Following the events of Joker War, Harley Quinn decides it’s time to turn over a new leaf, and make up for the crimes she’s committed. Finding her place in Gotham is easier said than done, however, but she’s got a new look, a new bat handle and a new Bat-Handler helping her to come out swingin’. Harley Quinn #1 is written by Stephanie Phillips, art by Riley Rossmo, colors by Ivan Plascencia and letters by Deron Bennett.
It’s another relaunch for DC Comics, and the Infinite Frontier brings us a whole bunch of new #1s, including all new adventures of one Harley Quinn. Spinning right out of her appearances in the main Batman title, Harley is coming home to Gotham after the events of the Joker War, dealing with a city that has more reason to hate clown-themed people than they ever did before. It is perhaps not the best time for Harley to start trying to make amends – and on a slightly higher level, this is perhaps not the best time to be telling this kind of Harley Quinn story, if only because it feels like it’s several years of character development too late.
The Harley we’re introduced to in this new series is carrying a lot of guilt for the harm her actions have caused. With the pardon came her way at the end of the most recent Suicide Squad run, she’s finally in a position to try and make up for all the crimes she committed as the Joker’s one loyal right-hand lady. The issue opens with a less than successful attempt to get Killer Croc to forgive her for her trying to sell him to an exotic animal farm, and their fight busts up the sewers enough for her to get a visit from Batman himself.
Batman does not approve. Why his approval should matter to Harley Quinn at all is something that’s glossed over entirely, however, as the shadows he brings along with him suck all of Harley’s spotlight away from her. He shows up in her place to tell her that if she wants his trust, she’s going to have to behave in ways he signs off on, and the condescension is maddening. A supporting Gotham character trying to earn Batman’s approval is the worst kind of Batman story, but for the most part, the four Boy Wonders do a good job of shouldering the load of those kinds of stories together. Seeing this kind of story done to one of Gotham’s many excellent female anti-heroes, though, is beyond frustrating. We’ve seen it with Huntress, we’ve seen it with Stephanie Brown, we’ve seen it a number of times with Catwoman, and now we’re seeing it with Harley Quinn.
Under a certain light, it sort of follows through on her appearances in the main Batman comic. This series is perfect for fans who only know her from Batman’s latest issues and want to read more about her. The problem with that, though, is that Harley Quinn has never been more in the public eye. Between her movie appearances, her own long-running solo title, her Black + White + Red anthology and the number of alternate universe takes starring her that DC has been pushing out, there’s never been a better time to be a Harley Quinn fan – and none of those versions have ever really given a damn about whether Batman thought they were doing a good job or not. That this is the focus of the new series is baffling, though it might have made sense years ago, when Harley was just breaking free of the Joker’s shadow.
If you can manage to let that go, however – or, do as I do, and pretend that this new version of Harley is one who’s popped in from an alternate dimension, or is a clone, or someone plucked out of a simpler time – it’s a great comic. Riley Rossmo was born to draw a Harley Quinn comic; he’s someone who brings the madness in with style. The art in every panel is so unapologetically warped, goofy, and cartoonish, it’s like looking at the world through Harley’s eyes. Everything’s just a little bent out of shape in a way that makes the action look liberated, and fluid. It feels like you could turn the page sideways and watch the characters slosh around into action. Harley’s drawn with this perfect mix of adorability (the new bow is working for her), silliness and toughness. Rossmo makes me feel for the character, which says a lot considering how little I like this story’s focus. Plascencia’s colors match perfectly for this vibrant, cartoonish style, while also setting the tone for a dark, stormy Gotham that only really comes alive at night.
There is a lot to enjoy in this comic. The action, especially, is wild, silly and breathtakingly cool in places. Every punch thrown feels unique, and while Batman is (at least for me) an unwelcome presence in this series, I can’t deny that he looks amazing. A big grump of a nightmare – this is the kind of Batman you need to strike terror into the hearts of that cowardly and superstitious lot.
Harley Quinn #1 is a good comic featuring a somewhat unfamiliar but highly entertaining Harley Quinn, centered around a premise I do not enjoy. Given this is not a limited series, however, there’s a lot of room to grow beyond that premise, and with everything else this comic is packing, I am definitely along for the ride, looking forward to what’s coming next.
Armaan is obsessed with the way stories are told. From video games to theater, TTRPGs to comics, he has written for, and about, them all. He will not stop, actually; believe us, we've tried.
