Power Girl Uncovered

Over the last three years, DC Comics has released a number of "Uncovered" one-shots, where they collect a selection of covers featuring a certain character (or group of characters) along with some kind of frame story: Catwoman Uncovered, Birds of Prey Uncovered, Wonder Woman Uncovered, and so on. I was intrigued by these; though I'm not a big "collect covers" guy, I can occasionally be enticed by a really solid cover. Looking through the collected covers on League of Comic Geeks, however, turned me off some of them, because most of these collections primarily seem to consist of covers from the last five years or so, when these characters have massive histories. Like, there have been lots of great Birds of Prey covers, but most of the covers in their one-shot seemed to come from the most recent incarnation of the team.

But one of the exceptions to this was the Power Girl Uncovered, which, though definitely tilted toward the most recent incarnation of the character, contained covers going back to her original solo feature in Showcase (see item #6 in the list below), some covers from Amanda Conner's run (see #47 below), and even a cover from Justice League Europe. So I went ahead and picked it up.

The conceit here is that Power Girl has "recently become aware of a bunch of unauthorized 'photos' that have been released to the public." She suggests to the reader that we "check them out together to see if any of them are worth signing"; there are five pages of frame, mostly featuring Power Girl talking to the reader, but also her cat pops up for a few pages and her roommate Omen (see #50 below). I'm guessing this was a contractual necessity or something, but mostly it served to remind me of how lame her current set-up is ("Paige" sucks, and you know it will get undone someday), though I did like Meghan Hetrick's art.

As you might imagine, there are some great covers and some mediocre ones; I particularly liked Otto Schmidt's Power Girl vol. 3 #1 (which shows off many if not all of her costumes over the years), Jae Lee's Batman/Superman #8 (even if Power Girl isn't very central to the composition), David Nakayama's Power Girl Special #1 (featuring Fire and Ice! I don't know why but I won't complain), Alex Ross's Justice Society of America vol. 3 #9, Amanda Conner's Power Girl vol. 2 #1, Sami Basri's Power Girl vol. 2 #13, Warren Louw's Power Girl vol. 2 #27, Will Jack's Action Comics vol. 1 #1053, Guillem March's Power Girl vol. 3 #3, Babs Tarr's Power Girl vol. 3 #3, and Dani Bonvillain's Power Girl vol. 3 #5. For all that the collection has a bit of recency bias, a lot of the recent covers are very good! Power Girl is one of my favorite superheroes (going back to my early days as a comics fan reading JLE), and these covers capture what makes female superheroes work: beauty and strength in equal measure.

I could have done without the comment over the Justice League Europe #49 cover by Ron Randall and Rick Burchett, which I think is legitimately great; I do like Power Girl's early 1990s outfit even if it is very of its time. (Maybe I'm biased because, again, JLE was one of the first comics I ever read.) There are some covers I legit didn't like, but I accept this is a matter of taste, and some of them are fairly iconic and/or well-regarded despite my personal preferences: Jim Lee and Sandra Hope's Infinite Crisis #2, Adam Hughes's JSA Classified #1, and George Pérez's Worlds' Finest #1 (alas, not even Pérez can make Power Girl's terrible New 52 costume work... and I think he even designed it himself?). And in terms of exclusions, surely it's a crime that we only get two Amanda Conner covers! I'm guessing this was on purpose (I think she's the only artist to even have multiple covers), but Conner and Power Girl are inseparable.

As for the issue's own cover, it had six variants; I liked the Dan Mora one a lot but ended up going for the Pete Woods one, which you can see above. 

Power Girl Uncovered originally appeared in one issue (Mar. 2024). It had dialogue by Brittany Holzherr, editing by Jillian Grant, art by Meghan Hetrick, and lettering & design by Darran Robinson.

