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The New 52 Review Week #3

The third week of the New 52 – the second full schedule – continues the prior pattern of some good, some bad. The overall quality is quite high and even the stuff I don’t like is well produced and professionally done. It’s increasingly clear that the Batman franchise has been almost untouched by the reboot. Batwoman in particular spends it entire first issue catching-up with itself.

Batman and Robin (vol. 2) #1 — The last series was Dick Grayson and Damian Wayne, now its Bruce Wayne and Daiman – father and son. Damian is the same little snot as ever and Bruce is the same hardass, despite allowing himself a smile when going into action with Damian for the first time. However, the situation rapidly falls apart for them. Tomasi is a great writer and he instantly captures the best parts of each character. Gleason’s art is strong and has a Doug Manhke quality that suits this title. — ½.

Batwoman #1 — This one has been a long time in the making, but it is without its original writer. You can tell that Rucka isn’t here, but Williams and Blackman nevertheless do a damn good job. The number of plot points that are touched upon reminds you that this is one of those books that has retained its continuity and just how strong that history has become in only a few years. Great first issue, but the pressure is really on to maintain the quality of the writing without Rucka. The return of Agent Chase gives it that extra .5 score — ½

Deathstroke (vol. 2) #1 — Slade Wilson is back. Like many books this is a refresh rather than a reboot, but the set-up is quite clever. Deathstroke’s reputation is shot so he’s got to establish himself – major excuse for badass displays. That said, the first issue didn’t quite live up to the hype. It has made us a promise that it will be interesting to see if future issues can deliver. Unfortunately that sword makes him look like something out of a Japanese RPG. — ½..

Demon Knights #1 — Shares a certain high concept zing with Frankenstein, but is rather more controlled. Equal parts old and new make for an interesting roster and Neves’s art illustrates them beautifully. I’m a sucker for Arthuriania so I was always going to like this book. I especially like the bit where Xanadu dives off of Arthur’s funeral barge rather than spend the rest of eternity hanging around Avalon. Nice to see the characterization carried over from her Vertigo series. — .

Frankenstein Agent of Shade #1 — It’s Frankenstein’s monster, his wife, the Creature Commandos, Ray Palmer is the science advisor, their headquarters is larger on the inside, and their boss has been reincarnated in the body of a small Japanese schoolgirl. The title lies somewhere between Morrison and Abnett/Lanning in terms of ideas. Its brilliant and more than a little bonkers. — ½.

Grifter #1 — I was only previously aware of Wildstorm’s Grifter as a gun toting wise-ass in various inter-company crossovers so this book was quite new for me. The set up of a lone gunman/conman who is the only person to see the aliens could be a strong TV series and the entire thing seems like a setup for a essentialist 1970s/80s TV show. A very solid entertaining story which could go either way as it develops. — ½.

Green Lantern #1 (vol. 5) — Same artist, same writer, and same continuity, but different Lantern. Sinestro is now GL and Hal is out of a job. Nothing was broken with this title so, almost uniquely in this line up, they haven’t tried to fix it. I would liked to have concentrated just on Sinestro, but there is time for that in upcoming issues. — ½.

Legion Lost (vol. 2) #1 — A time lost Legion of Superheroes splinter group has been tried before, but the idea nearly always requires you knowing who the Legion are. That’s true here, but Nicieza works hard to establish the characters and almost gets away with it. Personally I’d like so have seen something a little more fun and less bloody. — ..

Mister Terrific #1 — This has bee completely divorced from the Justice Society and thus is missing the weigh and pathos that made the original Michael Holt an interesting character. He is meant to be the worlds (Third) Smartest Man, but he just sprouts an insane amount of technobabble. This Mister T could be the new DCU’s Doc Savage, but they need to pull back from the dodgy technobabble and ground the main character a little bit more. Oh, and bring back his jacket. — ½..

Red Lanterns #1 — Turning this crew into an ongoing book requires writer Peter Milligan to do some deft work repositioning the red as more rage than hate. The result is to turn Atrocities into somebody with a Spectre like agenda. It could work, but this issue spends so long explaining how-it-all works that the reader is still unsure at the end if it actually does. — ..

