. Those circumstances just happen to be rare and that's what makes it special. Nobody would give a fuck about Christmas if it happened more than once a year. It's the rarity that makes it special and this comic embodies all of those traits and then some.

Any Superman, DC, or general comic fan would be wise to add this to their collection and frame it for future generations so they know what real awesome entails. This issue gets a 5 out of 5 and every mark of perfection a comic can possibly earn. If DC keeps making comics like this, I'll be needing a much bigger pull list for each Wednesday. Now if you'll excuse me, my wallet and I are going to have another fight. But for awesome like this, it's worth it!