The Good
When Batgirl’s reeimagining was announced it was, contrary to how these things often happen, greeted with widespread enthusiasm. Likewise when her new look was unveiled, there was very, very little backlash and the first issue of the new style sold handily out of its first printing. This acclaim was far, far more than media-hype, however, and Cameron Stewart and Brenden Fletcher have proven that they are not merely flashes in the pan writers and Babs Tarr has more than proven her mettle across the last two issues. This picks up with Barbara Gordon trying to rebuild her life after losing a new algorithm she’d created to predict social change as well as having a friend move in with her after accidentally burning down the friend’s apartment. It’s been quite a week! Fletcher and Stewart have gone out of their way to stick close to the core of what makes Babs interesting, but also take her in a direction that the character has scarcely seen. After she recovered her ability to walk, it felt like she left behind a great deal of what made her so interesting as Oracle as she no longer needed to overcome a lack of physicality. This book is not only taking her in a brighter, shinier direction but it’s reintroducing a much greater emphasis on Babs (the character, not the artist) as someone incredibly proficient at using technology to her greatest advantage.
It has been rare to see someone take to a book and leave their distinct mark on it as quickly as Babs Tarr has, but here we are. Not only do we have softer linework but the overall tone of the book has altered irrevocably into a much brighter, more goofy affair that still knows how to bring the heavy hits and intense drama when the time is right. This is a balancing act that Tarr seems more than up to, if these issues are any indicator as it’s good to have a diversity of tone across different books in the same line (Bat-family in this case) to avoid them all becoming too “same-y,” which was a problem the title has grappled with in the past. The colors, by Maris Wicks, emphasize this as well, simultaneously having a sense of depth while appearing outwardly simple and extremely bright. Cameron Stewart is also in charge of breakdowns, and that's something where this book excels as well: the panel control and flow of the action is fluid without ever becoming confusing. Even the conversations have a wonderful sense of bouncy, kinetic energy and the action scenes even manage to squeeze a few flashbacks in without breaking the flow or pace.
The Bad
It can’t be over-emphasized what a tonal shift this title has undergone and there’s no way everyone’s going to be onboard for it. Babs herself seems to have been irrevocably changed, and while it generally works, it’s also hard to believe this is the same person who underwent the ordeal of Death of the Family, along with her other dark, generally traumatic storylines and came out seemingly unharmed mentally. It isn't that the book would be better served with her sobbing about her lot in life on every page, but it's a rocky transition.
The Verdict
It’s great to see a new team on a book not only succeed but succeed to this degree so fast out of the gate. A strong opener has an even stronger follow-up and we’re now to the point that it’s clear the writers and artists have a strong, clear vision for this title and that the creative shift wasn’t simply to try and drum up interest in a book that may have been flagging in terms of sales. We’ve got a brand new creative team for a brand-new age and it’s given us, despite the character not actually changing, a brand-new Batgirl. And she couldn’t be in better hands.