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4.07 AVERAGE
4.07 AVERAGE
Blown away by the art, the characterization, the story telling. Easy my favorite graphic novel of all time. Recommend for any fan of comics, let alone babs/bat family fans.
Barbara Gordon is a typical twenty-first century twenty-something: she's completed her undergraduate degree (and presumably some kind of Master's degree), can only find a crappy job which doesn't pay her enough to get her own place, and so she's had to move back in with her baby-boomer father in order to survive. Naturally, this leads her into despondency; she's still keen to do what she can with the world in which she lives, but that world seems intent on preventing her from making a difference. The story begins with Barbara Gordon's attempts to join the police force, the FBI, and the JSA with limited success. She's laughed out of each by her father, the applications panel, and Wildcat. In her resulting depression, she decides to play a joke on her father by dressing up as his beloved Batman at the Gotham City Police Department's masquerade ball; the ball is attacked by the supervillain Killer Moth, who gives Barbara the secret identity under which she will become known, for a while: Batgirl. It's an interesting decision, as it essentially cast Batgirl as an identity which is thrust upon (an admittedly willing) Barbara. But it puts her in an awkward position with the Batman, who doesn't think Barbara has a right to wear his symbol and doesn't have a good enough motive to join the vigilante superheroes protecting Gotham. The story is thus one in which Barbara struggles to find the acceptance of both her father and her surrogate father. But it's a lot better than that sounds.
This story is a "Year One" narrative so obviously it's full to the brim with foreshadowing. For Barbara Gordon, that's the events of [b:Batman: The Killing Joke|96358|Batman The Killing Joke|Alan Moore|https://d.gr-assets.com/books/1346331835s/96358.jpg|551787] and her subsequent re-emergence as Oracle. From page 2 there's a reference to Cassandra, and this kind of thing keeps up periodically throughout. While it's a little out of place at times, the obsession with Cassandra and oracles does suggest that in creating her own identity, rather than having Batgirl thrust upon her, Barbara chose a name and identity which suited her personality and abilities much better than Batgirl. It's not explicit, but what I am chosing to take away from this is the hint at an Oracle origin which sees Barbara very much coming to terms with her own identity and finding her own place, rather than being accepted into a pre-existing network, as happens in this story.
There are some disappointing elements: I would have like to have seen Barbara figure out for herself thatBruce Wayne is Batman, to show the genius which she brings to being Oracle, as there's little in this story which shows that she's accepted because she's really clever rather than because she can kick people well; too frequently Barbara isn't "Barbara Gordon", she's "Captain Gordon's daughter"; despite the fact that Batgirl's outfit, as essentially a femme-Batman cosplay, is one of the better female superhero costumes, the art still has a tendency to put her in positions which make her stick her boobs out. One of the advantages the New 52 Batgirl has over this version is that Barbara lives with another woman her own age, thus giving her a community of friends her own age, rather than surrounding her with older men - like her father and Batman - and younger men who lust after her - Robin, librarian Donald, Officer Jason Bard. There is a hint here of Birds of Prey to come, but Barbara's first encounter with Dinah Lance isn't quite the firm friendship which it will become. The aim of the story is clearly to place Barbara in a world dominated by a patriarchy in which she is trying to find acceptance, rather than a patriarchy against which she battles. It's still a good story, but I think there is a better one to be told with this character and this story.
The art comes from a time when Batman: The Animated Series reigned supreme, and thus is heavily influenced by that style; it's certainly effective and there isn't much to complain about besides the usual problems with the ways in which female superheroes are drawn compared to male superheroes. The colour, from a time before Batman got all gritty again, has the fun contrasts between the dark costume and the bright yellow symbol - although it's generally very much the colours of a city explored by night.
Batgirl: Year One left me with an intense desire to read a version of The Killing Joke told as a Barbara Gordon/Batgirl/Oracle "Year One" story. Barbara Gordon is such a relatable superhero for me that this story has left me with quite the resolve to read as much about her as I possibly can. There were better ways that this story could have been told, but there are also much, much worse ones. So now I have to hope that the New 52 version falls into the former category.