This post is the fifty-fourth in an improbably long series about the Justice Society and Earth-Two. The next installment covers Wesley Dodds: The Sandman. Previous installments are listed below:

Power Girl: Power Trip by Geoff Johns, Justin Gray, Jimmy Palmiotti, and Amanda Conner

Power Girl: Power Trip

Collection published: 2023
Contents originally published: 2005-10
Acquired and read: August 2023

Writers: Justin Gray, Jimmy Palmiotti, Geoff Johns, Amanda Conner

Artist: Amanda Conner
Inker: Jimmy Palmiotti

Colorist: Paul Mounts

Letterers: John J. Hill, Rob Leigh

When I reread the "Power Trip" arc of JSA Classified (see item #39 in the long list below), I was reminded of how awful Geoff Johns's writing was... but also what a brilliant artist Amanda Conner was, and what a good fit she was for the buoyant, expressive Power Girl. So I decided to pick up this collection, which contains all twelve issues of her run on Power Girl vol. 2. (Unfortunately, it also includes that terrible JSA Classified story, but I skipped it rather than suffer through it a third time. Note that Geoff Johns gets first billing on the cover for writing just four of the seventeen issues included here, whereas Amanda Conner—the only person to work on all seventeen and the volume's clear star—is down in fourth. Must be nice to be the former president of DC!)

The twelve issues of Power Girl collected here run concurrently with Justice Society of America vol. 3 #29-40 and JSA All-Stars vol. 2 #1-6, taking place during the time when Power Girl is leading the JSA. (When the volume opens, the team seems to be unified still; by the time of the closing arc, it has split up, and Magog has left.) But the story's focus is on the fact that despite what's happening with the Justice Society, Power Girl is no longer frustrated at her lack of a clear origin, and just trying to be herself—whoever that may be. So for the first time in a long while, she's reactivated her civilian identity of Karen Starr, and is using it to build a technology company while she moves out of the JSA brownstone into an apartment of her own. She develops friendships, and builds up her own supporting cast. There's even her cat from her JLI days.

I would not have guessed Wonder Woman was great with cats... except to the extent that she's great at everything, I suppose.
from Wonder Woman vol. 1 #600 (script & art by Amanda Conner)

It's one of those runs that you can't point to a single issue and say "this is an amazing comic book" but where you can point to the whole and say "this is what a superhero comic book should be." It's funny, it's charming, it's goofy, it has a unique personality all its own. Sometimes Power Girl is battling the Ultra-Humanite and his former lover Santana, but sometimes she's stopping alien girls gone wild and a virile alien warlord who wants to repopulate his sterilized planet, sometimes she's helping out a teenage boy by going comic book shopping with him. Writers Justin Gray and Jimmy Palmiotti have admittedly produced some real shit in their time at DC, but this plays to their strengths—or at least to Conner's, who is surely in the Top Ten of superhero comics artists, and consistently elevates any material she is given.

Bring back Vartox.
from Power Girl vol. 2 #12 (script by Justin Gray & Jimmy Palmiotti, art by Amanda Conner)

In Conner's hands, comedy, action, and emotion all get good play, letting the whole story come alive. Sometimes the main conflict of one of these stories will end halfway through an issue, and the rest will just be about Power Girl chilling with her sidekick/new friend Terra—and it is always a delight. Conner hits the perfect note with PG's physical appearance, giving us a woman who is attractive but not objectified. I mean, Gray and Palmiotti definitely write in gratuitous moments, but they feel natural and part of the story. (Which is not always the case with Power Girl; shortly before writing this review, I read JSA All-Stars #1, where PG's costume gets strategically torn in such a way as to reveal her entire midriff, and where her boobs are always hanging in "attractive" unnatural positions... bleh.)

My favorite Atlee moment, though, is probably the bit where she pretends to be from Australia.
from Power Girl vol. 2 #3 (script by Justin Gray & Jimmy Palmiotti, art by Amanda Conner)

Like many great runs, the worst thing about it is that it wasn't longer; I gladly would have read another twelve issues from this team. I felt that the supporting cast at Karen's new company barely got started in what they could do, and I want more Kara and Atlee bonding in New York City. But even though this comic lasted another fifteen issues, Judd Winick took over as writer and it became (to my understanding, anyway) a Brightest Day tie-in; neither the writer nor the change of focus appeals. That said, it did make me interested in picking up PG's newest series... the journey never ends, does it?

