With the beautiful color combinations and punk aesthetic, Black Canary offers a female-centric comic that doesn’t fall into Batgirl’s discussions of touchy-feely emotions and make-up tips. Though Dinah takes some warming up to, ultimately she proves layered and sympathetic.
With clever dialogue and rapid plotting of Cameron Stewart and Brenden Fletcher, the fierceness, cuteness, and sadness of Babs Tarr’s art, and the battle of genres and tones created by colorists Lee Loughridge and Serge Lapointe, Batgirl #48 is an excellent outing for the title, and there are more cool reveals to come. There is definitely a lot of darkness to endure before the colorful fun returns. If it ever does.
With an opening page laid out like a page from one of those free newspapers, writer Brenden Fletcher and artist Annie Wu make the dynamic between Dinah (or D.D. as she is called by the press and her bandmates) and her band the Black Canary the focus in Black Canary #1. Touring and trying to make it as a indie punk band with an eclectic sound courtesy of silent guitarist Ditto and a charismatic lead vocalist comes first before the superheroics, but the kicking and action is always present. And instead of being something, like Scott Pilgrim, where characters accept the musical martial arts matchups without batting an eye, Dinah’s predilection for violence leads to tension between her and her bandmates creating the main conflict for the series along with some mysterious beings drawn in a looser style by Wu with pitch black coloring from Lee Loughridge.