Resurrection Man (vol. 2) #1 — This is a strange one. Unlike, say Grifter, this is a continuation of the old character rather than a do over. Thus Mitch Shelley is in full possession of his powers and rather than having to explore them. It may make for a steeper learning curve for the new reader, but it allows for a great start and a new take on the forces who don’t like a man who won’t stay dead. Classic Resurrection Man — ½.

Suicide Squad (vol. 3) #1 — DC has done some really good villain books in its time, but this isn’t one of them. I know a book called Suicide isn’t going to be light and fluffy, but this is just shallow and nasty. — ...

Superboy (vol. 5) #1 — Superboy’s secret origin was recently revisited in the Young Justice cartoon so the template of this story is still fresh in people’s minds. Where Lobdell departs from the original is to have the Superboy reach full term before awakening. He isn’t rescued and is willingly working for his shady creators. It’s a fresh twist that is able assisted by Silva’s clean and expressive artwork. I wasn’t sure if I’d like the new Teen Titans franchise, bit this is a good start. — ½.

I’ve thought the dividing line of 3 and 3.5 was probably where I’d draw the line on by final pull list, but its hard to tell just from these single issues. Red Lanterns, Legion Lost, and Grifter could all have been above or below that divide.

The New 52 Reviews Week #2

What strikes me immediately about this week’s offerings is how diverse and strong the art is on these books. Morales on Action invokes that a Firstwave look and Oliver on Batwing goes for a distinctive painted look. However, a lot of the books felt like they’re playing it safe. The scripts are solid, the art is good, but I’m concerned that so few of the are truly compelling.

Action Comics (vol. 2) #1 — A surprisingly timeless story, not an origin of the character so much as an origin of his classic status quo. Strong well matched art by Morales and a refreshingly paired back script by Morrison. Leaving out flight means this is one grounded Superman which actually works. — ½

Animal Man (vol. 2) #1 — Opens with a striking interview that acknowledges Buddy’s past and new position as a hipster icon, but it swiftly twists into a rock solid old school Vertigo horror tale. Nice use of colour in the dream sequence. — ..

Batgirl (vol. 4) #1 — Keeps continuity with the Killing Joke and Oracle, but Barbara’s return to Batgirl after that juncture gives a fresh feeling. She’s back, but not without baggage and not yet at the top of her game. Simone’s script is packed, but never heavy and Syaf’s art keeps pace with it. I’m not sure I like the over busy costume, but the purple is a nice touch. — .

Batwing #1 — Winick plays his trademark games with order and pacing, but holds off on the broad banter/humour that’s often a signature of his work. This new character, one of the few new properties in the 52, is a more serious affair and hints at a larger African tapesty that hasn’t really been explored before. — ..

Detective Comics (vol. 2) #1 — Bruce Wayne is back as Batman and he’s hunting the Joker again. Tony Daniel has really upped his game for this issue and brings a suitable level of mystery to the detective title. The episode wraps nicely in one issue, but exits with one of the creepiest images we’ve possibly ever seen from the Joker. Gotham once again feels oppressive. — .

Green Arrow (vol. 6) #1 — Krul’s script leaves behind the fourty-something Arrow of yore and gives us a character closer to Smallville’s twenty-something archer mixed with a hint of Tony Stark and a dash of Steve Jobs. This is potentially the most traditional superhero fare in this week’s batch of DC titles and that feeling is heightened by Dan Jurgens classic pencils. The result is polished and entertaining, but it potentially lacks the heart and weight of old school Oliver Queen.  — ..

Hawk and Dove (vol. 3) #1  — The twin avatars of War and Peace are one of DC’s hardest properties to get right without descending into parody of one or both of the world views. There is baggage here with Dawn’s relationship with Deadman, Brightest Day era captions, and references to Don Hall. Is it just Rob Liefeld’s art alone that makes this feel like a 1990s title or is Sterling Gates slipping into pastiche? — ...

Justice League International (vol. 3) #1 — The measure of a JLI comic is in its pacing and dialogue. JLI v1 had it, Generation Lost had it, but this volume doesn’t quite hit the mark. I’ll post a fuller review on this one went I get the chance. However I do think this will be one of the books that is going to take a while to get into its stride. — ..

Men of War (vol. 2) #1 — I was surprised by this title as I wasn’t expecting to like a war book. However, the lead feature by Brandon and Derenick is well written and captures some of the old Sgt Rock. I’m not sure if mixing in super-humans is wise, but we’ll see how that plays out. The second feature by Vankin and Winslade was more grounded in reality, but didn’t feel as compelling as the lead. — Lead: ½.; back-up: ..

