Cultivating new fans is a great idea, and a needed idea.  However, doing it in a way that pushes existing fans away isn’t the right approach.  Done well, attracting new fans and maintaining the interest that is already there will be a win for the character from a business standpoint.  Simply trading out fans does nothing for the character or the business.  With the current approach on Power Girl, it seems clear that the plan isn’t working.  There just isn’t the outlet for the character to be seen by this younger audience.  Not enough of them are in stores to see or hear about the character.  Word of mouth on the internet is almost all negative as well.  Without a more extensive distribution model it’s tough to get new comic fans for any character.  But, that’s a whole different problem.

Why Williams’ Power Girl Isn’t Working

     The biggest obstacle for old fans with the current comic is the overall approach. Just like the “Ric” Grayson debacle, while Kara’s history is supposedly intact, none of the substance of those stories matters.  Furthermore, that history continues to be referenced.  The blog on the DC website insists that this is the original pre-Crisis Power Girl from the original Earth-Two and it’s not the New 52 Power Girl from the New 52 Earth-2. 

     The idea of Power Girl having an identity crisis with imposter syndrome could’ve worked.  However, the way it’s being executed doesn’t.  The character’s history has to be integrated as more than just a mention.  The substance of that has to be center to the character beats of her journey.  The basic idea for this has actually already been done back in JSA: Classified #1-4 and collected in both the 2006 TPB Power Girl and the more recent Power Trip.  What she’s going through now is superfluous.  For anyone whose ready any of those previous editions, this current situation doesn’t make sense- it neither follows logically as “what comes next,” nor as a new challenge, she did this already.  And here’s why-

1. This is the original Earth-Two Power Girl and none of the substance of her previous stories is coming through in this current run, she’s being treated as a brand new character with no experience living on Earth, which is patently incorrect as demonstrated with the references to past stories and the “Everything You Wanted to Know About Power Girl But Were Afraid to Ask” on the DC website.
2. Her characterization, personality, attitude are unrecognizable as the character.  This contributes to the confusion for longtime fans and for potential new readers it’s just sort of boring, there’s nothing interesting about it.  Strange in a strange land is not a new idea, and nothing about this series provides any sort of interesting twist on it.
3. There’s no alignment with her appearances in Justice Society of America which present the Power Girl that longtime fans know and love.

     So, how could this “fish out of water” idea work for Power Girl?  The story has to connect the dots.  It has to explain how the Power Girl that’s always been around is having a new “crisis.”  Power Girl returned to continuity with the Justice Society at the end of Doomsday Clock.  This means that her history should have been returned as well.  Just as the world “remembered” the JSA and their history, as part of the JSA people would’ve remembered Power Girl as well.  That means people would’ve remembered who Karen Starr was, that she had the Starrware computer software company.  Her history was not wiped out.  The current take claims that Karen Starr is a “dead” identity, why?  Why would Karen Starr not be remembered if the rest of the JSA is remembered?  Even the “lost children,” the lost sidekicks of the Golden Age introduced in Stargirl and the Lost Children are remembered by the world once they are returned.  Judy Garrick is remembered- why not Karen Starr and her company?  For old fans to understand what’s supposed to be happening, these issues have to be resolved IN STORY.  And that’s the story that needed to be told to reintroduce Power Girl, not simply ignore the substance that had come before.  Even thinking from a business perspective, if you get new fans that get older trades with the character, she’s not going to be recognizable- her personality, attitude and characterization are a complete 180 degree opposite of how she’s always been portrayed.

What Could’ve Worked…

     The story that should’ve been told should’ve looked something like this…

     Power Girl retuned with the JSA at the end of Doomsday Clock, but unlike the JSA, no one remembered Power Girl.  Maybe because she was a holdover from the original Earth-Two, her history was not remembered.  This would’ve provided the opportunity to do the “stranger in a strange land” type of story.  She really would’ve felt like an imposter because NO ONE would’ve known who she was.  Except maybe the Psycho-Pirate as the ONLY character who remembered the Multiverse before Crisis on Infinite Earths. (Although this is part of the story told in the aforementioned JSA: Classified).

