Back Issue Box: Adventure Comics #404

One of the things that I have truly appreciated about the current Supergirl title is how writer/artist Sophie Campbell has really done a deep deep dive into Supergirl's history, incorporating elements of all of Supergirl's lore and iterations into the book. 

Recently, the March 2026 DC solicits came out promoting a 'Reign of the Superboys' arc running through all the super-titles. In a related article talking about the titles, this nugget was dropped.

That same week, Supergirl #11 drops Kara into Kandor, strips her powers, and gives her a cybernetic upgrade as she leads a revolution alongside Conner Kent and a legion of Boy Thunder clones.

A powerless Supergirl in Kandor getting a cybernetic upgrade?

It sounds like Campbell is revisiting a storyline from the early 70's where Supergirl's powers would blip on and off. To compensate, she went to Kandor and had was given an exoskeleton to boost her abilities when she was suddenly powerless. 

Now to be honest, I am not a fan of storylines where characters' powers can suddenly disappear. The story always seems stretched and forced. And that is true for this classic one. But how great to see it updated. So why not revisit Adventure Comics #404, with that Kandorian exoskeleton revealed.

The brief story? A mob leader named Starfire (no ... not that Starfire or the other Starfire) comes to town to take over. To do that, she needs to get Supergirl off the board. So she has a lothario slip Supergirl a pill designed to depower her permanently. But it only works some of the time. Check out the awesome cover! Starfire beating up our here while a group of odd clowns watches on! Inticing!

To put in context, this book came out in May 1971, in the middle of the Kryptonite Nevermore arc in Superman, an arc seriously depowering the Man of Steel. Perhaps DC couldn't have Supergirl be the strongest character in the universe? 

On to the book!

Starfire Comic Box Commentary

What do you do when your favorite character is misunderstood by the comic book company in charge of her stories?

What do you do when your favorite character isn't on the stands any more?

What do you do when you want to run a blog about a strong woman character, learning the ropes, and trying to do what's right and your favorite character no longer embodies that?

What do you do when you like blogging as a creative outlet and want to continue to do so?

Well, you change the focus of the site to a different character.

So welcome to Starfire Comic Box Commentary ... no not that Starfire.

Welcome to a blog dedicated to the 1970's sword and sorcery spitfire Starfire! Written by many writers but drawn exclusively by Mike Vosburg, this Starfire makes her way through a strange land,  and discovering her independence and inner strength.

I will miss Supergirl, But I can't say that I'll miss covering her exploits given how she was portrayed the last couple of years.

So instead, get ready to hear crossed swords and laser fire. It's a whole new world!

Starfire #1 was a great find from the dollar box and was worth the price for any number of reasons.

First off, writer David Michelinie (who I know mostly for Iron Man and Spiderman) casts a pretty unique star in the book, especially given the time it was published. Starfire is half-asian and a woman. Certainly that must have stood out in 1976.

Second, artist Mike Vosburg really shines here. Starfire is beautiful and attractive in her barely-there off unitard. But there isn't that much overt cheesecake in her renditions in the book. She comes across as athletic and strong more than anything else. And the theme within this story, of Starfire taking control of her life, realizing that slavery is utterly wrong, is nicely conveyed here.

Lastly, I am always into the explosive combination of science and sorcery whether it is Thundarr the Barbarian, Thundercats, Mento and the sorcerors in Alan Moore's Swamp Thing #50, or here in Starfire. What could be a better cover than a sword-wielding warrior woman towering over an ogre, while spear wielding monsters and spaceships litter the background. Slick.

Lastly, you should notice that there is no Comics Code Authority seal on the book. While I have read that it was an oversight, the content of the book - especially the end - might have been a bit tough for the CCA to approve.

On to the story.

Back Issue Box: Adventure Comics #402 - Supergirl Vs. Starfire

Last week I wrote a bullet review about Jimmy Palmiotti and Amanda Conner's Starfire.
A while back, on another blog, I wrote about one of my favorite characters from the 1970's Starfire.

So I thought I would review my least favorite Starfire, the organized crime boss who tormented Supergirl in the early 70s in Adventure Comics. These stories were written and drawn by Mike Sekowsky and frankly, I don't think he had any love for the character. He didn't seem to have much knowledge of Superman mythology or Supergirl history. He has Kara be at her most juvenile at times. And, the worst part of his whole Starfire story arc, he depowers her.