O.M.A.C. (vol. 3) #1 — I think Didio and Giffen may have found their perfect title. I wasn’t a fan of their Outsiders work, but this book mixes the quirkiness of Giffen’s Doom Patrol with a liberal dose of Kirby. Plus the Cadmus Project and Dubbilex make a welcome return. I hope people give this book a chance as it made me grin like a fool. — ½.

Static Shock #1 — Static is a character that I only really knew from his cartoon, but I must say that his high IQ and tendency to narrate his superpowered feats do feel at home in the DCU. Milestone fans will be glad that Dakota is referenced and Hardware features so prominently. McDaniel’s bold art style fits the tone of the title, but I felt that there was a lot to take in for a first issue. They may also have to lighten up on the techbabble.  — ..

Stormwatch #1 — Stormwatch is an odd collision of DC and Wildstorm and Torchwood. I was pleased by the reference to the Martian Manhunter having been a Justice League member and Midnighters introduction was suitable showy. Ideas whisked past almost as quickly as in Knight and Squire. You get the feeling that Stormwatch could be a cornerstone book in terms of grand plans for the new DCU and naming the first arc “the dark side” is just asking for assumptions to be made about where that plan is heading. — ½.

Swamp Thing (vol. 5) #1 — A beautifully draw book that seeks to continue the storyline from Brightest Day. The superhero connection is maintained with a guest appearance from Superman who is checking up David Banner’s flight from this monstrous green alter ego. Sorry did I say David Banner, I meant Alex Holland. I like the setup, but I’m unsure at what point this becomes a Swamp Thing story and not an Alex Holland story. — .

Personally, if I had narrow down which books to keep on my pull list, I’d draw a line at the 3.5/5 boundary. That leaves Action, Batgirl, Detective, OMAC, Stormwatch, and Swamp Thing. I’d also add in JLI just because this is a Justice League blog and I think it shows real potential. However, I’m down as with my LCS as getting the first three months so we’ll see how these book play out in later issues.

Power Girl #21

Credits: Written by Judd Winick; art by Sami Basri; coloured by Jessica Kholinne; lettered by John J. Hill;  edited by Chris Conroy (associate) and Joey Cavalieri; cover by Sami Basri and Sunny Gho.

Synopsis “Old Friends”: Power Girl had been convinced by Maxwell Lord’s mind control that Captain Atom is Superman and that he has started to attack innocent civilians. The enraged Power Girl furiously attacked Atom until the JLI were able to break Lord’s conditioning (Justice League: Generation Lost #19).PG feels bad about the case of mistaken identity and wants to join the JLI’s fight against Max, but Booster asks her to find other people who also remember Lord’s existence. She goes to see Dick Grayson. Together they have managed to break Lord’s conditioning before, but its power always overwhelmed them again. Now PG’s mind is clear she tries to convince Dick by showing him that Ted Kord (the second Blue Beetle) was murdered by Max and did not commit suicide as the mind control makes people believe. Meanwhile at Starrware, the company’s creditors have sold off its assets to Day Work Industries. Simon Peters (Karen Starr’s executive assistant) and Nicco try to stall them, but Dr Ophelia Day sees through their charade. PG and Dick exhume Ted’s body and prepare to perform an autopsy. Dick still resists, but he’s over ruled by Bruce Wayne (the elder Batman and former member of the JLI). Together they show conclusively that Ted Kord could not have committed suicide. Batman (Bruce) then leaves Dick to contact Oracle and the JLA while he goes with Power Girl to aid the JLI.

Comments: The opening sequence of this issue takes place simultaneously with Justice League: Generation Lost #19. Last issue I questioned whether it was an art mistake that they showed the Bruce Wayne Batman and not the Dick Grayson Batman, but it obviously was deliberate. The conversation with the Blue Beetle is a flashback to Countdown to Infinite Crisis. I’m not really sure how this plays out, but in the Countdown to Infinite Crisis Max orders Ted’s body to be incinerated so I assumed that there was no real corpse to do an autopsy on.

