Wednesday, September 4, 2024

Birds Of Prey #13 Comic Review




  • Written by: Kelly Thompson

  • Art by: Gavin Guidry

  • Colors by: Jordie Bellaire

  • Letters by: Clayton Cowles

  • Cover art by: 

  • Cover price: $3.99

  • Release date: September 4, 2024


Birds Of Prey #13, by DC Comics on 9/4/24, concludes the arc by hopping through one last portal to the Spirit World for an attack Maia may not be able to stop.



Is Birds Of Prey #13 Good?

Birds Of Prey #13 brings the arc to a close, but in true Kelly Thompson style, completely botches the ending. It really is a shame that this series is so poorly handled because the potential and some of the ideas have merit, but good ideas can't make up for a lack of execution.


When last we left the Birds of Prey (BoP) in Birds Of Prey #12, the BoP landed in a cartoon world created by Sinn's thoughts, hoping the younger aesthetic would be safer. Sinn was, of course, wrong, but the cartoon world afforded the team a chance to drink at a bar, share ideas that create hurt feelings, and lots of caring validation. Meanwhile, Xanthe showed up in our world to examine the portal and suggest (maybe) that the BoP are no longer alive.


In Birds Of Prey #13, the BoP lands through the next, and hopefully last, portal into a facsimile of Spirit World while Megaera and Maia are locked in a heated fight. When the team hits the ground, everyone attacks Maia to keep her distracted and off balance. Spirit World, however, wasn't chosen on a whim. The BoP uses the setting to summon a facsimile of Maia's murdered sisters, causing her to flee in terror.


In an arc riddled with bizarre creative choices, jumping through the reskin portal to create a version of Spirit World is a clever twist that makes sense. How do you defeat a villain with godlike powers? You invoke the god's worst fears to send them running.


With physical attacks from all sides and ghostly attacks at every turn, the panicked Maia opens a portal to escape that leads back to the physical world. The BoP's sudden appearance surprises Meridian, Constantine, and Xanthe, but they get the gist and join the fight when they see the BoP attack Maia's snake form as it continues to grow to massive proportions.


Scaring Maia out of the pocket dimension works well enough, but she still has the powers of a god. Cela is the last one through the portal, and she confronts her sister about her misdeeds, including her excuses about killing Batgirl when she could have prevented everything with time travel (I choose to take credit for pointing out that plot hole). When confronted with the truth, Maia turns into a small bird and flees through a new portal.


And they all lived happily ever after.


What's great about Birds Of Prey #13? Using the Spirit World construct to scare Maia into fleeing is a clever move, even if the details are a bit sketchy. Thompson's script keeps the pace and energy high for a largely action-packed issue that's uncharacteristically engaging when compared to the rest of the series.


What's not great about Birds Of Prey #13? Thompson had a chance to end this wonky arc on a high note but bungled it on two key points.


First, a godlike figure who desperately wants Oracle dead simply runs away, so the way the BoP chooses to deal with that problem is to shrug and walk home. What's to prevent Maia from collecting herself and attacking again within five or ten minutes? Nothing. The arc ends because the script says it's time to end, whether there's a proper resolution or not. These are amateur levels of plot structure and storytelling.


Second, the plot was regularly interspersed with scenes involving Meridian, Constantine, and Xanthe, but those three characters, individually and combined, contributed absolutely nothing to the story. At most, they stood around looking puzzled. Why bother to bring in cameo characters to have them stand around and contribute nothing to the story? Again, this is a silly, preventable miss.


How's the Art? Gavin Guidry adds as much energy and visual interest as possible to an action-heavy finale. Guidry is certainly a step up from the art on the first arc, which helps for a largely nonsensical story.


About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

Follow @ComicalOpinions on YouTube, Facebook, Instagram, and Twitter

Final Thoughts

Birds Of Prey #13 ends the arc with an issue-long battle full of energy, action, and clever twists. Plus, Gavin Guidry makes the finale as visually engaging as possible. Unfortunately, Kelly Thompson completely botches the ending with a ridiculous resolution and wasted cameos.

4.5/10



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Absolute Power #3 Comic Review




  • Written by: Mark Waid

  • Art by: Dan Mora

  • Colors by: Alejandro Sánchez

  • Letters by: Ariana Maher

  • Cover art by: Dan Mora

  • Cover price: $4.99

  • Release date: September 4, 2024


Absolute Power #3, by DC Comics on 9/4/24, begins a frantic race to find weapons and allies, some known and others brand new, to stop Amanda Waller's plan to take over the world.