      This doesn’t mean changing her personality would’ve worked, though she could be more vulnerable.  Nor would she have not known what it was like to live as a human on Earth.  However, it allows for a story to be told about a Power Girl that doesn’t have a viable identity, a Power Girl that doesn’t know how she fits in on this earth, despite having the memories that prove she already lived here.  Maybe she would’ve sought out the original Earth-Two.  Maybe she would’ve joined the JSA at this point…maybe Huntress would’ve sought her out and that would’ve connected to Power Girl’s memories of the original Earth-Two Huntress who was her best friend? 

Where Is Editorial?

     The real problem is that Leah Williams has admitted that she didn’t know much about the character and couldn’t possibly have developed this type of story because she didn’t know enough to know that something like what I’ve suggested matters.  Editorial clearly doesn’t care, otherwise Williams stories would not have appeared as they have.  As they are they are a complete non sequitur.  They don’t follow from what’s come before either narratively or as a logical step in character development. 

     For a great character like Power Girl, it’s a shame and disappointment to see such an utter failure both creatively and financially.  The existing Power Girl audience hasn’t been run off entirely, yet.  Can we course correct and get a great Power Girl comic on the stand, soon?

The post The Return of Power Girl…How Leah Williams’ Take Could’ve Made Sense appeared first on DC Comics News.

[Editor’s Note: This review may contain spoilers]

Writer: Leah Williams
Art: Eduardo Pansica and Julio Ferreira
Colors: Romulo Fajardo, Jr.
Letters: Becca Carey

Reviewed by: Matthew B. Lloyd

Summary

Power Girl and Crush team up with the Holliday Girls to fight some Czarnians.  There’s a surprise lurking in the shadows that should prove to be bigger trouble for PG as her past seems to literally be following her.

Positives

The best part of this issue, like many others in this series is the cover.  The cover artists, this time Yanik Paquett, don’t seem to understand the changes wrought on Power Girl and continue to produce covers that capture the personality of the character that readers know instead of what Williams has reduced her to since she began writing PG in Lazarus Planet and Action Comics in 2022. 

This issue somehow sidesteps lots of the elements that plague Williams poorly conceived take on Power Girl.  While some aspects are inescapable like the “S” shield on her costume, Power Girl is not demeaned overly.  Though there is some, it seems to take a backseat in this issue.  This allows the plot to move forward and not be weighed down by the mischaracterization that hinders this series.

The action in Power Girl #9 is darn good when we get it.  Pansica and Ferreira do a good job of delivering the visuals on the fights.  There are even a couple iconic shots of PG in action.  Bringing in the Holliday Girls is a solid idea.  Michael W. Conrad and Becky Cloonan reintroduced them into current continuity in Wonder Woman #780 about two and a half years ago.  Williams makes the connection to Etta Candy in this issue so readers have a chance of knowing where to look for more about them.

The issue also teases the return of what appears to be the symbioship that featured as the villain in the first four issues of this series.  It’s a little unclear what’s going on, but it’s a nice connection to what’s already transpired in this series.  It’s a logical callback and a good use of the plot point for a greater impact as an overarching storyline.

Negatives

While Williams doesn’t focus on Power Girl’s characterization in Power Girl #9, it’s can be seen lurking in the corners.  You’d like to see PG take charge of the situation more strongly.  It would make more sense if Power Girl had a stronger reaction to the situations.  When one of the Holliday Girls tells her she has a dumb name, Power Girl wouldn’t let that slide without a strong comeback.  She wouldn’t throttle the non-powered Holliday Girl, but she’d put her in her place.  Additionally, as an experienced, former Tech executive, when Power Girl asks how they can stop all the Czarnians technology at the same time, it would make sense that PG would be able to come up with the answer on her own.  

As a tie in to House of Brainiac, Power Girl’s involvement feels very small and insulated.  While smaller moments are useful and needed to balance stories out, the focus seems off for this tie-in to such a massive attack in Metropolis.  This should’ve been the opportunity to showcase Power Girl’s Superman level ability in saving Metropolis instead of relegating her to a fight with essentially a biker gang.  Along the same lines, some of the action tries to be more funny than exciting.  It demonstrates how Williams’ doesn’t understand the humor associated with Power Girl.  These “funny” moments come off as childish and pointless.  Also, Williams’ dialogue is often too cutesy and it also misses the point that Power Girl is a Superman power level character, who SHOULD be (along with Helena Wayne, the Huntress) the preeminent hero of her Earth, not an insecure novice.   