Opinion: Another great issue from Winick and Basri. I love the way that this series dovetails with Justice League: Generation Lost, but also manages to tell a story that is completely its own. The stripping of Kord Omniversal is nicely paralleled with the falling apart of Starrware. The elephant in the room with regards to the Generation Lost storyline has always been those characters who weren’t around for the mind wipe or should have been able to resist it – specifically J’onn J’onzz and Bruce Wayne. As we’ve seen in the latest issue of Brightest Day that J’onn never had a chance to become involved. Bruce Wayne was lost in time until after this series started and I like the way that he doesn’t even need to struggle with the mind control. He shows that although Dick Grayson is a Batman, Bruce Wayne is still The Batman. Over the course of this series the colouring has transitioned between Sunny Gho and Jessica Kholinne. The overall result has been consistently of a really high standard and I’m impressed that there was no noticeable change between the two colourists.

4.0

Power Girl #20

Credits: Written by Judd Winick; art by Sami Basri; coloured by Sunny Gho and Jessica Kholinne; lettered by John J. Hill;  edited by Rachel  Gluckstern (associate) and Mike Carlin; cover by Basri and Gho.

Synopsis “Beasts of Burden”: Power Girl has followed the trail of Divine (her raven-haired clone) to a cloaked facility in Vietnam. Professor Anthony Ivo introduces himself and tells PG that she has found the location of the new Cadmus Project. He then sets his menagerie of genetically engineered monsters on her (including a four-armed albino King Kong called “Caspian”) with the expectation that they would stop her getting inside. However, PG just brushes them aside and flies straight through all of Ivo’s safeguards. She plugs s USB transmitter into a computer console allowing Nicco to download their database while she continues to explore. Nicco decides that he has to do something with the mountain on unencrypted intel so he forwards it to the Batcave for archiving. PG discovers that Ivo has even cloned Krypto (Superman’s dog), but the Krypto clone recognises her as a kryptonian and starts helping her. They have the upper hand until Maxwell Lord arrives and shuts down Power Girl’s opposition with his mind control. He then makes her believe that Captain Atom was responsible for Magog’s murder and that it’s her duty to take down the JLI.

Continuity: The Batman that Nicco calls is Bruce Wayne (raised bat-emblem with the yellow oval). Whether this is deliberate or whether it’s an art mistake will have to wait for a following issue. The end of this issue takes place simultaneously with Justice League: Generation Lost #17 and continues in Justice League: Generation Lost #18.

Opinion: Another great issue from Winick and Basri. The emotional turmoil that PG faced last issue is pushed to one side as she does some monster punching. Why do I get the feeling that Anthony Ivo has had way too much fun working for Max. That old scientist must be a real movie buff considering the monsters and Creature Commandos that he’s been manufacturing (either that or he’s a pokemon fan). “Clambake”, the big clone of Krypto, was also fun and I hope they’ll keep him around. This issue finally leads directly into Generation Lost and there is some relief that we’re moving beyond the investigation phase of PG character arc.

3.5

Power Girl #19

Credits: Written by Judd Winick; art by Sami Basri; coloured by Sunny Gho and Jessica Kholinne; lettered by John J. Hill;  edited by Rachel  Gluckstern (associate) and Mike Carlin; cover by Basri and Gho.

Synopsis “One Step Forward — Two Steps Back”: Power Girl remembers telling Maxwell Lord about the time that Blue Beetle (Ted Kord), Booster Gold, Fire, Ice, and herself fought the Royal Flush Gang in the Florida swamps. However, nobody else remembers Max due to a telepathic command that PG has only recently broken (issue #18). She presents the facts about Lord to her team-mates in the JLA All-Stars and Batman (Dick Grayson), but as the pieces start falling into place they all pause and involuntarily forget everything about him. Batman notes that PG is crying even through she can’t remember why. Later she has a nightmare of Divine and Max showing up at her Starrware offices, but even when she wakes up she can’t remember that Max was in the dream. She doesn’t have time to ponder its meaning as Nicco informs her that he’s traced Divine and Crash to Vietnam via a lost ear-ring communicator. PG investigates and discovers a cloaked facility. Professor Ivo appears beside her and tells her that she’s been a large part of his work recently (the implication is that he’s responsible for Divine). He then reveals that the cloaked facility is the new Cadmus Project and shows her the monster’s he’s been building.