I always felt that part of the push for Supergirl to basically lose her powers was the storyline happening in Superman at the same time. Adventure Comics #402, cover dated February 1971 and which also introduces us to Starfire and the depowering plot, came out just one month after Superman #233, the famous Kryptonite Nevermore arc which, at the end, significantly weakened Superman. Had Supergirl not been depowered, she would have been without a doubt the most powerful person in the DCU at the time.

The issue starts with 'two strange people' having a beachside picnic and discussing nefarious plans.

One is Starfire, a wicked woman and leader of an organized crime family comprised solely of women. She is ready to take the next step in her plan of world domination. Her colleague Dr. Kangle has developed a pill which will remove the powers from super-heroes. And Starfire will use her boy toy associate Derek to test the pill on her first target - Supergirl.

The book is a wonderful time capsule of 70's fashion from the Starfire's rhinstoned eye patch to Derek's voluminous locks.

But the plan hinges on one thing. Supergirl has to become so smitten with Derek that he will be close enough to slip her the pill.

Starfire has all the angles. She'll enroll Derek in Stanhope knowing that Supergirl frequents the place.

And despite looking like a huge big toe, Derek is confidant he will be able to woo the Maid of Might.

To lure Supergirl to his side, Starfire orchestrates a phony mugging of Derek.

To make it look real or perhaps realizing what an oily creep Derek is, the muggers get a few good shots in.

Derek yells out some loud screams. Linda Danvers hears, switches to Supergirl, and rescues him.

With Derek seemingly injured, Supergirl allows the muggers to escape so she can tend to him.

The trap is sprung. Derek plants a kiss on Kara's lips to thank her for saving him.

We see the title and its significance. 'Love conquers all .. even Supergirl.'

But then we get Sekowsky's take on Supergirl and it isn't good.

Supergirl is momentarily helpless because of Derek's magic lips. But then we learn 'she even likes the helpless feeling'.

Not exactly what you want your writer to say about your strong female lead.

And that one kiss is enough to have Derek invade Supergirl's mind. He is all she can think about. And he is playing the part right, leaving signs around campus that he needs to meet her.

But it is that first panel that I find odd. When had she ever said 'I can't let myself be emotionally involved with an ordinary human.'? That was about 45% of her stories in Action Comics. Poor Dick Malverne! Sekowsky doesn't seem to know or care about her history.

But what could any girl do against Derek's suave nature and relentless pursuit? According to Sekowsky, any girl gives in and goes out.

I do like how in this time period, Kara does sport different outfits. This 'formal dress' costume is nice.

Derek brings her to a ball where he says how dating her is making him look better. What a creep!

Finally Supergirl says that she cannot see him anymore. That her mission, her pursuit of justice has to come first. He agrees that he won't bother her again ... except for one last picnic date.

I can't believe that any Kara would fall for this tripe.

But she can't resist him.

She goes out on the date. She says that sometimes she wishes she didn't have powers so she could live a normal life. But she does have her powers and she has to use them to help people.

And with that, Derek slips the 'depowering pill' into Supergirl's drink.

Before the picnic is over, Starfire sends a goon squad over to test her scheme.

Supergirl loses her powers.
The gunmen let loose with a hail of bullets.
Supergirl falls.

She apparently dies.
And Derek is all too happy.

It appears that Starfire has won!

Things get all the more wonky after this issue. Powers that flick on and off. Kandorian exo-skeletons. Starfire beating up Supergirl. Female clown gangs.

It is a rough period in Supergirl's history ... a history unfortunately marked by rough periods. Sekowsky seems to have a low opinion of Kara, having her fall for Derek immediately, craving a helpless state, a life without powers.

But Starfire is such a thorn in Supergirl's side that she has to be included in Supergirl's rogues gallery. With nothing but a shrewd calculating mind, she almost defeats Kara. How about Jimmy Palmiotti and Amanda Conner resurrect this Starfire to fight a team-up of Starfire and Starfire?

As for this book, since Starfire is a long-standing villain and this powerless arc is pretty long for the time. As a result I must begrudgingly label this as being of moderate importance to a Supergirl collection. Even if she is treated shabbily, it is a key chapter of the early 70's.

Overall grade: D

Bullet Review: Starfire #1

Starfire #1 came out last week and was definitely a fun read, so fun I felt I needed to do a quick review here.

