Review by Frank Plowright

While a definite superhero element remains present, under Tate Brombal Batgirl has become a samurai epic. Cassandra Cain’s parentage has made this possible, and it’s reinforced by opening pages depicting a journey through ancient lands, overcoming obstacles and arduous conditions in the company of companions with special skills to reach a hidden land. Other tropes pulled from samurai stories include the enemy of the enemy being a friend despite past differences, the infiltration mission and the betrayal.

If you want Batgirl in Gotham dealing with the Penguin once again this probably won’t resonate greatly, but accept this as a new, albeit temporary chapter, and it really hits a spot. It’s homage, but well plotted and executed. At it’s heart is the message that revenge attacks to avenge revenge attacks achieve nothing more than further revenge attacks and breeding opposition. It’s a lesson many current heads of state still haven’t learned.

Takeshi Miyazawa remains the primary artist, and excellent as always, but he’s spotted for two chapters by Stephen Segovia, sublimating his usual tighter style to better match the ongoing look. Pages from both artists resonate.

It’s only when all layers are peeled back that it’s apparent how much foreshadowing and preparation there’s been in previous volumes. Bloodlines dropped hints that all isn’t as it’s been told to Batgirl, and The War of the Shadows twists so much there’s a pull of the rug in almost every chapter. It’s great, albeit embodying the depressing thought that almost everyone is self-serving. Although there are possibilities to continue, a line is drawn here, and next time Cassandra is back in Gotham.