Continuity: Max owns wetlands in Chokoloskee, Florida. A lot of what is shown/referenced in this issue took place in Justice League: Generation Lost. Magog is referenced as being dead so this takes place after Generation Lost #13, Professor Ivo was shown working for Max in his Chinese robotics facility in Generation Lost #11. The implication is that Ivo is responsible for Divine’s creation. The Cadmus Project – show here – is referenced as being responsible for the creation of the Creature Commandos shown in Generation Lost #15.

Opinion: It’s not very often that Power Girl is made to look vulnerable, but she has really been put through the ringer by Maxwell Lord. The strain that he’s putting her under really comes across on the page – not just in the writing, but also in the subtly of her expressions and body language. It really shows that all the creators are pulling together to tell a nicely balanced story. The repeated forgetting of PG and Batman isn’t over stated. It happened once in Generation Lost and has now happened once here. It isn’t laboured, but repeats just enough of the beat to keep readers who just follow one book up to speed. The seriousness of the central part of the box is nicely balanced by the opening JLI flashback and the reveal of Cadmus’s daffy menagerie. While I like Generation Lost a lot, but I think the clear and consistent art lifts Power Girl above it as a series.

4.0

Power Girl #18

Credits: Written by Judd Winick; art by Sami Basri; coloured by Sunny Gho and Jessica Kholinne; lettered by John J. Hill;  edited by Rachel  Gluckstern (associate) and Mike Carlin; cover by Basri and Gho.

Synopsis “I don’t know your name (but you look really familiar)”: Power Girl has traced the mysterious mastermind who has stolen her company’s assets to a hidden base in Antarctica. She was attacked by a raven-haired female kryptonian as she approached the base. The woman (we later find out she is named Divine) admits that she’s a near-clone of Power Girl (“I think my boss wanted to put his own spin on it.”) However, that’s all she is willing to admit before she attacks Power Girl. The two women brawl across the ice as Power Girl tries to get the upperhand. The fight crashes through the roof of the buried base revealing tank after tank of earlier failed clones. Their brawl is brought to a sudden halt when Maxwell Lord disables them both with red-sun radiation. He then has CRASH help Divine up and they escape before PG recovers. As she lies on the ground she sees the Kord Industries logo and her memories of the Blue Beetle and Maxwell Lord come flooding back. An explosion incinerates the lab, the tanks, and any evidence, but it isn’t strong enough to hurt the recovering Power Girl. She pulls herself out of the crater and tells Nicco that she finally knows/remembers that Max is behind everything.

Continuity: Maxwell Lord created Divine by bargaining for Captain Marvel’s arch-foe Dr Sivana’s help. His speech implies he’s after the energy processing abilities of Kryptonian cells and that Divine is just a side-product. In the normal DC Universe Power Girl is a parallel universe version of Supergirl. However, in the DC Animated Universe of Justice League Unlimited a version of Power Girl called Galatea is a clone of Supergirl created by an evil version of the Cadmus Project. Divine parallels that clone origin. PG got her first look at Max in Power Girl #15, but she didn’t recognise him. She told Batman (Dick) about that in Justice League: Generation Lost #10 and they came within a whisker of remembering Max before his post-hypnotic blocks made them forget again.

Opinion: “As much as I like a good cat fight” says Max and this is quite a good cat fight. That’s what I like about PG -  the fights aren’t watered down just because she’s a superheroine (her battles are probably rougher than most male superheroes battles). Basri’s art is great as never really descends into a the T&A route that artists of the Ed Benes school would have taken. As always I think  Sunny Glo and Jessica Kholinne’s delicate and muted colouring is a large part of the success of this book. It just doesn’t look like most of the other books out there. It has a definite tone, look, and feel that is brilliantly its own. Divine has the potential to be a very interesting character (every superhero needs their own evil clone).

3.5

Power Girl #17

Credits: Written by Judd Winick; art by Sami Basri; coloured by Sunny Gho and Jessica Kholinne; lettered by John J. Hill;  edited by Rachel  Gluckstern (associate) and Mike Carlin; cover by Basri and Gho.