This post is forty-seventh in an ever-expanding series about the Justice Society and Earth-Two. The next installment covers volume 2 of JSA All-Stars. Previous installments are listed below:

Terra by Justin Gray, Jimmy Palmiotti, and Amanda Conner

Terra

Collection published: 2009
Contents originally published: 2007-09
Acquired and read: August 2023

Writers: Justin Gray and Jimmy Palmiotti

Penciller: Amanda Conner
Inkers: Jimmy Palmiotti and Amanda Conner

Colorists: Rod Reis, Paul Mounts

Letterers: Rob Leigh, Travis Lanham, Sal Cipriano, Swands

After I read Justice Society of America vol. 3, I moved onto Power Girl: Power Trip, which collects a Power Girl ongoing that overlapped with it. But a few issues into it, I was starting to wonder what the deal was with "Terra," Power Girl's sidekick and friend, who comes from a hidden nation of subterranean people. Well, it turned out the answer was in this book by the same creative team of writers Justin Gray and Jimmy Palmiotti and artist Amanda Conner, so I paused reading Power Trip to delve into this long out-of-print collection.

Terra is a bit frustrating in that much of the time, we view this new character from the outside; we don't get much of her own struggle. What are her stakes? This is never really clear. The first issue here teams her up with Supergirl, in one of her particularly selfish periods; Terra's perky selflessness serves as a contrast. Then she meets up with Power Girl and Doctor Mid-Nite, then (groan) Geo-Force. Her deal is that she tries to take care of collisions between the surface world and the subterranean one, protecting the underground ecosystem from human intervention and humanity from subterranean creatures. She comes from a whole thriving underground world with a myriad different kinds of life. It's a neat set-up for stories potentially, but one the volume on its own ultimately doesn't make a ton of use of—and since Terra never got another series, I'm guessing was never really used in future stories, either.

Like, I wanted to know more about her relationship with her dad.
from Terra #3 (art by Amanda Conner)

Alongside this, there's a subplot about a guy digging underground who accidentally turns himself into a living diamond. This culminates in him attacking Terra's people, and she and Geo-Force team up to defeat him. It's pretty perfunctory stuff, I feel like more could have been made of the bad guy. (There's also some stuff about this Terra's place as the... third, I think, superhero of that name, but I don't know anything about the Teen Titans, so it was all underexplained gibberish to me. For some reason, Geo-Force's memory has to be erased even though he learned that someone was impersonating his dead sister; seems a bit mean. How his dead sister can be from underground, I don't really know.)

Not hard to be more of a hero than this version of Supergirl.
from Supergirl vol. 5 #12 (art by Amanda Conner & Jimmy Palmiotti)

Then in a half-issue coda, Terra goes back to the surface and bumps into Power Girl again. This made me very glad I paused Power Trip to read this, because it's basically a set-up for that series, pushing Kara into the decision to resume living her civilian identity and lead a normal life.

Terra and Power Girl did not get off to a great start, to be honest.
from Terra #2 (art by Amanda Conner)

So writing wise, it's basically fine. Decent idea, but mediocre execution—which honestly feels par for the course for Justin Gray and Jimmy Palmiotti, who are hacks (meant in the nicest possible way, of course) if ever there were any; they did, after all, write Infinite Crisis Aftermath, Uncle Sam and the Freedom Fighters, parts of Countdown, and what is probably the worst superhero comic ever. But what elevates it is their collaboration with one of superhero comics' best-ever artists, Amanda Conner. Conner's art is fun, bold, sexy, and above all, character driven. You get a sense of personality from her faces that mostly fails to come across from the writing. It's delightful, I knew I would love it, I did love it, and it's the whole reason I bought this book as opposed to just reading the issues on DC Universe Infinite, and it was worth it. Get Amanda Conner to draw every comic book, please.

This post is forty-sixth in an ever-expanding series about the Justice Society and Earth-Two. The next installment covers Power Girl: Power Trip. Previous installments are listed below:

The Stories between the Stories: JSA Classified

In 2005, the Justice Society reached a new milestone: two ongoing series at once. JSA Classified lasted thirty-nine issues, from Sept. 2005 to Aug. 2008, which means it overlapped with both JSA (which ended Sept. 2006) and Justice Society of America vol. 3 (which began Feb. 2007).

