Review: Batgirl #30

By: Shawn Warner

Batgirl has been a book that has had some growing pains, particularly since writer Hope Larson left the title. That’s not to say there have been an abundance of missteps or that the book has suffered in the creative doldrums that can plague a book after a popular creator leaves, it’s been more of a shifting of gears after a changing of the guard if you will. The incoming scribe Mairghread Scott now has a solid five issues under her belt and in that time has introduced new villains, a father/daughter paradigm shift for the Gordons and perhaps most notably a much darker tonality overall.

This issue picks up after Batgirl stops a high-end art theft ring that in turn exposes rampant corruption running through the GCPD the fallout of which has cast an undeserved shadow upon Commissioner Gordon. The political elements of this issue reminded of the scenes in Scorcese’s Taxi Driver where Sybil Sheppard is working for an upstart candidate for president, not so much in a narrative sense, but in a visual sense. The scenes set in the interior campaign office of both works capture that feeling of hopeful hard work and restrained frustration that if you have ever worked in one of these places you know permeate the very walls of campaign offices. Scott does an extremely good job getting this intangible aspect across. Although the actual page count taking place in the Alejo office is small, the plot progression that takes place there, including a confrontation between Barbara Gordon and Jason Bard, is of paramount importance to the story. Scott creates tension from the very beginning of the issue by weaving together these kinds of confrontations; between Batgirl and Commissioner Gordon, Batgirl and Jason Bard, Barbara and Jim Gordon and finally between Barbara and Bard in Alejo’s office. This is an inventive way to build huge, deep reaching tension that is distributed by an economical amount of characters. By essentially doubling the conflict for Barbara/Batgirl Scott creates a unique paradigm and from it extracts motives for the entire cast of characters. Each of their actions are informed by these confrontations. Scott uses this narrative device to great effect in developing these characters as well as telling a very human story with a soul and tons of heart.

This is perhaps the most lively paced of Scott’s Batgirl issues thus far, that is not to say it is the most action packed, although there are ample action scenes, it goes beyond that. The dialog moves with a rhythm that is almost poetic in its delivery. In fact, the entire script seems to be structured with precise attention to pacing and allowing the story to unfold of its own volition without slowing for obligatory exposition, instead opting to give that exposition in a much more fluid fashion or “on the fly” as it were. This approach allows Scott to take a somewhat pedantic issue that could have labored under the weight of the important, hell mandatory story beats and present it in a much more vivacious and entertaining mode. The mandatory exposition is still every bit as present, but it is much more palatable hence more effective.

As Batgirl Barbara has a unique set of problems separate from her everyday agenda of essential minutiae, however as George Costanza once taught us, “Worlds collide, Jerry!” That’s what we are beginning to see in this issue, only it’s not Relationship George vs Independent George, its Babs vs Bats. The most troubling element we’ve seen thus far of her worlds colliding is her decision as Barbara Gordon to support Alejo as a candidate, who in the very recent past has been very critical of her father as Police Commissioner and of the GCPD as a whole in light of the corruption brought to light during the art theft ring. This is at the core of the paradigm shift pertaining to father and daughter Gordon. The raw emotion evident in this particular scene is palpable. I found myself just wishing things could resolve themselves and go back to better times for the Gordons that were not so far away. I am a hopeless optimist, a complete contradiction in terms, I know, but I always want my favorite characters to find and keep the happiness that is so elusive to us in the real world, at least to me. Scott aims for the heart in these situations and boy does she hit her target. The darker tone that has become indicative of her run already works especially well in this issue. It doesn’t get oppressive or self-indulgent, things just get intense, intensively tense, but that’s what makes for dramatic storytelling. Without placing our heroes in harm’s way they cannot truly be heroes, there can be no exciting, action packed super heroics without peril, real emotional stakes and that means risk to the status quo. Scott has proven in the space of a handful of issues that she is not afraid to shake things up.

Visually, Batgirl has seldom looked better than she does in the hands of super hero artist extraordinaire, Paul Pelletier. Pelletier has put his mark indelibly on the DCU by working on every A list character who calls the DCU home. His work on Aquaman with Geoff Johns is mind expanding sequential art storytelling at its apex. His attention to detail more than anything else has given rise to his stellar reputation as one of the best artists working today. His ability to render explosive action sequences alongside more quiet, conversational scenes through his imaginative panel placement and page design really make this issue a standout. While the jury may still be out on Batgirl’s new costume design, there is no disputing the fact that Pelletier does a fantastic job of rendering said costume to absolutely dynamic effect, especially during the fight scenes. There is a delicate balance between the bombastic and the introspective that Pelletier strikes in staging his action heavy sequences that have come to define his work. Norm Rapmund’s inks have been turning up more and more lately and results like this are the reason why. His line quality is so crisp and clean, he allows the precision of Pelletier’s pencils to shine through while enhancing the detail and isn’t that what the best inkers do? Color genius Jordie Bellaire always knocks it out of the park and this issue is no exception. The colors are vibrant without being garish and subdued when the tone and mood call for it and isn’t that what the best colorists do? This is one damn good-looking comic book, top-notch visuals, it doesn’t get much better than this.

Overall this is a super solid issue. Scott sets up the next chapter with a picture perfection final page reveal that leaves you not just wanting more, but wanting it now! The craft on this issue is impeccable, there is literally not one panel I would have changed, the story moves at a brisk pace and unfolds in an extremely satisfying fashion setting up the next beat with precision. I’ve been reading this series since its debut and it looks like it won’t be coming off my pull list any time soon. 4/5.

[yasr_overall_rating size=”large”]

Writer- Mairghread Scott
Artist- Paul Pelletier
Inks- Norm Rapmund
Colors- Jordie Bellaire