Synopsis “Snow Job Part Two”: Batman (Dick Grayson) continues to aid Power Girl in her search for the mastermind who stole money from her company and created the C.R.A.S.H. android. They raid the arms dealer who was trying to sell C.R.A.S.H. when it went live (back in PG #14) and he tells them that it was briefly stored in Antarctica. They knew this was connected with the purchase of massive thermal generators (implying somewhere cold), but they needed to narrow the search area down. Power Girl’s superspeed/x-ray search of the ice cap finds a man-made structure hidden beneath the ice. However, she’s ambushed by a super strong masked combatant as she approaches the base. Nicco’s remote sensors can’t get a lock on his physiology, but whoever it is they’re as strong as Power Girl. She finally manages to pull her attacker’s mask off to reveal that “he” is actually a dark-haired female just as Nicco radios her that the woman is a kryptonian.

Continuity: C.R.A.S.H. stands for “Cybernetic Re-Adaptive Simulant Humanoid”.

Opinion: Well I didn’t see that one coming – another excellent twist by Judd Winick. I’m writing this review after I’ve read the next issue so I (and possible you dear reader) know who the raven-haired kryptonian is. However at the time my mind was racing with who she could be – a survivor from Kandor, one of Zod’s crew escaped from the Phantom Zone, another Mutliverse refugee. The fight with Divine (she get’s named next issue) was the opening sequence for last issue so it’s almost two issues of re-sequenced drama before we’re back in sync. This works really well and gives a boost to what could have been a very procedural/non-action investigation. It seems that Dick Grayson gets his best solo outings as Batman in Justice League titles. Both James Robinson and Judd Winick manage to retain that sense of joy and flair he had as Nightwing whereas most of the Bat-titles tend to over do the Bruce Wayne Batman impersonation.

3.0

Power Girl #16

Credits: Written by Judd Winick; art by Sami Basri; coloured by Sunny Gho and Jessica Kholinne; lettered by John J. Hill;  edited by Rachel  Gluckstern (associate) and Mike Carlin; cover by Basri and Gho.

Synopsis “Snow Job Part One”: Power Girl faces the fallout for forcing Karen Starr’s employee, Nicholas “Nicco” Cho, to help her during Crash’s rampage. It wasn’t hard for Nicco to figure out that Starr and Power Girl were the same person and he confronts her about it. Nicco is angry that his boss appears to be “fraud” who disappears when her company was in dire straights. On this issue, Power Girl approaches the Batman (Dick Grayson) about tracing Donna Anderson – the accountant who disappeared with the contents of her company’s bank accounts. He traces Donna to Thailand, but by the time PG arrives Donna is dead from an apparent heroin overdose. She doesn’t believe that Donna would have stolen the money or killed herself and suspects that somebody is still playing with her. At Donna’s funeral Karen approaches Nicco and recruits him to a secret computer lab built by the Batman. He will be her secret weapon in tracking down the villain responsible for targeting her and her company. Batman’s own investigation had found that Karen’s money had been filtered through a series of shell companies before getting lost overseas. The only concrete lead was that part of the money had been used to purchase thermal generators for use in the Arctic. It is that route which leads Power Girl to a fight in the snow against a masked opponent.

Continuity: The Bat Bunker scene between Power Girl and Batman takes place nearly simultaneously with a scene in Justice League: Generation Lost #10. The Gen Lost scene involves PGs arrival and their discussion about Maxwell Lord. Max’s post-hypnotic suggestion means that they lose their train of thought and drift on to the discussion about Donna shown in this issue.

Opinion: Four issues in and Winick and Basi’s run on Power Girl continues to keep a high-standard. Judd Winick continues to surprise me with his use of pacing. Sometimes he’ll spend pages and pages on the most inane fights and then at other times the scripts will thunder through various jumps and revelations in the matter of a few pages. I can’t quite work out if I like it or not.  The disappearance of Donna and – the dramatic cover image – is wrapped up very quickly, but the two-page sequence from the PG discovering the body to her standing at Donna’s funeral is beautifully drawn and coloured.  The tie-ins with Generation Lost remain interesting and you have to wonder if the Artic facility is one of those unearthed by Skeets.

3.5

Power Girl #15

Credits: Written by Judd Winick; art and cover by Sami Basri; lettered by John J. Hill; coloured by Sunny Gho; edited by Rachel  Gluckstern (associate) and Mike Carlin.

