Today's post is tardy for both her 50th anniversary and International Women's Day but we're looking at the final volume of the Batgirl of Burnside title, from the team of Cameron Stewart, Brendan Fletcher and Babs Tarr. (We'll also make reference to some library volumes of the Dark Knight I read at the beginning of the year)
Volume 3, Mindfields introduces The Fugue, a hacker who can access Barbara Gordon's brain and turn her technology against the citizens of Gotham. He also brings together the antagonists from the series: Velvet Tiger, Killer Moth, the Jawbreakers and butch new villain, the physically enhanced Corporal Punishment In retaliation, Babs assembles all her allies: Black Canary, Spoiler, Batwing, Bluebird and Vixen. There's even a cameo by the kids from Gotham Academy.
This volume signals the end of the New 52 and Babs' adventures in the hipster district of Gotham , while encapsulating the Burnside era's theme of the value of real-world friendships over the virtual kind. With its animated visual style and its blizzard of references to Millennial culture, this is DC's equivalent to the charming and contemporary Ms. Marvel.
Unfortunately, I haven't really enjoyed many of the DC Rebirth titles as much- even the zestful, Chinese New Super-Man failed to keep my interest long term. The Vertigo-flavoured Young Animal titles- especially Shade and Cave Carson - have, I admit, piqued my interest with their surrealism and affection ( albeit refracted through an idiosyncratic prism ) for DC superhero titles of the 70s and 80s.
But, although I'm curious about Steve Orlando's superfluous C-lister Justice League of America which has a rather early-Noughties ethos of "grittiness", Marvel's youth-oriented titles like the new incarnation of Champions or the quirky Hellcat have been more fresh and more enjoyable.
DC's dismal mission statement of darkness has its roots in Batman, obviously. The Batman RIP arc by Grant Morrison might have redeemed the Adam West era with its "popcrime" branding but it was still a Gothic horror show of psychological warfare, lobotomy and "The Thin White Duke of Death", the Joker. I have much preferred Jeff Parker's Batman '66 titles which celebrate "popcrime" without the apologia of, say, Bernie Mireault's late 80s When is a Door?
Batman's cycle of death and rebirth was poignantly explored in Neil Gaiman's Whatever Happened to the Caped Crusader? But even his Gentleman's Gentleman's Tale deconstructed Bruce Wayne's career to an elaborate, theatrical fantasy masterminded by Alfred. Postmodern Batman seems mired forever in the grisly psychodramas of Arkham Asylum.
Talon, in the City of Owls collection, is another hangover from Morrison's exploration of the weird and musty corners of the Bat-universe. Mayoral candidate Lincoln March may be Thomas Wayne, Zany Bob Haney's mid-70s conjuration of a lost Wayne scion. This spectral sibling, the instrument of the Court of Owls secret society chimes with the imaginations of writers like Scott Snyder and Morrison- indeed, Talon is a mirror image of Owlman from the latter's Earth-2 graphic novel. But this lost brother is yet another twisted reflection of Batman, designed to undermine his sense of self and his mission, utilising sadistic weaponry and Ultraviolence.
I suppose what I'm hoping for is a DCU where positivity, optimism and even a little silliness can replace the paranoia and amorality that beleaguer its icons. But the financial impact of the fascistic fantasies of Zack Snyder's films make that seem unlikely.
UPDATE 18/3/17
In her Oracle role, a decade ago, Babs made an enemy of Katarina Armstrong, the ruthless Spy Smasher: an anti-terrorist agent who took over leadership of the Birds of Prey,
In 1942, Spy Smasher starred in a 12-part serial from Republic Pictures and coincidentally, I watched it over the Xmas-Hogmanay period last year. It stars Kane Richmond, probably the best-looking of the Republic serial stars, in the dual roles of both the costumed agent and his twin brother. I enjoyed it far more than 2015-16's outing for The Vigilante although the "tragic" twist ending was painfully obvious. The chapter titles were better, too: "Iron Coffin"; "Stratosphere Invaders"; "2700° Fahrenheit". The serial's theme music made use of the "V for Victory" theme from Beethoven's 5th symphony and while it's not in the same league as Captain Marvel ( or the deathless Flash Gordon's Trip to Mars), it's worth seeing. I wonder if the distaff Smasher will ever return?
Coming soon : The final days of the War Doctor and the Doom Coalition.
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