This story is a "Year One" narrative so obviously it's full to the brim with foreshadowing. For Barbara Gordon, that's the events of [b:Batman: The Killing Joke|96358|Batman The Killing Joke|Alan Moore|https://d.gr-assets.com/books/1346331835s/96358.jpg|551787] and her subsequent re-emergence as Oracle. From page 2 there's a reference to Cassandra, and this kind of thing keeps up periodically throughout. While it's a little out of place at times, the obsession with Cassandra and oracles does suggest that in creating her own identity, rather than having Batgirl thrust upon her, Barbara chose a name and identity which suited her personality and abilities much better than Batgirl. It's not explicit, but what I am chosing to take away from this is the hint at an Oracle origin which sees Barbara very much coming to terms with her own identity and finding her own place, rather than being accepted into a pre-existing network, as happens in this story.
There are some disappointing elements: I would have like to have seen Barbara figure out for herself that
The art comes from a time when Batman: The Animated Series reigned supreme, and thus is heavily influenced by that style; it's certainly effective and there isn't much to complain about besides the usual problems with the ways in which female superheroes are drawn compared to male superheroes. The colour, from a time before Batman got all gritty again, has the fun contrasts between the dark costume and the bright yellow symbol - although it's generally very much the colours of a city explored by night.
Batgirl: Year One left me with an intense desire to read a version of The Killing Joke told as a Barbara Gordon/Batgirl/Oracle "Year One" story. Barbara Gordon is such a relatable superhero for me that this story has left me with quite the resolve to read as much about her as I possibly can. There were better ways that this story could have been told, but there are also much, much worse ones. So now I have to hope that the New 52 version falls into the former category.
I think this might be my favorite Batgirl story so far. Batgirl: Year One tells the origin story of Barbara Gordon. This includes how she stumbled into becoming Batgirl, then began to to form her own identity and purpose. As a similarly diminutive librarian, it was hard not to relate to Babs here (although the writers seem to have a strange idea on how libraries work). One of the running themes is how she is constantly underestimated, despite her skills and strong sense of determination. I found it really easy to route for her. Batgirl also features several other important DC characters, such as Robin and Black Canary. I thought the writers did a great job of utilizing these fun characters, while still letting Babs be the focus of the comic. There is also a nice amount of romantic tension, something that superhero comics (despite all of their "love interests") often fall short with.
I would recommend Batgirl: Year one for both new and old fans of the character.
I would recommend Batgirl: Year one for both new and old fans of the character.
Never been sure what to make of 'Batgirl,' as she's never really been one I'm jumped to or taken much of an interest in, but having been given this volume by a good friend I found I actually really enjoyed it and might have to give some other issues/titles more benefit of the doubt in future.
adventurous
mysterious
tense
medium-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Complicated
This nine issue miniseries details the origin of Barbara Gordon becoming the first Batgirl. A fun read with outstanding art, fans of the character should not pass this up.
The nine issues tell Batgirl's origin story. This is a very nice volume!
A good introduction to Barbara Gordon. Lots of showing and her journey from wanting to make a difference and making a difference was a good one.
I liked the way the story was told and the drawings were also to my taste. I read it through the Kindle interface which was not the best compared to the other comic interface I have. Still a good read.
I liked the way the story was told and the drawings were also to my taste. I read it through the Kindle interface which was not the best compared to the other comic interface I have. Still a good read.
When it comes to inspiration... I side with fishnets over leather
Decent storyline and artwork - not exactly my cup of tea, but I could see why it may appeal to someone else- and a quite good beggining for Barbara's adventures. However, she lacked motivation, reason to become Batgirl; I expected this area of her origin story to be more acknowledged and explored.
Decent storyline and artwork - not exactly my cup of tea, but I could see why it may appeal to someone else- and a quite good beggining for Barbara's adventures. However, she lacked motivation, reason to become Batgirl; I expected this area of her origin story to be more acknowledged and explored.
Okay, I'm a total sucker for Barbara Gordon, but this was just ridicuclously fun to read. The art is pretty, the characterizations are great. The constant hinting at what happens later wasn't subtle (the opening monologue is about Cassandra the Oracle) but it does help everything fit together. I love Babs as Oracle, but its still fun to see her kicking some heads now and then!