Those other ongoings were clearly the "main" ones. JSA Classified featured rotating creative teams on shorter stories that focused on one or two or occasionally a couple more JSA members at a time. There are two four-part stories; the rest are usually two- or three-parters, with the occasional one-off. No writer or artist works on more than one storyline, with the exception of Alex Sanchez (who illustrates two stories for a total of five issues) and Jimmy Palmiotti (who inks two stories for a total of eight issues, making him the series's most prolific contributor).

Very little of the series has been collected. Issues #1-4, a Power Girl story by Geoff Johns and Amanda Conner, have been collected a few times; I previously read them in The Sequential Art of Amanda Conner. #5-9 were collected as Honor Among Thieves, the only JSA Classified–branded trade. A couple more issues have been chucked into collections here and there: #21-22, by Walter Simonson, were included in Hawkgirl: Hawkman Returns and #25 and 32-33 were part of JSA Presents Green Lantern. Rather than track down the floppies, I decided to read the whole series on DC Universe Infinite, except I skipped the issues in JSA Presents Green Lantern, since I had just read that trade.

As you might expect for an anthology series, some stories are better than others. I'm not going to go blow by blow, but I will give you some highlights.

When I first read Power Trip (#1-4, by Geoff Johns, Amanda Conner, and Jimmy Palmiotti), I didn't like it; rereading it made it even worse. It's a story focused on continuity with nothing to say about character... except it doesn't even really say anything about continuity, either, as the story is just a series of fakeouts about things that are not Power Girl's origin. Amanda Conner's art is brilliant, though, and it made me decide to incorporate her Power Girl ongoing into this project.

On the other hand, I was pleasantly surprised by Honor Among Thieves (#5-7, by Jen Van Meter, Patrick Olliffe, et al.). This is about the Injustice Society planning a heist in JSA headquarters, and I have found most modern takes on the Injustice Society, from Roy Thomas on, gratuitously violent. But Jen Van Meter produces a charming story about underdogs who have to work together to do something that's, well, if not the right thing, not the worst thing either. I liked it a lot, and I'm excited to see that Van Meter returns to some of these characters in a backup she writes for Justice Society vol. 3.

Another villain-focused story did have the problems of gratuitous violence: "The Fall & Rise of Vandal Savage" (#10-13, by Stuart Moore, Paul Gulacy, and Jimmy Palmiotti) just went on and on and on, and had little of interest. Similarly, I didn't like the two Doctor Mid-Nite stories, "Skin Trade" (#19-20, by Scott Beatty, Rags Morales, and Michael Bair) and "Nightfall" (#23-24, by J. T. Krul, Alex Sanchez, and Jack Purcell). Both had lots of squicky stuff. Worse, "Skin Trade" mutilates some minor characters from other series just to prove the situation is serious, one of my least favorite superhero tropes. (On the other hand, it did pick up an interesting loose end from Ultra-Humanite's backstory.)

But when the series is great, it's really great. One thing I didn't like about Geoff Johns's JSA run is that the actual people of the JSA often seemed lost in the way the series lurched from massive event to massive event. Here, we get a lot of nice character-focused stories about the people who make the world's first superhero team also its best. I am not a Scott McDaniel fan, nor a Bane one, so I was pleasantly surprised by "The Venom Connection" (#17-18, by Tony Bedard, Scott McDaniel, and Andy Owens), where Bane comes to Hourman and his son Hourman, seeking help with Venom... which it turns out might be related to the drug that gives them their powers, Miraclo. It's a great focus on the younger Hourman, Rick Tyler, and also Bane himself, with some good (if comic-book-level) discussion of addiction.

I often feel like Wildcat gets a bit flanderized: ooh, he talks funny and he gives Power Girl crap and he drinks beer. So again, I was pleasantly surprised when I ended up enjoying all three of JSA Classified's Wildcat stories: "Fight Game" (#26-27, by Frank Tieri, Jerome Moore, et al.), "Forward through the Past" (#35-37, by B. Clay Moore and Ramon Perez), and "Body and Soul" (#38-39, by Mike W. Barr and Shawn Martinbrough). Each story does a good job focusing on his history, and tying into his interest in wrestling without making it contrived. He uproots a gambling ring, takes on criminals using his old gyms in Gotham, and stops people from stealing the mental patterns of retired wrestlers. Each story is solid, but I particularly enjoyed "Forward through the Past," which has some great character-focused writing and, especially, great art. I don't know that I've ever really registered either B. Clay Moore or Ramon Perez before, but I will look out for more by them. Their depiction of the relationship between Wildcat and Catwoman intrigued me, so now I plan to circle back and read a couple stories about that as well.

