***Contains Spoilers***
The first part of John Ostrander’s Suicide Squad run (#1-18 covered here) delivers a gripping mix of espionage, morality, and chaos that sets it apart from the standard superhero fare. This isn’t a story of capes and shining ideals—it’s about a government-sanctioned team of supervillains sent on impossible missions, often with the expectation that they won’t come back. Led by the unyielding Amanda Waller, the Squad, also known as Task Force X, operates in the shadows, taking on morally murky assignments in exchange for reduced prison sentences. These early issues lay the foundation for what would become a defining run in DC Comics history.
The character work here is phenomenal. Ostrander takes a ragtag group of villains and makes them not only compelling but relatable. I found myself genuinely invested in the lives of these deeply flawed individuals. Deadshot’s detached nihilism, Rick Flag’s conflicted leadership, and Captain Boomerang’s chaotic, self-serving antics all contribute to a cast that feels alive and unpredictable. Speaking of Boomerang, he’s the JLI Guy Gardner of the group—a pain in everyone’s neck but undeniably entertaining. His presence injects a necessary dose of humor into an otherwise brutal narrative.
The mix of brutal action and espionage is another highlight. The Squad operates more like a spy unit than a superhero team, tackling missions with high stakes and even higher body counts. The recurring team members are joined by a rotating cast of expendable villains, often leading to cannon-fodder moments that reinforce the danger of their missions. Even established characters aren’t safe, and that tension keeps the stakes high. The cameos from other DC characters, like the Penguin, are well-executed and add depth to the world without feeling forced.
What also stood out was the tone. While it’s more brutal and morally ambiguous than most of DC’s output at the time, it doesn’t veer into the extreme darkness of Vertigo’s titles. Instead, it strikes a delicate balance, delivering gritty stories that still feel connected to the larger DC Universe. The tie-ins with events like Millennium are handled seamlessly, enhancing the narrative without derailing it.
While the rotating cast of villains adds excitement, it can also feel like a revolving door of underdeveloped characters. Some of the less prominent members don’t get enough screen time to leave a lasting impression, making their deaths feel less impactful.
Additionally, while the moral complexity of the stories is a strength, it occasionally bogs down the pacing. Certain arcs spend a little too much time unpacking the weight of their themes, which, while interesting, can slow the narrative momentum. The art, while solid, doesn’t always match the intensity of the story. There are moments when the action or emotional beats could have been heightened with more dynamic visuals.
John Ostrander’s Suicide Squad #1-18 is a stellar run that deserves its reputation as a classic. It blends espionage, character drama, and brutal action into a unique package that still holds up decades later. While not without its flaws, the strong writing and compelling cast make it a must-read for fans of morally complex stories. I loved it and would highly recommend it to anyone looking for something different from the usual superhero fare. 4 stars
Feature Image Suicide Squad #3 cover art by Karl Kesel and Luke McDonnell
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