It’s fascinating how many ways you can lambast a book for its faults. Especially, when you realize that it’s less on the creators at this point, and perhaps more of a design by the system. While it’s easy to beat a dead horse, I’ll simply say it this way: I do not appreciate the visual depiction of the women within this book. There is this odd choreography where the art, this time by Carlo Pagulayan, does its best to display the female form in a… provocative manner. There is always this hope that the comic industry will have its due diligence to not simply objectify a whole gender, especially with its disparate history.
Tynion’s run maintains an odd bipolar narration, where nothing really transitions well, but is merely paralleling that of an abnormal EKG- nothing is in steady health, and in clear need of medical attention. Genuinely, Tynion seems to be trying his best to juggle this compelling idea of the Rogue’s Gallery and Batman serving as protagonists for his run. However, there are no real compelling characters. In earnest, the best character within this book is unironically Catwoman. Her arc has managed to truly humanize the character, and properly weave in her problematic history in the past. While the book constantly props her as eye-candy, it is nice to have a great depth of regret and redemption the character has never really strived for within the series.
Despite the consistent need to display T&A, Pagulayan’s style really mingles the horror and beauty of these characters within the series. The book’s opening action scene serves as a just display of talent that can really enamor the audience. However, the shame is that the story is in constant flux with itself to properly hold a tone. It genuinely feels like a rushed product done by DC, and it shows. There is a remarkable talent in this book, but not giving them proper time to have foresight into their creative output truly damages their work. While it is a detriment, this book does offer some fun for those who want to stick with it.