The only other stories I found particularly bad were the Justice League Detroit one, "Double or Nothing" (#14-16, by Steve Englehart, Tom Derenick, et al.), and the Mr. Terrific one, "Mr. Horrific" (#29-31, by Arvid Nelson and Alex Sanchez). The former was confusing and poorly explained—and also I'm totally over stories where villains force heroes to fight each other for gambling purposes. Maybe I'll like it more when I reread it in the Justice League Detroit omnibus? But I kind of doubt it. "Mr. Horrific" was just awful: nonsensical leaps in the writing, ugly impenetrable artwork.

Beyond that, you have a number of solid, enjoyable stories. If I have an overall complaint, it's that I wish we'd seen more JSA members. Some more focus on the younger members would have been good; Stargirl's only story was the terrible "Double or Nothing," and Jakeem Thunder just gets a one-parter (#28, by Fabian Nicieza and Steve Uy). Or, it would be nice to open the series up some more so it's not so focused on the present-day JSA: give me a good Atom story, or a good World War II–era one, or whatever.

But on the whole I liked it a lot, more than I expected. I kind of though it was a series to burn off bad fill-ins by mediocre creative teams, but it was nothing like that at all. To be honest, I wish the regular JSA series had been more like this: nothing overdramatic, just good character-focused stories drawing on these people's long histories.

This post is thirty-ninth in a series about the Justice Society and Earth-Two. The next installment covers JSA: Ragnarok. Previous installments are listed below:

1. All Star Comics: Only Legends Live Forever (1976-79)
2. The Huntress: Origins (1977-82)
3. All-Star Squadron (1981-87)
4. Infinity, Inc.: The Generations Saga, Volume One (1983-84)
5. Infinity, Inc.: The Generations Saga, Volume Two (1984-85)
6. Showcase Presents... Power Girl (1978)
7. America vs. the Justice Society (1985)
8. Jonni Thunder, a.k.a. Thunderbolt (1985)
9. Crisis on Multiple Earths, Volume 7 (1983-85)
10. Infinity, Inc. #11-53 (1985-88) [reading order]
11. Last Days of the Justice Society of America (1986-88)
12. All-Star Comics 80-Page Giant (1999)
13. Steel, the Indestructible Man (1978)
14. Superman vs. Wonder Woman: An Untold Epic of World War Two (1977)
• Wonder Woman: Earth-Two (1977-78)
15. Secret Origins of the Golden Age (1986-89)
16. The Young All-Stars (1987-89)
17. Gladiator (1930) ["Man-God!" (1976)]
    
18. The Crimson Avenger: The Dark Cross Conspiracy (1981-88)
19. The Immortal Doctor Fate (1940-82)
20. Justice Society of America: The Demise of Justice (1951-91)
21. Armageddon: Inferno (1992)
22. Justice Society of America vol. 2 (1992-93)
23. The Adventures of Alan Scott--Green Lantern (1992-93)
24. Damage (1994-96)
25. The Justice Society Returns! (1999-2001)
26. Chase (1998-2002)
27. Stargirl by Geoff Johns (1999-2003)
28. The Sandman Presents: The Furies (2002)
29. JSA by Geoff Johns, Book One (1999-2000)
30. Wonder Woman: The 18th Letter: A Love Story (2000)
31. Two Thousand (2000)
32. JSA by Geoff Johns, Book Two (1999-2003)
33. Golden Age Secret Files & Origins (2001)
34. JSA by Geoff Johns, Book Three (1999-2003)
35. JSA by Geoff Johns, Book Four (2002-03)
36. JSA Presents Green Lantern (2002-08)
37. JSA #46-87 (2003-06)
38. JSA: Strange Adventures (2004-05)
    

Revolutionary Reading: An Examination of the Legion of Super-Heroes Threeboot, Part III: Strange Visitor From Another Century

Comic trade paperback, 137 pages
Published 2006 (contents: 2005-06) 
Acquired February 2016
Read May 2016

