If you’re a comic shop regular, chances are you’ve seen DC’s Bombshell statue line. Putting a retro spin on DC’s leading ladies, the line has proven to be a big hit both commercially and aesthetically, so much so that the designs have now translated into comic form. DC Comics Bombshells takes the brand’s 40’s inspired look and brings it to fashionable life, using World War II as a backdrop for the book’s various exploits. While not an entirely seamless experience, it’s one that ultimately provides a fresh new look for some familiar faces.

Bombshells was initially released as a line of character specific digital shorts, the first three of which—Batwoman, Wonder Woman and Supergirl—are combined here. Said structure makes for an episodic print debut, something that ultimately works for and against the read. On the one hand, the three shorts are able to establish a consistent tone, the book’s historical setting used to convincing and at times inspiring effect. On the other, the three separate installments don’t really have anything to do with each other, and there’s nothing to any of them that will suggest that will change down the road. If you’re just looking for some creative, elseworld style snapshots these fit the bill, but anything more cohesive isn’t there yet.What is there is a great sense of fun and character, as represented by the team of Marguerite Squared; Marguerite Bennett and Marguerite Sauvage. Bennett’s scripting is immediately appealing, utilizing a number of introductory methods to get her various tales off the ground. From Batwoman’s newsreel style openings to Steve Trevor’s connection between music and war, there’s clearly been a lot of thought as to how this era of characters would ultimately be represented. The stories themselves vary in overall investment, with the opening Batwoman segment standing out as the strongest. She gets the most focused characterization (though Kara's Red Son tinged tale is a close, close second), with Bennett providing an engaging look at both her costumed and civilian life. By contrast, Wonder Woman’s venture feels a bit more traditional in comparison, offering little new to her previously established mythos. Obviously not every character will come off all fresh and shiny, but when compared to the other two chapters Diana does draw the short straw.Minor nits aside, all three chapters do an excellent job in emphasizing the strength and ability each character possesses. These are strong, realized women capable of wondrous feats, and Bennett ensures that they remain the heroes of their own stories. Given comics’ predominantly male character landscape, it’s refreshing to see these well established characters enjoying the spotlight in such a manner. Even more enjoyable is the art by Sauvage. She captures the book’s wartime aesthetic perfectly, her characters easily at home on the ground or in the skies, and fans of the statue line from which the series is based will notice certain familiar costumes and poses popping up throughout the read. The real draw is her fantastic characterization, namely in terms of emotional expression. Sauvage excels at the little moments, such as a slight head tilt during an embrace or the curious gaze of someone first encountering the opposite sex. There are a few panels where characters look a bit too similar—Kara and Kortni are virtually indistinguishable save for a small braid—but the overall look is quite appealing.Bombshells #1 is a solid start to what looks to be a pretty fun series. The episodic nature doesn't work so well in collected form as it does in single installments, with chapters seemingly flying by, but what's here is really engaging and really well realized. Bennett and Sauvage prove a perfect tandem, and hopefully they'll get the chance to put that same inspired, retro turn on the rest of DC's female elite.