Synopsis: Power Girl (Karen Starr) is still having a very bad day. She thought she’d defeated the synthetic purple-android with the stolen memories of the arms dealer Randall Mikavic, but she’d only been keeping it busy whilst its programming rebooted. That completed, the android grows in size and announces – chatty as every – that its primary objective is the destruction of New York City. Power Girl calls Nicholas Cho – an employee of Karen Starr’s R&D company – and blackmails him into digging up whatever secret information about the android is available (Cho had been a hacker who was caught by the FBI and then spent his conviction by working for them). Cho discovers that it the android is called “C.R.A.S.H.” and is a weapon designed to be dropped into a city where it goes on a four-hour rampage before shutting down. Power Girl simply keeps it occupied for another hour and then lets it power down naturally. However, she suddenly weakens and collapses from exposure to kryptonite radiation as a teleportation portal opens. A man steps out and leads Crash away. The last thing Power Girl sees as the portal closes is the stranger introducing himself to Crash as “Max.” Back at the office, Cho tells Karen Starr that he knows that she’s secretly Power Girl.

Continuity: Max is of course Maxwell Lord which ties these events with Justice League: Generation Lost. It had already been established in Power Girl #13 and Justice League: Generation Lost #4 that Power Girl’s company worked on the same type of technology that Max was interested in.

Opinion: As a character Crash is less that interesting. The opening monologue of Randall Mikavic had potential, but as the protagonist for a two-issue brawl he’s over played. That said, I find the concept of a weaponized-monster interesting. He’s effectively Godzilla or Mothra turned into a weapon of mass destruction – drop the monster into a city, let it rampage for a couple of hours, and then send in your conventional forces to mop up any remaining resistance. No radiation, no chemicals, just a very large rebuilding bill. Nice idea, but I’d have preferred Godzilla. The running exchange between Power Girl and Cho was fun – I particularly liked the bit about throwing the evidence into Starr’s office. Something I just realised – this issue is using sound effects (“Ka-Boom”, etc). They work really well as part of the art.

(Crash is a skinny purple thing, that swells is size, gives Power Girl a pounding for four hours before collapsing, flaccid and spent. Best not to comment on that I think. )

3.5

Power Girl #14

Credits: Written by Judd Winick; art and cover by Sami Basri; lettered by John J. Hill; coloured by Sunny Gho; edited by Rachel  Gluckstern (associate) and Mike Carlin.

Synopsis: Against the very load protestations of its owner (Karen Starr alias Power Girl) Starrware Labs has been put into administration by the Loan Officers of First Federal and Savings Bank. Her finance officer Donna has disappeared with the contents of Starrware’s bank accounts and has fraudulently sold off the company’s patent portfolio. However, Karen’s attention is diverted from her company’s urgent problems when she is called away as Power Girl to answer Booster Gold’s questions about Maxwell Lord and then to investigate a problem at the docks. A clandestine meeting between competing arms dealers Randall Mikavic and Benjamin Vitale has gone wrong. The stolen pod they were bargaining over has opened and something seized Mikavic.It copied his mind into a synthetic android that is now destroying everything in sight. Power Girl challenges the surprisingly chatty android and it reveals that its programming is still booting. She thinks she has it subdued until the boot up finishes and it declares its intention to destroy New York City.

Continuity/Commentary

  • The scene between Power Girl and Booster Gold would match a montage in Justice League: Generation Lost #2 in which the members of the JLI try to establish who remembers Maxwell Lord. However, in Generation Lost the person who talks to PG isn’t identified beyond her saying “Did Booster put you up to this?” (or words to that effect), i.e., it’s not Booster speaking to her.
  • The Mikavic/Android says it has three objectives, one of which is Power Girl, and then says its primary objective is the destruction of New York City. Its origin is unidentified in this issue, but the pod has something like “crash” written on its lid.

Opinion: Judd Winick’s second issue seems to do a lot less than his first. The bank subplot is used, but isn’t advanced. Ditto with the Maxwell Lord angle. However, both of those sequences are still interesting. The exchange between the arms dealers is fun, but I found the resulting big-purple-meanie (BPM) to be be decidedly less interesting. Winick has been really good in Generation Lost and here with Power Girl herself in hitting a character’s “voice”, but the BPM just comes across as uninteresting and two-dimensional. However, this is only the first part of a story so we’ll have to see where it goes. The art by Sami Basri and colouring by Sunny Gho is brilliant and works really well.

3.0