At first, I found Bombshells to be an interesting gimmick. DC’s female heroes in 1940s fashions, fighting the Axis. But with this issue, I feel as if the concept is beginning to build its own mythology and backstories. If DC can continue to build an entirely new universe, rather than simply redress older ideas, it can only expand its collective audience.

This issue features the backstory of Black Adam. Rather than be a constant foe of Captain Marvel, he is more of a blend of Vandal Savage and the Mummy, yearning to resurrect his Egyptian love. Searching for redemption, the Cheetah uses the Lazarus Pit to restore a life she had taken, which brings it to the attention of Black Adam. Now it appears Batwoman and Reneé Montoya must prevent him from using dark magic to revive his beloved, to rule the world at his side. (Wait, wasn't that the plot of The Mummy Returns?)

By providing a backstory, I feel DC is trying to establish a framework that will cohesively define this alternate universe. It certainly bodes well for how far the series has come in the past six months, when the characters were mere analogues from the mainstream DCU. New alliances and new rivalries will go a long way in that regard.

DC continues a growing trend I’ve noticed the past month or two – that of using cover illustrations that have nothing to do with the interior narrative. In this case, Batwoman is facing a minotaur, but that happened last issue.

However, my bigger concern this issue is Siya Oum’s artwork, which appears rushed and sketched. It lacks the polish I’ve come to expect from most comic books. As pencils, they’re very tight, but lack inking, although the coloring does provide greater definition. To my eyes, however, it’s not enough. I can appreciate an effort to meet deadline, but if another week would have made any difference, I could live with it being late.

Rating: 6/10 (story trumps art, unless this pattern continues)