Unfortunately, Pansica’s depiction of Power Girl varies in this issue.  When she’s in action she usually looks good and begins to feel like the depictions that are seen on the covers.  However, Pansica tends to draw PG with a smaller physique, not just her chest but also her arms and shoulders.  The ferocity he captures in the action sequences is gone when she’s static, looking meek and unsure of herself.  Unfortunately, it’s a reminder of the damage Williams has done to PG’s character.  For whatever reason it’s more noticeable in this issue than some others. 

Verdict

Overall, Power Girl #9 is much more enjoyable than previous issues of this series.  With elements that hurt the series downplayed there are not as many distractions.  There’s just enough with the action and the surprise at the end that make it readable.  It’s by no means good, it’s just not quite as bad as most of the issues have been.

The post Review: Power Girl #9 appeared first on DC Comics News.

[Editor’s Note: This review may contain spoilers]

Writer: Tom Taylor
Art: Bruno Redondo
Colors: Adriano Lucas
Letters: Wes Abbott

Reviewed by: Matthew B. Lloyd

Summary

There’s more to last issue’s celebration of Dick Grayson…and none of the Bat-family sees it coming.  Heartless enacts his plan to take down Dick Grayson!

Positives

For a while, comic writers have been accused of writing for the trade.  Single issues when collected in these trades are called graphic novels sometimes, despite not being conceived as such.  However, with Nightwing #114 it’s clear that Tom Taylor has constructed his run on Nightwing like a novel.  The theme of Heartless has run throughout while Taylor developed his cast of characters with their own stories along the way.  Heartless is still around and Dick Grayson’s journey under Taylor is inextricably linked with Heartless.  He’s not just an adversary or danger from which Bludhaven must be saved, Heartless is in some ways the opposite of Dick Grayson.  As long as this idea isn’t overused it can be very effective, perhaps one remembers Mike W. Barr and Michael Golden’s Batman Special #1 from 1984 with the story “The Player on the Other Side.”  Nightwing 2022 Annual recounted much of Heartless’ backstory that explores the similarities between Dick and Heartless.  This adds a cohesiveness to the run as well a through line.

Even though most of the recent issues of Nightwing have been illustrated by some fine comic book artists, it’s great to have Bruno Redondo back on art chores for the entire issue.  It’s not just his look, or ability to communicate with characters’ expressions, but his layouts and dramatic choices.  An early two-page spread is a great demonstration of this.  It’s great storytelling!

There are lots of character moments peppered throughout Nightwing #114 that range from Dick’s good heart, the lovely and infectious dynamic between Dick and Babs, and the way Bruce Wayne views his family.  This was on display in the emotionally moving Nightwing #100, and it’s echoed here.  It’s one of the consistent aspects of the series that have made it a fan favorite.  

Negatives

It’s hard to find a negative with this issue.  It is slightly surprising for the meat of this issue that Taylor takes us back to Dick’s celebration from last issue, whilst only teasing what comes next on the opening pages.  It remains to be seen how well this storytelling technique works for “Fallen Grayson.”

Verdict

Nightwing #114 is a solid start to Taylor and Redondo’s final story arc.  It includes many of the elements that have made their run successful over the past three years.  Redondo is in fine form as he returns to the title and the story points towards a big wrap up for what comes across as a longform graphic novel.

The post Review: Nightwing #114 appeared first on DC Comics News.

This version known to fans as the “Retro-boot” Legion can be seen on the cover of the forthcoming Justice Society of America #11.  Due out on July 24, 2024, this Legion can be seen fighting the JSA.  Cover artist Mikel Janin shared the cover on Twitter/ X after the solicit for issue #12 was released.

Foremost, demonstrating that this is the “Retro-boot” Legion are the depictions of Lightning Lad and Saturn Girl.  They appear as they did when the “Retro-boot” Legion was “reintroduced” back in “The Lightning Saga.”  Amongst others are Dawnstar, Ultra Boy and Cosmic Boy in their “Retro-boot” character designs.