Supergirl and the Legion of Super-Heroes: Strange Visitor From Another Century

​

Writer: Mark Waid

Pencillers: Barry Kitson, Adam DeKraker, Ken Lashley, Art Thibert, Amanda Conner
Inkers: Mick Gray, Drew Geraci, Barry Kitson, Rodney Ramos
Colorist: Nathan Eyring
Letterers: Phil Balsman, Travis Lanham

One of the clearest explanations of the Mark Waid/Barry Kitson Legion of Super-Heroes is found in the back of this book, where the Legionnaires answer mail from readers of the comic in character. This approach to the old tradition of the lettercol is a delight, and it allows the characters to sort of step outside themselves and describe the premise of the book directly to the reader:

from Legion of Super-Heroes vol. 5 #6 (art by Barry Kitson)

The Legion stands for color, against sterility, as embodied in the virtues of the heroes of the past.

Their virtues are put to the test in this volume, though, which depicts one of the few direct conflicts between the Legion and the society they seek to change. When a group of Legionnaires takes down a terrorist disguised as a Science Police officer outside the home of a guy called Klar who embodies the society they're trying to reform. Klar's wife considers him not "fully clothed" when he's wearing shirt and pants but not hood and goggles, and Klar communicates with his neighbors via screen. He complains the Legionnaires lack "decorum" and "traipse out of doors like savages"!

Here we see something of the dark side of the Legion, as they bully him, stealing his goggles, and mocking his age. This riles up Klar, who comes back with his neighbors to argue with the Legion, who only mock him further:

from Supergirl and the Legion of Super-Heroes #16 (art by Barry Kitson & Mick Gray)

There's some irony here, of course: the Legion has inspired Klar and other social conservatives to interact face-to-face for apparently the first time ever, and Klar's declaration that there is strength in numbers is exactly how the Legion took down Terror Firma in the previous volume. Their revolution has inspired another social movement, yet Klar doesn't recognize that he's abandoning his principles to ostensibly fight for them. Is he becoming a superhero himself? (That's what Matthew from Legion Abstract posits in this nice reading of the scene.)

This is probably the most direct conflict we see between the Legion and society, and on one level, it's pretty harmless-- the Legion shouts out some ageist insults and goes on its way. No real violence is required for them to change society.

That said, it's important to know there's been a major status quo change by this point. The events of the previous volume have shown the United Planets 1) that the Legion of Super-Heroes isn't going anywhere and 2) that the Legion has been successful whereas they have not. So the U.P. changes tactics, and gives the Legion official standing. What happens when they revolutionaries become the establishment? Well, this conflict shows that it actually makes them bullies to a certain extent. The Legionnaires flaunt their newfound authority to intimidate Klar (like I said, they steal his goggles).

It's one thing to punch up, but it's another to punch down, and the Legion is only starting to come to grips with what it means to go from underdogs to establishment, and how you much reorient your attitude appropriately. They're not exactly living up to the virtues of their role models in this sequence, even if they are making the world more colorful, and I'm glad that Kitson and Waid explore that here.

Review: The Starman Omnibus, Volume One by James Robinson

Comic hardcover, n.pag.
Published 2008 (contents: 1994-95)
Acquired June 2008
Read October 2013

The Starman Omnibus, Volume One

Writer: James Robinson
Penciller: Tony Harris
Inker: Wade von Grawbadger
Colorists: Gregory Wright, Ted McKeever
Letterers: John Workman, Bill Oakley, Gaspar Saladino
Additional Pencillers: Teddy H. Kristiansen, Matt Smith, Tommy Lee Edwards, Stuart Immonen, Chris Sprouse, Andrew Robinson, Gary Erskine, Amanda Conner
Additional Inker: Matt Smith, Christian Hojgaard, Bjarne Hansen, Kim Hagen, Gary Erskine
Additional Letterers: Bob Pinaha, Ken Bruzenak

I've owned the first volume of Starman for five years now(!), but my desire to read it goes back even further than that-- I remember reading about it in Scott Tipton's Comics 101 column, which rated it as one of the very best comic books ever. Thankfully, that turned out to be exactly that. Starman tells the tale of Jack Knight, son of the original Starman, Ted Knight, and a young man who never wanted to be a superhero... but found himself forced to be one by circumstances... and found himself starting to like it.

