Barbara Gordon battles for control of her mind in the gorgeous “Batgirl” #49. The work of four artists on one issue doesn’t distract at all from the strange, Silver Age-style excitement contained in this revelatory and fun chapter of Batgirl’s journey through her fractured mind.
Written by Cameron Stewart and Brenden Fletcher
Illustrated by Babs Tarr, Horacio Domingues, Roger Robinson, Ming Doyle, and James HarveyTo unravel the secret of Batgirl’s bizarre new nemesis, her friends must travel to strange and uncharted territory: the inside of Barbara Gordon’s spectacular mind!
Writers Cameron Stewart and Brenden Fletcher continue to explore the ramifications of Barbara’s ongoing war with a villain who is attempting to snatch the contents of her brilliant brain in “Batgirl” #49. With her strong supporting cast by her side, this issue is proof of how strongly built Batgirl’s world has been nurtured by Stewart and Fletcher. Frankie, Babs’ best friend and Oracle-like partner, delves into Batgirl’s brain to help undermine the villain Fugue’s machinations. With Black Canary, Bluebird, and Spoiler waiting in the wings, this issue is a superb build-up to a fiftieth issue that seems to be promising even more appropriately outlandish travails. Batgirl’s war for her memory is dream-like and paced in such a way that highlights the strong qualities of the title character.
“Batgirl” #49 is a marked departure from Stewart and Fletcher’s usual issues. Although the stamp of their inventive ideas and execution are present, there is a more abstract quality to this issue that contributes to the feelings of ambiguity and the exploration of the mind. History and emotions, both real and forced by the villain, swirl around in a tale that is less reliant on words and conversation and more focused on the visuals. The book’s regular artist Babs Tarr is joined by four other highly talented and singular artists for a reason: to transform this issue into a jarring journey through a confused and violated mind.
Babs Tarr’s pages in “Batgirl” #49 have a more urgent quality than usual. The tension has a film thriller quality which lends that urgency to Barbara’s precarious predicament. Her Frankie is especially a revelation, with intense emotions drawn quite potently on her visage. This is a woman who cares very deeply for her friend and it clearly shows on her face and in her eyes. Like Tarr, Horacio Domingues and Roger Robinson lend the issue a sense of reality. That reality, however, also has an undertone of “The Twilight Zone” that conceals a sense of dread. This could also be credited to the colorist, Serge Lapointe.
The two artists that make the most substantial impact on this issue are Ming Doyle and James Harvey. Doyle’s panels are large and contain very little action. Yet she zooms in on that action and engulfs every panel with intensity and pulse-pounding encounters. Her rendering of bats are particularly impressive and are an argument of her worthiness for an assignment on any Bat-book of her choosing. Besides Tarr’s pencils, Doyle and Harvey are the artists who make the most impact on “Batgirl” #49.
Ever since I saw Harvey’s work in “We Are Robin”, I’ve been hoping we would get more of his brilliant art in another DC book. Just as in that Robins book, Harvey yet again demonstrates that he is adept and thrilled to be drawing the character of Batgirl. His distinct art in “Batgirl” #49 is gloriously singular and his pages are the only ones he colors himself. His pencils and colors have an otherworldly quality that are reminiscent of both Paul Pope and Dali. The multipaneled descent of Barbara Gordon through moments of reality and unreality is one of the most breathtaking pages of the year so far. The faded quality of his colors advances the hallucinatory story that Stewart and Fletcher are attempting to tell in this issue.
The rest of the issue is colored by the equally brilliant Serge Lapointe. Domingues and Robinson’s pages are unsettlingly bright. The yellow and orange pop off the page in a way that hints at an evil and unreality that lurks beneath the surface. Lapointe then darkens the mood when we are placed in the worlds depicted by Tarr and Doyle. The depravity then works its way to the surface but in a haunted manner. There is no gaudiness to Lapointe’s colors, but a horrific tone that insinuates its way into every line of these artists’ work. That accomplishment in turn transforms the story into something that much more deeper and personal.
“Batgirl” #49 is a master class in how multiple artists on an issue can enhance its entirety instead of muddling the result. This is a more abstract issue than usual and, because of that quality, was aided by having multiple voices with multiple strengths. Stewart and Fletcher, along with these artists, have only enticed us further for what we’re going to get at the end of the month in the oversized “Batgirl” #50.
Final Verdict: 8.5 – “Batigrl” #49 is yet another excellent chapter in one of DC’s best books. It’s also another argument for James Harvey to get a regular gig on a DC title.