Is Absolute Power #3 Good?

Absolute Power #3 gives you everything you want, but maybe not the way you want it. Mark Waid pulls out all the stops to make sure the heroes and villains cover as much ground as possible to get readers from point A to point B, but you feel like you're being dragged on a runaway horse to get there.


When last we left the remaining collective of Earth's heroes in Absolute Power #2, they gathered in the Fortress of Solitude and began making plans to mount a counter-attack to Amanda Waller's worldwide siege. Before plans could be put into action, a cybernetically-possessed Jon Kent and an Amazo robot attacked the Fortress, capturing most of the remaining heroes, sending the rest scurrying. In the climactic finish, Dreamer sacrifices herself to buy the fleeing heroes time to escape.


In Absolute Power #3, the surviving heroes find themselves on Themyscira, the only place left on Earth that's uncharted by world governments and protected from Kryptonian sight by magic. Queen Nubia isn't happy about the presence of outsiders, especially men, but she recognizes that Waller's victory spells trouble for everyone.


Following on from the frantic series of events in issue #2, Mark Waid cranks up the pace and the chaos a few more notches to keep the proceedings moving. Frankly, it's almost too much because there's almost a different scene or conversation in every other panel, and you can't reasonably absorb it all in one read-through.


Nightwing settles down the troops, particularly Barda, who believes Jon Kent needs to be put down. Hal Jordan divvies out the weapons he managed to steal in Green Lantern #14. Wally West and Hal Jordan are sent to the Hall of Order to steal intel. Aquaman, Yara Flor, Blue Beetle, and Red Tornado head to an aircraft carrier to retrieve John Starr, aka Time Commander. Donna Troy and Big Barda set up a defensive blockade on Themyscira in case Waller's forces find them. And on and on and on and on.


Yeah, it gets to be a bit much. Waid keeps all the threads moving in the same direction, but the sheer volume of developments and characters to track gets overwhelming quickly. It's pretty clear that Waid is trying to cram two or three issues worth of story into one, so the experience feels super-rushed.


Ultimately, each team completes its objective with a few losses in the exchange. More importantly, Waller and Failsafe notice some of their Amazo's aren't operating at peak efficiency due to the "infection" of goodness from the heroes they captured and stole powers from, prompting Failsafe to initiate a mass remote reboot.


Further, Brainiac Queen and Jon Kent find the heroes on Theymyscira by tracking Red Tornado's A.I. code. However, Jon is overcome with magic power as soon as he sets foot on the island, freeing him from Brainiac Queen's control. In turn, Jon forces his thoughts into Brainiac Queen to show her that Waller has lied to her the entire time. Before Waller can take control of Brainiac Queen and strike Jon down, Batman teleports Brainiac Queen to Pluto with the Mother Box he recovered in this week's Batman #152.


*huff* *huff* *huff* And then... And then... And then... And then...


The issue concludes with Barry Allen, the last Flash with powers, receiving a message from an unlikely source.


What's great about Absolute Power #3? If you want high-stakes adventure and fast-paced action with spectacular art, you get it all and more than your mortal mind can handle in a single sitting. Mark Waid throws as many plot developments as a single comic can possibly hold without busting the staples. So, readers who value story over spectacle wind up with both to get their money's worth.


What's not great about Absolute Power #3? Rush, rush, rush. To be fair, the comic is completely readable, and you never feel like harmful shortcuts are taken, but the comic reads like it was written at 2x speed. None of the scenes have time or space to fully play out or breathe. Either Waid didn't pace his plot properly, or the number of issues needed to tell this story was cut short. Either way, this issue is just plain frantic.


How's the Art? Dan Mora can do no wrong. Even in an issue where you're jumping from one scene to the next, sometimes on the same page, you can still follow the flow and track what's happening. Mora's work still looks fantastic under even the most extreme conditions.



About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

Follow @ComicalOpinions on YouTube, Facebook, Instagram, and Twitter

Final Thoughts

Absolute Power #3 races readers from one scene to the next at Flash-levels of speed to cram in as much story as possible. For readers who favor non-stop, fast-paced action, this comic will feel like an absolute win. For the rest of us who would rather let the story breathe and unfold naturally to let the drama and emotional impact set in, this comic reads like a frantic panic attack.

7.2/10



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