The Legion of Super-Heroes has been plagued with reboots both total and soft ever since the Crisis on Infinite Earths back in 1985.  The Crisis reorganized the DC Universe, part of which eliminated Superman’s time as Superboy and thus his time with the Legion of Super-Heroes.  After a “pocket universe” story that fixed this paradox the Legion continued for about five years.  It then relaunched with a “5 years later” storyline that took the once bright and hopeful future in a darker direction.  This led to a couple soft reboots of Legion history along the way.  With the Zero Hour event in 1994 the Legion completely rebooted.  The Legion would again reboot in 2004.  Finally, the classic Legion returned in the aforementioned “Lightning Saga” in 2007.  This time, the Legion history picked up from the pre-Crisis Legion continuity and restoring Superman’s time with the Legion as Superboy.  This Legion would continue up through Flashpoint and into The New 52.  Just before Flashpoint they were appearing in their own title as well as the relaunched Adventure Comics.  It seemed like a new golden age for the team.  However, sales were not enough to sustain the title far into the New 52.

The Legion was set to return during “Rebirth” within the pages of Doomsday Clock.  A young and classic Saturn Girl was a large part of it until the team finally returned at the end of the 12-issue series.  Instead of a classic Legion returning it was Bendis’ new Legion.  It’s still my opinion that the delays on Doomsday Clock were mostly due to Gary Frank having to redraw the classic Legion as Bendis’ Legion.

It’s possible that the Legion on the cover of Justice Society of America #11 is just a ruse, but there has been another reference to classic Legion lore in “House of Brainiac.”  Supergirl (Kara Zor-El) mentions that once upon a future she was very close to a Brainiac.  Pre-Crisis, Kara and Brainiac 5 were a romantic pairing.  Brainiac 5 was devastated when she died in Crisis on Infinite Earths.  taken together, this reference and the cover to Justice Society of America #11 indicate that this is not just a one-of situation.  With the impending fall of the United Planets in Green Lantern we only need Jon to go back to being 13 and DC can finally be rid of the plague that was Brian Michael Bendis.

The post Are the Classic Legion of Super-Heroes About to Make a Comeback? appeared first on DC Comics News.

[Editor’s Note: This review may contain spoilers]

Writer: Jeremy Adams
Art: Xermanico & Amancay Nahuelpan and Kevin Maguire
Colors: Romulo Fajardo, Jr. and Rosemary Cheetham
Letters: Dave Sharpe

Reviewed by: Matthew B. Lloyd

Summary

Hal and company go to the United Planets to inform them about Thaaros…and it doesn’t go exactly as they plan.  On Earth, Carol Ferris makes a big decision!

Positives

While the conflict between the “renegade” Green Lanterns and Thaaros ramps up, perhaps the most interesting development in the issue is the final page cliffhanger with Carol Ferris.  Jeremy Adams wisely uses Carol’s history as a way of getting her involved in the proceedings on Oa.  Adams has been toying with the Hal/ Carol relationship since this series began.  It seemed Carol was completely happy with her current boyfriend and Hal was going to have to accept that Carol had moved on and their new status quo was going to be friendship.

With Green Lantern #11, Adams puts the focus on Carol’s desires as she forces the issue with her boyfriend convincing him to drive to Las Vegas to elope.  It’s a nuanced approach to Carol as it’s clear that while Carol is saying one thing, she is also having misgivings.  This leads to the final page surprise as Carol is confronted with another aspect of her past, an aspect that should prove to put her and Hal on equal footing.  This should force Carol to confront the truth of her feelings.  This was an unexpected though appropriate plot turn and a thoughtful examination of Carol’s character.

Positives Cont’d

It’s no secret that Thaaros isn’t automatically indicted by the U.P. Council.  Though expected, it does provide the continued tension between Hal and the renegades against the U.P. One wonders if this will lead to some sort of dismantling of the United Planets.  It would be a clever in-story way of resetting things for the U.P. to show up again in the future as part of a more traditional take on the legislative body as part of the world of the future Legion of Super-Heroes.  The United Planets as a contemporary entity has been an awkward take since Brian Michael Bendis introduced the idea during his ill conceived and executed runs on Superman and the Legion.

Like it or not, Adams also nails the Guy Gardner back up.  The art by Kevin Maguire is right on target, especially the facial expressions on Guy.  This is also seen when Carol gets her surprise on the last page.  Xermanico (I think) does a great job of communicating Carol’s misgivings throughout Green Lantern #11.  There’s a degree of subtlety here that is achieved at a high level.

Negatives

The flashback sequence with Hal and Carol as middle schoolers plays upon the long history the characters have.  Reflecting upon the childhood interest in bad boy Hal works against the more complex aspects of their relationship as adults.  The final page cliffhanger injects what is needed to bring it back around to the adult relationship between Hal and Carol.

