Category Archives: Supergirl

Supergirl 3 (January 2012)

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Green and Johnson give Supergirl a Lex Luthor knock-off this issue–he lures her in, runs tests on her… Seems very familiar. Oh, like Action Comics last month.

It’s unclear why they need a Lex Luthor stand-in, except to make a dig at the U.S. over the lack of a space program.

The issue’s sadly stupid. Superman leaves Supergirl to her own devices (he’s got to help somebody) and Lex Jr. speaks to her as a hologram. In English, so she doesn’t understand, which creates some of the issue’s problems. It’s not a bad plot for an issue, it’s just a poorly written comic book.

And the art’s not up to par either. It’s unclear what, if anything, new inker Bill Reinhold does to Asrar’s pencils because the issue looks like nothing but pencils. Maybe faded ones, but sketchy pencils.

Just when things were looking up, Supergirl drops.

Supergirl 2 (December 2011)

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Oh, I’m going to regret saying it… but this issue of Supergirl isn’t bad. If it weren’t for some of the art issues, it might even be good.

It’s an all-action issue (again), with Kara and Clark fighting it out over Russia and China. The location makes it a novel idea, but there’s also all this talking, with Clark trying to calm her down and whatnot.

And in those moments, Asrar and Green (and colorist Dave McCaig, can’t forget him here), make this great Supergirl comic. Sure, her costume is still moronic. Asrar doesn’t objectify her, but her costume does? It doesn’t make any sense conceptually and it’s visually confused.

But Asrar’s Superman is awful. Superman looks about fourteen and bears a striking resemblance to “Alfalfa” Switzer. The bad Superman does these moments in.

Green and Johnson actually pleasantly surprised me. I was dreading this issue, but it’s fine.

Supergirl 1 (November 2011)

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Relaunching Supergirl when Superman’s not even established seems thoughtless. Thank goodness writers Michael Green and Mike Johnson are so dull they don’t even engage that question.

Their take on Supergirl is she’s a dumb teenage girl. If they made her like Paris Hilton–someone who turned herself into a brand–it might be interesting. Instead, she’s just a dumb girl.

They do, however, lift moments from Supreme Power and Red Son; their lack of ingenuity is universal, not just Kara.

DC should have hired a female writer. Or at least hired a guy with a teenage daughter. Green and Johnston’s insight into the female condition isn’t laughable. It would need to exist to be laughable.

Mahmud Asrar’s art is actually pretty good. There’s no reasonable explanation for Supergirl to dress like a hooker out of Blade Runner (except DC likes objectifying teenage girls). But Asrar probably didn’t do the redesign….

Supergirl 59 (February 2011)

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All writers have limits… and it’s too bad Gates’s limit is writing Cat Grant as a likable human being. He just can’t do it. He tries and tries here, but he ends up making Superwoman more likable than Cat. It’s a strange disconnect. There’s just something so hateful about her, he’s gone beyond a point where he can even bring a glimmer of humanity to her.

That statement made, it’s a wonderful issue. It’s a Christmas issue, ending up in Smallville (it’s hard to tell Kara’s supposed to be the one in the glasses—I thought they were still drawing Ma Kent with blonde hair or something). Gates and Igle get in the action, they get in some drama….

They wrap things up beautifully (it’s their last issue). It’s really too bad they didn’t get a chance to do the comic, instead getting stuck with crossover tripe.

Still, lovely work.

Supergirl 58 (January 2011)

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Gates really humanizes Cat Grant here (I didn’t know she had a dead son, for example) and it comes a little late. If he’d done it earlier, she wouldn’t have seemed so shrill. Besides that delay in characterizing, it’s a good issue.

Igle does a great job with Supergirl, as usual, but something about his approach is a little different. This issue is the first in forever not to be laden with New Krypton scenery or props; it gives Igle a chance just to do the superhero stuff and he does it really well.

