ETERNAL POISON RELEASE DATE SERIES
Nonetheless, once the issue ends with a traditional “cast shot” where almost all the characters pose together as a goodbye to readers, there’s both a sense of happiness and a tinge of disappointment that our time with them is nearly at an end. There’s even a little “Bat/Cat” action for those invested in that dynamic. There are definitely aspects of V’s main themes that have been done before, but rarely done with such elegance and subtlety. It’s sad to see this series wind down as it’s been one of the more promising Catwoman runs to develop in a while, but the conclusion here makes it feel significant. However, the final pages of the issue are extremely well written as Selina narrates and wraps up her time in Alleytown. I particularly like the panel layouts which tilt at oblique angles and often break apart and spill over each other, which enhances the chaotic nature of the sequence. The artwork also gets to be more dynamic between racing trucks, armed helicopters, bazookas and mini guns all converging into what turns out to be a set up. (Yes I know this is all Selina’s plan, but she gives the more interesting stuff to her underlings). There’s much more excitement and twists with this plotline than there is with the all out brawl Selina finds herself in.
The fun side of the issue deals with one of the “Strays”, Billy, who drives “Poison Ivy” to the docks in order to sneak her out of the city. Selina is at her best when her deceptions allow her to win the day without throwing more than a single punch, but here her own plan relegates her into a “muscle” role. The action here isn’t all that inventive and ultimately amounts to a lot of punches and kicks without really utilizing the uniqueness of the characters. V’s script does trap Selina in a bit of a holding pattern as she, Harley Quinn, and the Gardener are largely confined to an extended fight against various Wight Witch clones. A great colorist is a huge aid to a book that can quickly fall apart under the direction of several different pencilers and inkers. Fiery shades of orange and red fill the entire issue, from Alleytown’s smoke filled skies, Firefly’s flamethrower, down to Clayface’s dominating rampage in a dockside action sequence. There is a bit of whiplash in the different art styles, but Jordie Bellaire’s colors manage to largely keep the aesthetic consistent, even if Braga’s pages are noticeably more glossy. However, even the action sequences this time are less muddled even if their choreography leaves much to be desired. A romantic kiss between Harley and Poison Ivy fits Braga’s bold inks and energetic “acting” style much more than complex action sequences. Also of note is a general improvement on Laura Braga’s pages as the scenes they are tasked to draw lean into her strengths. Their figure work can be a little stiff, but page layouts never struggle with cluttered compositions and the sense of space is always clear. There are three credited artists in this issue which is usually a major red flag for a normal sized issue, but Nina Vakueva’s work remains the clear leader in precision and consistency in maintaining a similar aesthetic as series regular Blanco.
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