Verdict

Green Lantern #11 takes a turn into the interior of Carol’s struggle.  The creative team does an exceptional job adding this layer to the storytelling by developing this subplot further setting it up for the next big part of this story.  Jeremy Adams continues to be the best writer at DC Comics these days understanding the balance of action-adventure and character.  

The post Review: Green Lantern #11 appeared first on DC Comics News.

[Editor’s Note: This review may contain spoilers]

Writer: Kelly Thompson
Art: Jonathan Case and Gavin Guidry
Colors: Jordie Bellaire
Letters: Clayton Cowles

Reviewed by: Matthew B. Lloyd

Summary 

Part 1 “Worlds Without End” begins in Birds of Prey #9- just where did Dinah, Barda, Sin, Cass and Mari go when they followed Barbara into that portal?

Positives

The fourth art team debuts on this series and Jonathan Case and Gavin Guidry have another style to strut on the pages of Birds of Prey #9.  It’s adjacent to Leonardo Romero’s, but remains distinct.  Jordie Bellaire’s colors go along way in maintaining a consistency.  The atmosphere in this story is communicated quite well through the art as we explore this strange world.

Negatives

The latest issue of Doom Patrol puts the team in a routinely bizarre situation…oh, er… uh…this isn’t Doom Patrol?  Tone has been an issue with this series since issue #1.  In that issue, Harley was rightly feared to distract from the tone of the series, and Kelly Thompson has managed to do that to an even greater degree with Birds of Prey #9 without Harley even being mentioned in the issue.  Thompson has Dinah mention Danny the Street and that makes it clear that this series has veered into Doom Patrol territory.  That’s exactly how this issue feels.  There’s almost nothing in this issue that feels like a Birds of Prey comic.  Despite Dinah and Barbara being a part of the story…it’s gone off in such a strange direction that it reads like a Doom Patrol comic.  As a Doom Patrol comic it has some potential.

That tone is reinforced by some of the awkward humor in the opening sequence.  This was apparent in parts of Birds of Prey #8 as well.  It doesn’t land the way Thompson thinks it does and just comes off as a juvenile.  Thompson also brings back the picking between Mari and Dinah over Dinah’s costume choices.    Would they really pick like that when thrust into an unknown, confusing and dangerous situation?  Thompson also is having trouble with Dinah’s voice, she’s more and more detached as “too cool to care,” despite what we get of substance with the character indicates the opposite.  There’s no secret to be revealed that Dinah genuinely cares for Barbara.  The decision to include it is misplaced, unnecessary and superficial.  It’s just an odd thing to bring up.

Negatives Cont’d

There’s a strange moment when Meridian comes to- she was knocked out and left behind.  She goes to Star City and goes to the home of … Oliver Queen?  There’s an additional attempt at awkward humor before Zealot steps out from another room.  It’s not clear, but this must be Grifter, right?  He and Zealot were together in issue #1, but a blond man with facial hair in Star City is going to be taken as Ollie.  

There are unanswered questions as Dinah, Sin, Barda, Cass and Mari find a way out of this world and it seems rushed.  It comes off as a contrived moment to make the reader think, “oh wasn’t that fun!”  However, it really just makes the story feel like it’s going nowhere.  Almost nothing of real significance happens.  Everything is to cutesy.  Is this Thompson’s style or just a poorly conceived approach to this series?  

Verdict

Birds of Prey #9 strays further from the what makes the Birds of Prey the Birds of Prey.  Ill suited humor and a tone and milieu that resembles the Doom Patrol are the biggest culprits.  Coupled with the fact that the story barely moves forward, the issue is relies on the out of place elements to carry it.  There’s little substance to what transpires and it seems to set up a meandering arc that will end in a “surprise.”  There are some elements that have potential, but not in within the pages of Birds of Prey.

The post Review: Birds of Prey # 9 appeared first on DC Comics News.

Sneak Peek: DC Pride 2024

“You’re going to find them. Those magical places you long for.”

DC’s comics are as vast, varied, and fantastic as the incredible and weird locations found across DC’s cosmos, and DC’s Eisner and Ringo award-winning Pride comic book anthology returns on May 28 as a universe-spanning travelogue like you’ve never seen! With over 100 pages of original stories and content, DC Pride 2024 will immerse readers into the magical places surrounding DC’s Super Heroes.