Gates’s pacing is a little off too, I suppose. He’s going for dramatic emphasis more than content.

Oh, now I remember how this issue ends… with Lois going to visit her psychopathic sister. It’s undoubtedly a setup for something, but it takes the issue away from Supergirl and Cat.

Regardless, it’s a good little Christmas issue.

Supergirl Annual 2 (December 2010)

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For the annual, Gates sends Supergirl to the future. The whole new Legion of Super-Heroes continuity is incredibly difficult to understand. Every time they guest in a book, I get even more confused. But Gates does a good job doing a done-in-one adventure. The story moves, has a lot of scenes, and has Supergirl and Brainiac 5’s relationship develop a little.

What’s bad is Matt Camp’s art. He draws everyone like they’re twelve—making the Supergirl kisses Brainiac 5 scene a little confusing—and it draws attention to things one shouldn’t be minding.

There’s some fill-in work from Marco Rudy and Rudy looks a little like Chris Samnee (though nowhere near as good) and those pages work really well. He draws the cast like people, not these weirdos with too young heads and too mature bodies.

It’s nice Gates can competently do this continuity nonsense.

Supergirl 57 (December 2010)

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Thank goodness for the colorist because without him, you wouldn’t be able to tell who Chang was drawing as a Bizarro or as a non-Bizarro.

Chang actually manages to draw Supergirl okay (too lanky to be slutty even), but everything else is a bit of a disaster. His art lacks dimension, which messes up his proportions eventually.

Again, Gates uses the events on Bizarro world to make Supergirl feel okay about herself and the New Krypton thing, but here it works a little better. Maybe because he’s got an actual relatable event, maybe just because he really does make all the Bizarros sympathetic. Bizarro-Girl is such a good character by the end, she’s ready for a limited series of her own.

The issue has an epilogue back on Earth, teasing about the revenge of Cat Grant. It’s a necessary addition, but it still damages the momentum.

Otherwise, fantastic.

Supergirl 56 (November 2010)

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It’s amazing how much I enjoy Supergirl even though the issues read so fast. Gates never leaves the Bizzaro planet this issue either, so there’s no subplot development.

It does open a little weak, with Supergirl telling the unconscious Bizarro-Girl helping her will be a cathartic experience (not in those exact words, but close enough). Gates doesn’t know how to do subtle self-reflection. It’s not a superhero comic standard for a reason—there just isn’t room for it.

But once Supergirl and Bizzaro-Girl land, the issue just gets excellent. There’s space bugs, the DC version of Galactus (oh, wait, didn’t he have bugs in Ultimate Nightmare?) and Bizarro. Gates takes the reader on an abbreviated tour of the planet and its population, which is just a lot of fun (even though some of them don’t make it). It’s strangely good-natured.

And Igle’s art is rather excellent.

Supergirl 55 (October 2010)

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Another very fast read, but it goes very smoothly.

Gates resolves his cliffhanger pretty quickly—all while developing the Bizzaro-Girl character into a sympathetic character (some via flashbacks to her origin on the Bizzaro planet). Supergirl, of course, is the only one who can see her as a misunderstood creature and not a monster.But Gates also has time to bring in a second action sequence, handle some stuff at the Planet (Cat Grant has some subplot of her own going, in addition to the Lana discovery) and then come up with another end sequence.

It’s an excellent issue, the kind of thing one wishes Gates and Igle had been doing all along. It doesn’t develop Supergirl as a character very much, but it is a solidly diverting superhero comic. And it’s not making Supergirl slutty.

Igle has a great time with the art too; he’s got lots of variety.

Supergirl 54 (September 2010)

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Besides one glaring problem (implying there’s a supernatural pedophile out there posing as a Metropolis cop and kidnapping kids), this issue of Supergirl is a great read. It’s a fast read too—really fast, but it all works.

Well, wait… more Cat Grant lameness as she discovers Supergirl and Lana’s relationship/ DC’s unable to produce good new villains.