I was one of the many readers who was put off by the portrayal of Kory as a brainless sex kitten, there simply for my ogling, as written by Scott Lobdell in the Red Hood and the Outlaws book. So I was thrilled when I heard that Starfire was getting her own book in the DCYou, especially when I heard the creative team was Amanda Conner, Jimmy Palmiotti, Emanuela Lupacchino, Ray McCarthy, and Hi-Fi.

Conner and Palmiotti have brought a sense of lunacy and fun to Harley Quinn. That book is a guilty pleasure, a book which seems to thumb its nose at sensibility, bringing a pedal-to-the-metal pace of wackiness and bawdiness to the comic world. Harley is a sort of PG-13, 'wishes it could be R', ribald comedy. I love it.

That said, I wasn't sure that I wanted a xerox copy of that tone with Kory. Once the Amanda Conner's cover and initial solicits were put out though, I could tell that it would be a little different. Looking at the cover, you have this totally gorgeous Starfire, beautiful enough to be turning the heads of everyone she has passed by. But the wide smile and breezy feel to the picture felt like it was going to skew a bit more innocent than Harley.

It also doesn't hurt that the internal art is by Emanuela Lupacchino, recent artist of Supergirl. Her work absolutely shined there and I can tell you that it does here as well. Eye-popping wonderful art here by Lupacchino and McCarthy.

And Hi-Fi just shines on colors, giving us layers of reds and oranges in Kory's hair and bringing us a bright, vibrant Florida as a backdrop.

The story is pretty straightforward.

Kory arrives in Key West as a 'stranger in a strange land'. She heads to the police station and asks for help in setting up a life there. While we are nearly 4 years into the New 52, this Kory really has a sense of naivete and wonder to life on Earth. She doesn't seem to have a grasp about day to day life here. Luckily, Sheriff Gomez is a kind woman and decides to help Kory, sheparding Starfire.

I had to include the splash page where Sheriff Gomez comments on Starfire's strength, stamina, and flight calling her a 'big orange Supergirl'!

I guess that is the closest we'll get to more Lupacchino Supergirl.

'My' Starfire is the warrior princess from The New Teen Titans. She was fierce and fiery. She was emotional and sensual. But she fought for what was right. And she never forgot the injustices done to her and her people.

But my 'other' Starfire is the one from the Teen Titans Go! cartoons, a sort of innocent, bubbly alien still learning what everything means on Earth.

The Conner/Palmiotti Starfire seems like the perfect blend of both. One of the running gags in the book is seeing Kory's thought balloons where she translates idioms a bit too literally. So 'three large ones' doesn't mean three thousand dollars to her; it means three elephants.

She isn't played off as stupid. She's learning. And it is fun.

But there is that sort of free-spirit sexuality to this Kory as well. She has no problem showering in an outdoor stall with the doors open. And she kisses this young man deeeeeply moments after meeting him. She uses the old Wolfman 'I learn languages by kissing' excuse. But when she is called on it by Gomez (who knows that Kory already knows English), Starfire's response is perfect. She wants to learn more English. I laughed out loud at that.

As a first issue, Conner and Palmiotti move things forward pretty quickly setting the stage. Kory is settled in Key West. She has a sort of guardian and guide in Sheriff Gomez. We meet her neighbors and get a blurb of backstory. And we get a fun scene in a bar where we get a sense of Kory's love of food, fun, and fighting.

If Harley Quinn is a PG-13, wishes it was R ribald comedy, I think Starfire is going to be a randy television show, pushing the envelope of what is allowed but probably staying close enough to PG to be accessible. More to the point, while I don't know if I would let my 13 year old read Harley, I would probably let her read Starfire if the book maintains this tone and pace.

Sign me up!

Review: Superman #29

Superman #29 came out last week and featured Superman fighting against and then with Starfire.

We all know that come June, Geoff Johns and John Romita Jr. will be taking over the book. That means we only have a couple more months of writer Scott Lobdell on the book. And it also means Lobdell only has a couple of months to tie up several of the plot lines that he has had churning along in the book.

It also means that I only have a couple of more issues to read Lobdell's take on Superman which has never read quite right.

Ed Benes provides the art here and it is clear that he was having a good time drawing Starfire. She certainly is drawn in a very provocative manner throughout.

