A new story arc begins as Barbara Gordon wades into the political arena – without rehashing her Bronze Age stint as a congresswoman. No, another congressional wannabe, Luciana Alejo, is pushing for a complete overhaul of the GCPD, holding Commissioner Gordon and his people as scapegoats for everything wrong in Gotham. And Barbara has a unique response – joining Alejo’s camp.

In the course of it all, Batgirl knows one thing: someone’s out to disrupt Alejo’s campaign, possibly to turn the tide to the opposition. And the name she keeps coming across is that of private investigator Jason Bard (another Bronze Age reference; look him up).

My one big complaint in the story is in a moment of confrontation between Batgirl and Commissioner Gordon. With differing ideologies, Gordon actually DRAWS HIS WEAPON on her. As if any cop should ever draw his weapon on an unarmed person. As if any masked vigilante couldn’t easily take the weapon from him. But Barbara’s reaction, that her own father doesn’t recognize her behind the mask – REALLY? Masks only work with people who don’t know you. Certainly Jim Gordon has thought, “Batgirl kinda looks like my Barbara in a mask,” or “Babs kinda looks like Batgirl without the mask.” Certainly the voice and the hair should be big clues to this professional police officer.

Pelletier and Rapmund continue their stellar work at the drawing board, while writer Mairghread Scott skates dangerously close to advocating a political position. I don’t mind anyone’s politics, as long as they don’t run to either extreme. And I don’t mind politics in comics, so long as they don’t get preachy. It’s an easy landmine to step on, but thankfully Scott avoids it, and rather gracefully, I might add.