That "liking" is a key part of what I find appealing about this book. Starman goes to dark places, both narratively and visually, but it's often enjoyable, often fun. This isn't a series about a grim antihero, but one about someone who likes being a hero. There's a sense of joy, of enthusiasm, of heroism to the events that happen here. This book doesn't ask, "Do we really need heroes?", it just gets on with the business of having them. But it's not a Golden-Age froth fest; this is a story about terrible things happening to good people... just thank goodness that sometimes the good people can stop those terrible things. This is the ethos I like from my superhero comics.

This was writer James Robinson's first real big break, I think, and it shows-- in a good way. This book bursts with new ideas and reworkings of old ideas: the O'Dares, the Shade, the Mist, Mikaal, the "Conversations with David" segments (where Jack talks to his dead brother), the evil poster, the evil circus, the mysterious Hawai'ian shirt. There's a lot going on, and little of it is generic superhero vs. supervillain theatrics. I like how Starman has a third-person narrator, one with a distinct voice and tone. I think this was Tony Harris's first big break, too, but he also shines here, with art that's purposefully a little rough, and perfectly suited to the task.

Like a lot of DC's Modern Age work, this retcons levels of personality and depth onto Golden Age characters that, quite frankly, was not there to begin with, just like in Sandman Mystery Theatre. Most blatant in this regard is "13 Years Ago: Five Friends," a bleak story of how a few members of the Justice Society reunited to take out a killer cult-leader. The JSA stories in Crisis on Multiple Earths were never like this! But of course, I like this, and I like this mode of going about; this is the kind of thing I think the best modern comics do: respect the past, use it as a foundation to build on, but not be overly beholden to it.

Faster than a DC Bullet: Birds of Prey, Part III: DC Comics: The Sequential Art of Amanda Conner

Comic hardcover, 292 pages
Published 2012 (contents: 1998-2012)
Borrowed from the library
Read January 2013

DC Comics: The Sequential Art of Amanda Conner

Writers: Barbara Kesel, Chuck Dixon, Jai Nitz, Terry Moore, Patton Oswalt, Geoff Johns, Mark Waid, Justin Grey & Jimmy Palmiotti, Judd Winick, Amanda Conner
Penciller: Amanda Conner
Inkers: Jimmy Palmiotti, Amanda Conner
Letterers: Gaspar Saladino, Clem Robins, Kurt Hathaway, Albert T. De Guzman, Phil Balsman, Rob Leigh, Ken Lopez, Wes Abbott, John J. Hill
Colorists: John Kalisz, Pamela Rambo, Tom J. McCraw, Carrie Strachan, Paul Mounts, Rod Reis

Amanda Conner first came to my attention with her fabulous "Supergirl" strip in Wednesday Comics-- rarely is any comics artist able to master facial expressions so well, and even more, she used them to humorous effect. The Sequential Art of Amanda Conner collects a number of different examples of her work for DC Comics over the years, and I like her stuff enough to make it a must-read.

I'm reading it now, though, because it collects issues #47-49 of Birds of Prey (vol. 1), the only collected issues in the gap between Old Friends, New Enemies and Of Like Minds.¹ The story is "The Chaotic Code," and it features Barbara and Dinah fighting to protect a young girl with the astounding power to undo the effect of entropy on people. Of course, like all advanced medical science in a comic book world, There Are Things That Man Was Not Meant To Do, and it'll kill you if it lasts too long. Also the guy the girl is working for is evil. The interesting part is that Barbara temporarily regains use of her legs; there's a great page where she jumps out of a window after some fearsome hand-to-hand stuff, and there a couple good jokes. What's unfortunate is that the fact she is forced to go back to the way she was isn't really dealt with.

Meanwhile, Dinah gets in trouble for parking illegally, and it escalates crazily from there. This is goofy, action-driven fun, a dynamic that the post-Green-Arrow Black Canary is well-suited for, I think.  Unfortunately, she's already back in her old outfit, though at least it's drawn better here than it was in the late 1980s/early 1990s. I miss the full-body jumpsuit! She ends up throwing down with Talia al Ghul, who is working for President Luthor for some reason.