The issue opens with Jimmy Olsen discovering Bizarro-Girl in a good sequence (so good Gates should do an Olsen series of some kind) then finds Kara (or Linda) moping while Metropolis gets destroyed. Lana has to call her up to motivate her and the scene works well enough. Gates is able to pull it off because the reader wants to see Supergirl in action, not moping. So he gets some slack.

Then there’s a strange one page panel where she pauses to enjoy flying before saving the city.

But, otherwise, great.

Supergirl 53 (August 2010)

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It’s an issue of Supergirl without a bunch of crossover stuff? I mean, there’s still some crossover stuff (and apparently they’re keeping Lucy Lane alive because Superwoman’s just a great villain… eye-roll) but it’s mostly just Lana and Kara talking. Wait, Linda. She wants to be Linda Lang now.

I had to go read up on Wikipedia how the “New Krypton” thing finished up. It’s surprising, with such an iconic cover, the series is totally unconcerned with picking up new readers.

There’s some good stuff between Linda and Lana, but Gates can’t keep it up when he’s got Linda refusing to help people as Supergirl. It’s just too contrived, too forced.

As for his small Metropolis (Dr. Light is testing Superwoman, then goes and discovers the mystery villain), it doesn’t work either. Gates brings charm to Supergirl, but he doesn’t bring charm to the DC Universe as a whole.

Supergirl 52 (June 2010)

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I didn’t read the previous issue in the crossover—even though the notice tells the reader to stop and go read it first (I figured that issue would instruct me to read something else and I can only handle so much of this inane crossover).

Let’s see… from here I can tell all three villains from Superman II are back (new costumes, of course), Lex Luthor is betraying Brainiac (shocker) and Supergirl and Brainiac 5 got together some time in the future. Or the past. I never finished reading that Supergirl and the Legion of Super-Heroes book; I’m unsure if it’s in continuity.

Gates tries really hard for his flirting between Supergirl and Brainiac 5 and it’s just a complete disaster. All of it’s in narration boxes, which is a terrible idea.

Rodriguez’s art is generally decent, if too polished. He also draws an inappropriately short skirt on Supergirl.

Supergirl 51 (May 2010)

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Poor, poor Supergirl. Once again, trapped in a crossover she didn’t make, she takes a back seat to Mon-El, the Legion of Super-Heroes (wait, Mon-El’s in the Legion, right… well, he’s not with them this issue), her mother, General Zod and some cute little Kryptonian girl.

Igle gets to do an action issue, which he handles well. He gets to do some iconic panels too and he likes those… shame they are only occasionally Supergirl-related.

Very little actually happens in the issue, which is probably editorially mandated. It goes… fight scene, fight scene, talking scene, fight scene, talking scene, talking scene.

I made that list from memory, but I think it’s accurate.

Gates also doesn’t sell the silly plot points, like when Supergirl momentarily thinks Superboy is trying to kill her mother or something.

And Supergirl’s mother’s a dimwit for not realizing Zod is a bad guy.

Supergirl Annual 1 (November 2009)

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Dagnino’s art isn’t bad–in fact it’s good a lot of the time–but why does he draw Lana Lang like she’s about thirteen years old? She looks the same age as Kara or younger.

Gates tries to come up with an affecting story but it’s pretty pat. Supergirl foils a bank robbery and inadvertently outs some Kryptonians living on Earth.

The most striking thing about the story is how weak the Kryptonian’s argument is when she’s berating Supergirl. It’s a competently told, but utterly pointless tale. Dagnino’s handling of the bank robbery has some great panels though.

Then there’s Lucy Lane’s origin story. Gates writes it from her perspective, so it’s interesting to see him try to make an evil narrator compelling. He fails. It’s way too clear she’s a nutjob throughout. Again, Dagnino’s artwork is fine (Lucy doesn’t like thirteen).

Regardless, the issue is a waste of time.