Sirens: Love Hurts #1 is the kind of debut that knows exactly what it wants to be. It’s stylish without being hollow, angry without being preachy, and character-driven without losing sight of its central mystery. More than anything, it feels confident. This is a book about women who are tired of being ignored, tired of being dismissed, and tired of waiting for someone else to fix Gotham’s problems.
I was obviously not the target audience here, but that didn’t stop me from enjoying it. Between the sharp character dynamics, the intriguing villain setup, and some genuinely standout artwork, this is a strong introduction to this version of the Sirens.
A Girl No One Listened To
The issue opens quietly, with a young woman in therapy expressing how alone she feels. She worries that no one is really listening to her—not even her therapist. It’s an intimate, grounded moment that makes what follows hit even harder. Walking home, she calls her mom, only to notice a threatening silhouette in an alley. The page turns, and she screams.
The next day, Black Canary is waiting to meet the Gotham City Sirens: Catwoman, Poison Ivy, and Harley Quinn. None of them were fully briefed on this team-up, and the early banter reflects that. The Sirens are wary of Dinah’s more traditional hero status, especially considering her engagement to Green Arrow. They do not want heroic oversight, and they definitely do not want Ollie hovering over their shoulders. Still, they find common ground in one shared belief: Gotham is not safe for women, and they are willing to do something about it.
That uneasy alliance is tested almost immediately. While Dinah takes a call from Ollie, the Sirens ditch her to rob a nightclub that’s laundering money for the mob. It’s classic Sirens behavior; they are not reforming, they are redirecting. But during the heist, they hear a scream. Dinah is standing over the murdered girl from the opening scene. The body is covered in stab wounds and arranged atop a strange symbol. When the media later labels it a suicide, despite the obvious brutality, it becomes clear that this is bigger than a single crime. And it rightfully infuriates them.
Justice, Their Way
Instead of trusting the system, the Sirens investigate independently. Ivy uses her academic credentials to access the autopsy report, while Harley breaks into the victim’s apartment. Selina consults Batman during one of their “meetings,” and he suggests that the recently released Calendar Man may be involved, given that the girl was killed on her birthday.
The team plans a night out to decompress, only to discover Dinah has a gig that night at the same club. Ollie shows up, which immediately creates tension. The Sirens make it clear: if Green Arrow is involved, they are out. Dinah ultimately sends him away, choosing the mission over comfort. It’s a small moment, but an important one. Dinah isn’t abandoning her relationship, but she is asserting her independence.
Following the Calendar
The investigation leads them to Bill and Bob’s, a gentlemen’s club where the victim had been working. Inside, we briefly see a woman flirting with a waitress. The waitress mentions that it’s her birthday. The woman is charming, almost predatory in her attention, and notably wears the same earrings as the therapist from the opening scene. It’s subtle, but intentional.
Soon after, the Sirens spot Julian Day, the Calendar Man, exiting the VIP lounge. It feels almost too convenient. They suit up, prepare to confront him, and then discover the waitress dead in the parking garage. The same symbol is drawn beneath her body, now clearly visible as a circle divided into twelve segments—like a calendar. Day is the obvious suspect. Maybe too obvious.
As the issue unfolds, the framing begins to feel manipulated. Before the Sirens can press further, police chatter forces them to scatter. Dinah stays behind to ensure the victim is treated with dignity, but refuses to implicate the others. The issue closes on a hooded figure observing events from a hidden lair, surrounded by the same symbol. Someone else is orchestrating this.
Sirens in Sync
What really makes the issue work is the interplay between the three Sirens.
Harley is chaotic but sharp. Ivy is precise and principled. Selina moves comfortably between criminal instinct and moral restraint. Their banter feels lived-in rather than performative. Dinah serves as both outsider and moral counterweight, and the push and pull never feels forced.
The thematic elements are woven naturally into the narrative. The anger over the victim being dismissed as a suicide feels grounded in character rather than inserted as a lecture. The story doesn’t pause to explain its perspective; it simply presents women who are competent, capable, angry, compassionate, and unwilling to be ignored. That restraint is what makes it effective.
Stylish and Striking
The standout element, though, is the art. Babs Tarr’s manga-influenced style fits these characters perfectly. Expressions are lively, body language is confident, and the fashion choices are immaculate. Every panel feels intentional and modern.
Harley’s design in particular is stunning. The pink hair is absolutely perfect; it might genuinely be my favorite Harley look I’ve seen. The book looks cool without trying too hard. Whether the Sirens are lounging, fighting, or investigating, they feel dynamic. The aesthetic gives the series a clear visual identity and elevates the entire issue.
Final Thoughts and Rating
Sirens: Love Hurts #1 is a confident and compelling debut that balances character work, social commentary, and mystery without feeling overloaded. The central investigation is intriguing, especially with the growing suspicion that Calendar Man may just be a smokescreen.
The team dynamics are sharp. The art is exceptional. And the tone feels deliberate rather than reactionary. It’s not reinventing these characters, but it doesn’t need to. It presents them at their most capable, stylish, and united. Even as someone who wasn’t necessarily the core audience, I found myself invested.
Rating: 8/10
I can’t wait for more Sirens in my life.