Conner is maybe the perfect artist for Birds of Prey: fun and even sexy, without ever feeling crass and exploitative. Her faces, especially for Dinah as the situation gets worse and worse, are great, and she choreographs potentially-confusing action scenes quite well. It's a shame that she only ever drew this single three-issue arc.

The book is, of course, overall an excellent showcase for her immense skills; I'll touch just briefly on the other tales here. Superman: Lois Lane #1, the not-properly-titled first story by Barbara Kesel, features Lois on her own, battling in a submarine. This is definitely the action-Lois of the 1990s (as seen in World Without a Superman, for example), and it's fun in much the same way Birds of Prey itself is.

Geoff Johns's "Power Trip" takes place on the eve of the Infinite Crisis, with the Psycho Pirate trying to confuse Power Girl about her tangled origin story. I'm not sure why, as the story takes four issues to not answer any questions. It also features the completely stupid explanation of the "cleavage window" on her costume. Some good jokes, though. Some obvious ones, too.

"Scared Straight" has the most anal rape jokes I've ever encountered in a superhero comic, and I have no idea what the hell it even is. I'm afraid finding out will just make things worse, though.  And Ame-Comi Girls featuring Wonder Woman #1 has a charming scene where the protagonist wants to know why she's dressed in a ridiculously exploitative costume and no one answers her and the thing just keeps on happening!

The best story in the book is clearly the one Amanda Conner wrote herself: "Fuzzy Logic," a charming short where Power Girl, Wonder Woman, and Batgirl fight a tentacle monster, and then Wonder Woman gives Power Girl advice about her cat.

1. There are some other collected issues in this gap, actually, but they're all in collections branded with other series titles, like Batman and Nightwing.

Faster than a DC Bullet: Project Star City, Part XIII: Green Arrow / Black Canary: The Wedding Album

Comic hardcover, 175 pages
Published 2008 (contents: 2007-08)
Borrowed from the library
Read December 2009

Green Arrow / Black Canary: The Wedding Album

Writer: Judd Winick
Artists: Amanda Conner, Cliff Chiang, André Coelho
Colorists: Paul Mounts, Trish Mulvihill, David Baron
Letterers: Ken Lopez, Pat Brosseau

After three volumes with other authors (Connor Hawke: Dragon's Blood, For Better or For Worse, and Road to the Altar), I was dreading the return of Judd Winick to writing duties for Green Arrow; I'd gotten mightily sick of him after six volumes of the old series. But quite to my surprise, this books opens exceptionally. The actual wedding of Oliver Queen and Dinah Lance swings between touching, humorous, and shocking with ease, and the story that springs out of that is very good, too, seeing Black Canary, the new Green Arrow, and Speedy hunting for the once-again-"dead" old Green Arrow. There's some good banter, the story moves quickly, the twists are clever, and I liked the sprawling nature of it, a sharp difference from the very street-level old Green Arrow series. It really felt like both Oliver and Dinah's book, not Oliver's book with Dinah tacked on. Best of all, Connor Hawke actually got something to do. Which is why I should have known better...

Winick's favorite tactic on Green Arrow was to beat Connor up to prove the situation was serious, meaning that this expert martial artist-- who had served as Green Arrow by himself for years while Ollie was dead-- always looked a bit useless and never got any good character moments. This really got on my nerves by the end of the series, but Winick goes one further by putting him into a coma and wiping his mind! Argh! Why is this even good writing? How many times do I need to watch scenes of Ollie angsting over his relationship with his son? The only good thing I can say about this development, which ruined an almost-brilliant book for me, is that it finally pays off the revelation at the end of The Archer's Quest, a good five years prior.

On the upside, the wedding story itself is drawn by Amanda Conner, whose work on Wednesday Comics's Supergirl feature was fabulous, and she does a pretty good job here, too (though it's sometimes hard to tell her out-of-costume superheroes apart). The majority of the book is drawn by Cliff Chiang, who has a very clean, "kinetic" style that works well, especially with the bright colors of David Baron. Green Arrow and Black Canary look the best they've looked in years (I mean, look at that slick cover)... it's a shame they just can't have a story to match it.