Previewed below, DC Pride 2024 includes an excerpt from DC’s upcoming The Strange Case of Harleen and Harley graphic novel (by Melissa Marr, Jenn St-Onge, Jeremy Lawson and Lucas Gattoni); pinups by artists Robin “Zombie” Higginbottom, Chloe Brailsford, Ego Rodriguez, Helen Mask, Valentine Smith and Bailie Rosenlund; an unmissable autobiographical story written by industry legend Phil Jimenez about the fantastical worlds that shaped him, brought to life by Giulio Macaione and Frank Cvetkovic; pages highlighting the LGBTQIA+ resources partners that DC and Warner Bros. Discovery work with, and more.

"Hello, Spaceboy" by Al Ewing (writer), Stephen Byrne (artist), and Aditya Bidikar (letterer)

"The Rivers and the Lakes That You're Used To" by Ngozi Ukazu (writer & artist) and Lucas Gattoni (letterer)

"Marasmius" by Gretchen Felker-Martin (writer), Claire Roe (artist), Triona Farrell (colorist) and Aditya Bidikar (letterer)

"Steeling Time" by Jamila Rowser (writer), Oneilljones (artist) and Jodie Troutman (letterer)

"Bros Down in A-Town" by Jarrett Williams (writer), D.J. Kirkland (artist) and Lucas Gattoni (letterer)

"Lessons in Astral Projection" by Nicole Maines (writer), Jordan Gibson (artist) and Ariana Maher (letterer)

"Phantom Rodeo" by Calvin Kasulke (writer), Len Gogou (artist), Marissa Louise (colorist) and Morgan Martinez (letterer)

"The Strange Case of Harleen and Harley" by Melissa Marr (writer), Jenn St-Onge (artist), Jeremy Lawson (colorist) and Lucas Gattoni (letterer)

"Spaces" by Phil Jimenez (writer), Giulio Macaione (artist) and Frank Cvetkovic (letterer)

DC Pride 2024 #1, DC’s annual anthology containing all-new stories spotlighting LGBTQIA+ fan favorites, will publish on May 28. The 104-page Prestige format comic will feature a main cover by Kevin Wada, an open-to-order wraparound variant cover by David Talaski, foil and card stock variants by Babs Tarr, and Wada’s main cover offered as a 1:25 card stock variant. And don’t miss the rest of DC’s amazing DC Pride 2024 covers, on sale in June!

DC Pride 2024 cover by Kevin Wada

DC Pride 2024 variant cover by Babs Tarr

For more information about DC Pride 2024 and more, visit the DC website at www.dc.com and follow DC on social media at @DCOfficial. Fans can also celebrate DC Pride and read comics featuring LGBTQIA+ characters online by visiting the DC Universe Pride hub page on DC Universe Infinite, DC’s premium digital comic book service. New titles are added every month, and a selection of free-to-read titles will be featured for registered users during Pride!

Stay tuned for more Pride announcements from DC and Warner Bros. Discovery Global Consumer Products between now and June, including more details on DC Pride: A Celebration of Rachel Pollack and DC Pride: Uncovered! DC’s 2024 Pride collection of books and comics will be available at your local comic book shop, bookstore, library, and beyond.

The post DC Pride 2024 Sneak Peek appeared first on DC Comics News.

You can check out all the details below!

Bestselling Author Rainbow Rowell Makes Her DC Debut

Rainbow Rowell and Cian Tormey make news with Lois Lane this summer!

New York Times bestselling author Rainbow Rowell makes her DC debut this July in Action Comics, delivering a story with artist Cian Tormey! Together they’ll take on the most powerful woman in Superman’s life…Lois Lane! Rowell and Tormey’s story will run in the pages of Action Comics #1067-1069, paired with a lead story by Gail Simone and Eddy Barrows.

“As a former newspaper reporter, I’ve always had a soft spot for Daily Planet stories,” shared Rowell. “I love that Clark Kent is Superman and also a working journalist—and that it isn’t just dusty backstory. It’s a real facet of his character. I love that Clark met Lois in the newsroom, and that they still work there together. (This is so realistic, I swear.) I really like it when comic book romances last…There’s a lot of story to tell after two people say yes to each other. So—even though I was a little nervous about diving into the DC Universe—I couldn’t resist the chance to write a love story that is also a newsroom story, and still a superhero story.”

