Supergirl:
Being Super did it.
I can’t take new comics anymore. Here
we have a comic trade paperback with a character I like, beautifully rendered,
featuring a somewhat reasonable origin story, and it was awful. I had resisted it the first time I saw it at
Barnes & Noble, because I’ve been burned so frequently in my new comic
purchases, but I couldn’t resist it a second time.
By Page 2 when I started reading it, I realized I’d made
yet another mistake. Kara introduced her
weight-challenged, indeterminately ethic best girlfriend as a “Bad ass dyke.” Later, there was a pointless confrontation
between her and young straight white male.
This was, of course, meant to emphasize who the real villains are: guys
who didn’t give the women working on this comic the time of day in high school.
Given that there’s a promotional blurb on the cover from
The Mary Sue, I really should have
guessed what the inside content was going to be like. While having a pure Agenda character in the
story, who no doubt resembles somebody on the comics’ production staff if not
perhaps an outright author insertion of herself, this was a mild disappointment
compared to the rest of the issue. This
Agenda promulgation of “alternative lifestyles” is de rigueur, but no excuse
for the poor storytelling that followed.
Essentially, a super-powered, but ignorant of her
origins, Kara Danvers grows up in a
small town on a farm with two earnest, good-hearted foster parents. We know this setting can work for a comic,
because it worked for ten years on the show Smallville. Unlike the show, while Supergirl is not in
tights and there is a “freak of the week” villain, she does know how to fly. Unlike the show, Kara is able to instantly
and suddenly use all of her superpowers competently when needed. Superman
does actually show up at the end of this, so this story is not part of the Replacement
Agenda; it’s just unoriginal. That’s no
sin in writing however, especially in comic books. It only becomes a problem when it’s badly
done.
This trade only covers four issues, but is surprisingly
thick. The story, however, is
surprisingly light. It’s your typical
decompressed/storyboard Bendis’
Marvel comic. It’s maybe a little more
dense than that, but not by much. More
than that, so little happens compared to the page count. Comics are meant to be fast-paced, regardless
of the subject matter. European and
Japanese comics will even bear this out.
Quite simply, this was boring.
Nothing happened as Kara moped for page after page. We’re not even talking existential angst; she
was just disinterested or sad most of the time.
The story here was two issues at the most. The rest was whiny padding. It’s not carefully establishing the
characters, allowing for reflection on events, or some other excuse. It’s just lazy, uninteresting, and wallowing
in self-indulgence. She’s not so much
confused about her origins as apathetic.
The most is egregious crime was that that was exactly how Kara came off
to the reader.
She’s a confused victim for most of the story, but
invulnerable and super-powered. It’s not
a good sympathetic combination. On Smallville, Clark’s powers were
hindering his pursuit of the girls he wanted to be with. That’s at least somewhat sympathetic. Thankfully, Kara has a strong moral streak
that keeps her from abusing her powers to seek revenge, and instead uses them
to save others. At least they got that
much right about her.
The artwork being so great sort of made it worse. Perhaps this is why I’m so irritated by
this. I wouldn’t have wasted my money,
if it didn’t look so good. It was so
enticing to look at and then disappointing to sit down and read. It’s almost pure wasted potential of quality
material. Even Kara popping a zit looks
artistic.
Given her appeal, one really has to question why Kara
wasn’t the object of desire for all her male classmates. Hey, that would have been an interesting
angle to explore in the story. She had probably
been told to stay away from boys by her foster parents because of her
powers. You’d think maybe she would have
made her looks more plain so as not to attract attention, but this wasn’t the
case. She didn’t seem to have an
unpleasant personality either. Certainly
she fell for the first Krytonian boy she met.
Maybe earth boys don’t do it for her, but they’d certainly want
her. You’d think she’d have a male
friend or two, but this was noticeably absent from the story. (And what does that say about the author?) This was definitely an unexplored
avenue.
All the elements of a classic are here: great character,
great art, great setting (albeit stolen), and a great story (derivative and
bungled in execution). There were too
many clichéd moments and gaps in story logic which were the product of lazy
writing. I’d detail some of the
breakdown, but just to be fair, there are some minor twists in the story that I
don’t want to spoil. This really just
needed some editing. Somebody in charge
should have sent this story back and said, “Nice idea. Needs work.”
Actually, I didn’t even see an editor listed in the credits. Was it in some really small print or hidden? Or perhaps there really wasn’t one, which
would explain a lot.
Ultimately all of my criticisms could probably be
snarkly dismissed by saying, “Well (in a haughty voice), this wasn’t written
for you (said accusingly)!” And it’s true. There’s a cottage industry on Youtube of
reviewers, guys pretty much like me, who pick apart stuff like this and then
refrain, “Why do today’s comic books have to suck?”
This Supergirl comic and nearly every other new comic
are written for . . . let us charitably say . . . people not like me. (I’m trying to avoid using the labels I’m thinking
of.) This Supergirl is aimed squarely at
young millennial girls. There’s still a
bit of innocence and a soft touch to the story to where it might be relatable
for that audience without being overly heavy-handed in peddling the Agenda,
which would likely be a turnoff for them.
You might consider this a primer for more hard core Agenda comics for when
those girls get older. There’s no reason
why this book couldn’t have had a broader appeal with, frankly, a mature, experienced
adult editing the material, but that wasn’t DC’s goal for this version of
Supergirl.
In any case, it’s not for me. The Youtube Reviewers decry, “Why are you
comic book companies chasing off so much of your audience who wants to buy your
product?” These companies have spent
decades orienting their product to a certain audience and are abandoning them,
in some cases, with extreme prejudice.
It’s hard not to feel betrayed.
I’m not going to get into the deeper motivations or the business
decision-making here. I’m just throwing
up my hands and walking away. If the major
comic book companies want me back, they’re going to have to come to me; I got
no reason to go to them. If nothing
else, I’m writing this to remind myself in the future when I see the next
pretty version of Supergirl in the comics.
Perhaps I’m even angrier because this isn’t the first
reboot attempt at the character I’ve read lately. Last time, I was again drawn in by the
fabulous artwork. (See what I did
there?) The story featured Supergirl as
a rebellious “bad girl,” trying smoking and getting a Kryptonite tattoo. (Shouldn’t that tattoo have killed her? If I got a plutonium tattoo, I’m pretty sure
it would be the last thing I did. That’s
basically the equivalent.) She mostly
fought other heroes for no reason and herself (literally, she was split into
two). I skipped over the next
itineration where I think she was an outright psychopath, and not as
attractively drawn.
One small sidebar, this book did finally allow me to
draw a connection. Kara grew up in
Midvale. I finally remembered that’s
where Josie and the Pussycats are
from. It’s like a suburb of Riverdale,
like Greendale where Sabrina is
from. In a high school flashback TV episode
of Supergirl (don’t get me started on
that show), one of her classmates was named Josie.
Unfortunately for me, I bought and read this trade over
my last vacation. I also bought a used
season of Alias, which I’d never
really watched when it was aired, but had wanted to when it was on. Now that I’ve watched four miserable
logic-defying episodes, I don’t think I can make it through the rest. I don’t know why JJ Abrams was given the Star
Trek and Star Wars franchises
based on this work. Between these two bad
experiences, I really felt the need to unload, when I might have otherwise let
them pass individually without comment.
Sorry for that. This review was
so much trouble to write (and I hope it doesn’t show), it was almost like being
traumatized again by the material.
Contrary to what I just wrote, I will post a couple more
reviews of some recent comics I did like, but even then, some actually
reinforced my points of disillusionment.