Book: “Bombshells United (Vol.2): War Bonds” by Marguerite Bennett, Stephen Byrne (Ill.), Mirka Andolfo (Ill.), Sia Oum (Ill.), and Sandy Jarrell (Ill.).
Publishing Info: DC Comics, October 2018
Where Did I Get This Book: The library!
Book Description: Years ago, before she became the battling Bombshell known as Batwoman, Kate Kane and Renee Montoya loved and fought together in the Spanish Resistance, and even formed a family with their adopted son Jasón. But their lives were turned upside down, and Kate found a new life and a new love for herself in Gotham City.
Now Kate is back in Spain, working with Renee once again to save the country from a tyrannical ruler…only this time the despot has unstoppable occult powers. His name is Black Adam, and he’s lived for millennia seeking the moment he can gain control of the powers of life and death.
Batwoman, Renee and Black Adam are all defined by whom they’ve loved and lost. But beneath the ancient streets of Madrid, a mystical labyrinth conceals the means to bring life back to the dead: a Lazarus Pit.
With this incredible power, will Black Adam gain the final piece he needs to crush the entire world under his heel? Or will the dead have their own say in it?
Writer Marguerite Bennett (Batwoman) and artists Mirka Andolfo (Harley Quinn), Siya Oum (Lola XO) and Stephen Byrne (Green Arrow) bring fan-favorite Bombshell Kate Kane back to where she began…but how much will her past define her future? Collects Bombshells: United #7-12.
Review: I’m feeling a bit morose that this is going to be the second to last “Bombshells” story collection for the foreseeable future. I’ve moved on from being angry to depressed when it comes to this series being cancelled, and I’m thinking that I’m moving closer and closer to acceptance. There are a couple of reasons for this acceptance that are more on the unfortunate side, but more on that in a little bit. Because at the end of the day I still think that it is a damn travesty that DC cancelled this title just because of how unique it is and how it covers a vast swath of characters who come from diverse backgrounds and give diverse voices to the stories they are telling. And now it sounds like I’m reverting back towards anger, so before that happens let’s get to the nitty gritty of what worked, and what didn’t, in “Bombshells United: War Bonds”.
It’s been a little while, but we once again have caught up with Kate Kane and Renée Montoya, aka Batwoman and The Question. They have moved on from their final battle and have ended up back in Spain, where they first met and fell in love. But it’s also where they lost their adopted son Jasón, when mercenary The Cheetah murdered him for the hell of it. The loss is still gaping, and while Kate and Renée have found each other again the pain lingers. I liked that we got to see their grief in this way, as something that will always be with them, even if it isn’t as all encompassing as it had been initially. This theme of grief is where the crux of this story comes in, post-Franco Spain,’s new ruler is a whole new tyrant that we know as Black Adam, who is also haunted by a terrible loss from his past. He is looking for a way to resurrect his dead queen Isis, and has heard of a pit with magical powers that can bring people back to life. But it’s Kate and Renée who stumble upon it first, finding this Lazarus pit in the middle of an underground labyrinth. And who else do they find there, but Talia Al Ghul and Cheetah. And Cheetah is there because she has brought Jasón back to life, as she is now driven by guilt and a need for forgiveness and redemption.
Okay folks, it’s real talk time. I really, REALLY appreciate that Bennett is trying to think beyond the usual physical and violent conflict resolution that we see in superhero stories, and I understand that it’s a fun way to show that women’s roles and stereotypes of being peacemakers and nurturers can be subverted into something powerful enough to stand up against super villainy. But, for the love of God, this is the fourth time that a nemesis has seen the evil of their ways thanks to spending time with the Bombshells (or in Cheetah’s and Paula Van Gunther’s cases, just kind of needing the conflict resolution to fit an upcoming plot device), and it is getting old. I am all for redemption arcs, and I think that it’s especially important that bad women in fiction get these arcs since it feels like men do when it suits the storyteller. But I want them to be complex and interesting, not just tossed together in a moment because of peace love and understanding. It also makes it so that our cast of villains becomes smaller and smaller, and you instead need to introduce new (albeit familiar) antagonists to stir the pot, like Black Adam. I will admit that I’m not as familiar with him, as Shazam (aka Miri Marvel as she is in this story) was never a title that I got into very much. But even if I had been into him, I feel like introducing a new huge big bad at this point was just another example of fantasy bloat that “Bombshells” is starting to see more of.
That makes it sound like that I didn’t like anything about this turn of events, and that’s not totally true. Like many stories with similar themes that come before it, Kate and Renée will have to contend with the unforeseen consequences of Jasón’s resurrection. Though it isn’t full on zombie Jasón or anything like that, you do get the sense as the story goes on that perhaps things won’t be as happily ever after as Cheetah intended it to be. I also liked that for Kate and Renée, Cheetah’s actions weren’t automatically welcomed with open arms. They didn’t forgive her automatically because of this, and I thought that that was a realistic and refreshing turn of events. It’s one thing of the Batgirls or Wonder Girls are able to take a former enemy into the fold and show them compassion. But Harvey Dent and Clayface didn’t murder their kids just for the fun of it. I thought that Bennett hit that nail on the head, that atonement doesn’t automatically earn forgiveness.
The art in this collection worked better for me than it did in “Bombshells United: American Soil”, mainly because it didn’t feel as cutesy. There were also nice moments of pondering or waxing poetic on mythology that felt more muted and subdued, and I really took to it. Maybe it helped that during one of these sequences Kate ACTUALLY ACKNOWLEDGED THAT MAGGIE SAWYER IS STILL BACK HOME WAITING FOR HER. In any case, I thought that the design worked well and added a lot to the retro style narrative.
As mentioned above, we are only getting one more collection of “Bombshells United” before it’s over. One more. There are so many things that haven’t really been addressed across the other characters, and given that there has been a new explosion of characters I’m worried that the focus is in no way going to be brought back to where it needs to be to have a totally satisfying ending where all loose ends get tied up. And while that is in part certainly the fault of the cancellation (I’m sure that Bennett had lots of really good ideas and paths on how and when she was going to take them on), it’s also in part an example of why exploding character rosters and plot lines can come back and bite you in the butt. As I slide closer to acceptance that this series has ended, I hope that in the next, and final, issue I will walk away with some satisfaction. And that Kate, Diana, Kara, Harley, and all the rest are given their due that they so richly deserve.
Rating 6: There was a lot to like about “Bombshells United: War Bonds”, but repetitive storytelling is starting to take it’s toll.
“Bombshells United (Vol.2): War Bonds” is not on any Goodreads lists as of yet, but I think that it would fit in on “Girls Read Comics”, and “Show Me Your Queers”.
Find “Bombshells United (Vol 2): War Bonds” at your library using WorldCat!
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