“The story that Rainbow and I are telling is about Lois finding her strength, with Clark supporting her as she becomes stronger in her convictions,” added Tormey. “He sees her finding her courage in a new role, her sense of responsibility for everyone—a gentle reminder for Clark of how far he has come, and how far all of us who are not blessed with superpowers can go when faced with adversity.”

“I’ve just seen the first of Cian Tormey’s pages, and I think people are going to adore his take on Lois and Clark,” continued Rowell. “Cian’s work has a timeless quality that’s perfect for this relationship.”

Rainbow Rowell fell in love with superhero comics in junior high. She’s written two Eisner-nominated series, Runaways and She-Hulk, and the bestselling graphic novel Pumpkinheads, and is working on the manga adaptation of her novel Fangirl. She is best known for her prose novels, including #1 bestsellers Eleanor & Park and the Simon Snow Trilogy. This is Rainbow’s first work for DC.

Cian Tormey is an Irish illustrator and a graduate of the National College of Art and Design in Dublin. He currently lives in Valencia, Spain, and has been the artist for DC’s Injustice: Year Zero, Alan Scott: The Green Lantern, Nightwing, Batgirl, the GLAAD Media Award-nominated Superman: Son of Kal-El, Marvel’s Darkhold, and more.

The post Bestselling Author Rainbow Rowell Debuts New Lois Lane Story appeared first on DC Comics News.

[Editor’s Note: This review may contain spoilers]

Writer: Travis Moore
Art: Travis Moore
Colors: Alex Guimares and Ivan Plascencia
Letters: Wes Abbott

Reviewed by: Matthew B. Lloyd

Summary

We already learned there was more to Bea Bennett.  Now learn her full secret history and what she shares with Dick Grayson! An espionage rollercoaster!

Positives

Fleshing out Bea Bennet is a great idea after revealing her pirate past in Nightwing #106.  Travis Moore puts a lot of hard work developing the script as well as the art.  He utilizes a lot of elements from Dick Grayson’s past to create the story.  As a longform espionage story there are lots of twists and turns and they utilize this aspect of the genre well.

The strongest part of Bea’s past is her time with the Quartermaster, something we’ve know for a while.  Nightwing 2024 Annual provides some context.  Showing that Bea and Dick were both taken in as orphans and adopted by someone to care for them is an enjoying parallel.  While this story doesn’t give full closure for Bea, it does demonstrate that she’s got a separate life beyond her relationship with Dick when he was “Ric” Grayson.

Negatives

Bea Bennet’s story in Nightwing 2024 Annual doesn’t have enough space to be effective.  It’s understandable that this wasn’t going to play out over a five year period in an ongoing series, but it has that sort of scope.  Because of this, a lot of the twists and turns feel forced.  It also doesn’t provide enough space to connect readers with Bea outside of being “Ric’s” girlfriend.  The pieces of that puzzle are there, but this story has so much that it is told too quickly to be effective.

This leads to the connected places in Bea and Dick’s lives being a bit contrived.  Moore works in a lot of intersections and parallels that would be more effective in a story that had more space and/ or was a different set of characters.  One of the things that’s lost by giving Bea such a circuitous backstory is that is eliminates the sweeter moments of her romance with “Ric.”  Bea is no longer “just a girl” that he meets, she’s someone there specifically to watch him.  It’s contrived.

The speed at which the twists come down the stretch of the narrative make it difficult to focus on what’s happening.  There’s not enough time for the impact to be meaningful.  This makes the ending feel rushed.  The first half of the story is paced a bit better.

Verdict

While Nightwing 2024 Annual has some interesting ideas, the pacing of the story and amount of twists make it difficult to create the right connection with Bea.  The idea of giving her her own story is solid, but it would’ve been stronger if the tale had been centered around her and the Quartermaster instead of turning her into a near super-spy.  The story is unbalanced with too much plot and not enough of Bea herself. The art is strong and Moore’s effort on the project is clear.

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[Editor’s Note: This review may contain spoilers]

Writer: Leah Williams
Art: Eduardo Pansica and Julio Ferreira
Colors: Romulo Fajardo, Jr.
Letters: Becca Carey

Reviewed by: Matthew B. Lloyd

Summary

Power Girl and Omen get drawn into the Brainiac/ Czarnian affair currently taking place in Action Comics.  Why isn’t Power Girl taken with the rest of the super-beings in Metropolis?

Positives

With Eduardo Pansica and Julio Ferreira returning to the art chores on Power Girl #8 after the past two issues by Marguerite Sauvage, it’s clear that the Pansica/ Ferreira team (and Farjardo Jr.’s colors!) are a pretty darn good combination for Power Girl.  They handle the action well and give Power Girl a much more recognizable personality visually.  She gets that angry face that one expects. (And, they even do a good job communicating the emotions that are out of character for her!)  They draw her more confident than she’s written at times, and even manage to get a bit of attitude across as well.  Overall, their stuff looks good and despite the poor characterization of the lead character, the art invites the reader to like the book.  They are doing their damnedest to combat what Williams is doing with the character in the script.  It makes one wish the concept wasn’t so poorly conceived and executed from a writing standpoint.

There’s even a single moment, maybe three panels where Power Girl seems to almost be at odds with what’s going on with her characterization, the look on her face, something in her eye and the emotions passing beneath the surface may in fact betray something  larger at play…that somehow…the real Power Girl will emerge.  Perhaps, Williams is playing some long game (and playing it poorly) and Power Girl IS being directed…controlled…it appears it’s possible in the sequence on the bottom of page 9.  In the middle of that page, PG expresses that attitude…not of the co-dependent, insecure character Williams writes earlier in the same issue, but the attitude longtime fans EXPECT from the character, the attitude that talked back to the stalwarts of the JSA in her earliest appearances in order to be taken seriously.  It’s noticeable that when Power Girl is in combat or in action mode in this issue, she is more recognizable and enjoyable because of it.  Even if it’s just a glimpse it gives hope as does the fact that there’s another aspect that could be interpreted as a clue Power Girl is being manipulated.

The fact that we also get a “Psychic Jerk Jar” revealed in the apartment that PG shares with Omen leads credence to the idea someone may be controlling her…and it may be Omen, who’s been right under the readers’ nose from the very beginning of this new (and wretched) iteration of Power Girl.  Strangely, this version of Power Girl is beginning to feel more familiar as this off brand characterization is what’s expected and feels familiar.  

Negatives

It’s very difficult to read a Power Girl who is insecure, lacks confidence in her abilities and is generally shy and dependent.  Williams gives us that as we learn she can’t roller skate…(when she loses balance wouldn’t she just levitate herself unconsciously since she can fly?).  She’s afraid to run into Lois who also happens to be at the park where she and Omen are skating because she has a column due.  

The dynamic between Power Girl and Superman in Power Girl #8 is still awkward…both in story and through Williams characterization of Power Girl.  Williams subtly shows us that PG’s feeling are hurt because SHE wasn’t also abducted with the rest of the super-beings of Metropolis.  She seems to need Superman’s reassurance when he finds her…(um…why wasn’t he abducted?)  And, it will never makes sense that she’s identifying with the main Earth’s Superman as family….  It’s these moments that take away from the positive steps noted above. 

It would be easier to take Power Girl’s struggles to make it in this version if she were attempting to do things on her own and for herself, but wedging her into the Super-family eliminates any sense of individuality which has been a hallmark of her character from her inception.  Williams has yet to show WHY Power Girl feels she needs to fit in with the Super-family, WHY she isn’t getting what she needs from her friends (AND surrogate family!) in the JSA, WHY she’s unable to make her way on her own.  There’s a story missing that needs to be told in order to make sense of all these “why’s.”

Verdict

The real question that must be answered with Power Girl #8 is whether or not this version of Power Girl can be enjoyed on its own terms or even in spite of itself.  Lord knows I WANT to like a Power Girl solo series.  Williams has stated that she wanted to show the differences between Power Girl and Supergirl… and she’s doing that.  She may not understand either character in terms of established histories and characterizations, but she IS making them different.  Can Paige Stetler be enjoyed as a bit of a mess trying to navigate her way through a world Williams assures us she doesn’t understand whilst consumed with feelings of insecurity and redundancy?  I don’t know that a reader who has a history with Power Girl, a reader who understands the substance of her character and identifies with/ enjoys her established characterization can make the leap…it’s too … different.  The art from Pansica and Ferreira want to make you like it.  It’s effective in that way, but unless an audience embraces this iteration it feels hopelessly at odds with what people have always liked about Power Girl, and this issue gives the reader very little of that.  As a Power Girl fan for nearly the entirety of her existence, this issue continues to disappoint.  The art is able to raise this issue a bit, surprisingly.

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