And is there any cover that describes the New 52 DC Universe more that this one? Starfire, one of the company's hero, is attacking Superman, endangering a young boy, at a State Fair! A State Fair! If it wasn't depressing it would be ridiculous in its cliches.

You might recall that last issue Superman was going to interview the criminals Lois helped bring in when Starfire blasted the police station wall. She was going to kill the criminals regardless of what Superman had to say.

But right from this first page I am confronted with the odd voice of Superman in Lobdell books. "As much as he tries to fit in on this world ..."?? "He's always going to be a strange visitor."??

It is as if Lobdell wants to move Superman away from humanity, have him forget the Smallville origins, make him alien.

I get that he is from Kryptonian. But he was raised in Kansas. By the Kents. It is that upbringing that defines him. Not standing in the sun.

Superman is able to immobilize Kory briefly so he can interrogate the criminal. But the crook mutates in front of him, becoming this monstrous thing. Before Superman can ask him any questions, Starfire returns and incinerates the guy with a starbolt.

The criminals are acting as hosts for alien life forms which are mutating them. In theory, the 'man' is dead, his body just a vessel for the Daemon being. Kory says since the man was dead, she didn't have to worry about killing 'him'.

Of course it means she killed 'it', a sentient albeit evil Daemonite.

At least Lobdell has Superman chastise her for killing anything.

I have to say, if you like nonstop cheesecake, Benes has to be a favorite. We certainly get enough of a view of her chest and behind throughou.

The 'guns' the beings were toting were inoculators. The man injected himself with a Daemonite, willingly becoming its vessel. I wonder if these people know they are basically killing themselves?

So let's also take a look at the New 52 universe. In this universe, Starfire ... a hero supposedly ... blasts through a police station wall. She kills someone in front of Superman. He doesn't chastise her in any meaningful way. The Metropolis police waste no time in emptying their revolvers at the two heroes.

When Starfire learns there are more of these guns on the streets, she leaves to mete out some fatal justice.

Last issue, Cat Grant decided to reject Morgan Edge's offer to buy ClarkCatropolis.com.

In a rather creepy way, we see Edge, in his car, approach Grant as she walks home. When she tells him she isn't selling, he gives her this veiled threat.

Now after Jimmy warned her about Edge trying to hide something, and after this sidewalk approach, you think Cat might be a little more aware that this is a threat. But instead she seems to take it at face value. This is a brief scene, so maybe we will see her be more astute the next time.

Sure enough, all the criminals Lois brought in have mutated into monsters and are tearing apart the jailhouse. Starfire is quite verbose in her hatred swearing to turn all the monsters into smoldering ash!

Superman does arrive to try to stop her, reminding her that there are alternative to killing. He freezes the monsters in their place.

Another look at the sorry state of the New 52? Starfire calls Superman a childish prig. So much for him being the inspirational figure for the world.

The Daemonite-possessed inmates are brought to STAR Labs where the scientists there basically say there is no cure. The scientist actually belittles Superman a bit saying he can't 'super-believe' a cure into being. That's right ... a STAR Lab employee making fun of Superman's ethics and hope. Classy.

Luckily Superman is able to detect energy off the inoculating guns which leads him to the Daemonite headquarters.

On the outskirts of town in an abandoned building, Starfire and Superman run into this kid. Does anyone think he isn't a Daemonite? Look at how Benes' draws him.

While Superman talks to him as if he were human, Kory reminds him that Daemonites can remain dormant. This kid 'could' be a Daemonite. Duh ...

Then, after revealing he is Daemonite, the kid self-immolates, vaporizing himself. Ummm ... okay. If he was going to kill himself, why reveal himself. He was, in theory, safe and undetectable in the human form.

Starfire tells Superman that the Daemonites are putting the world on notice.

But what is this pose by Benes supposed to be telling me. Is she smacking her forehead like 'Hello M'Ghann?' Is she squinting at the nighttime sky, hoping to see a Daemonite ship in orbit? I don't get it. Maybe it is just supposed to be eye candy.

After the end of that story, we peek in on Lois who continues to manifest Brainiac power.

I have talked about the sorry state of the New 52 a lot. Has anyone suffered like Lois? Here, she uses her powers to tampers with her boyfriend's mind. Does that sound like something Lois, a pursuer of truth, would do? Maybe the Brainiac piece is making her borderline evil? I actually have to hope Lois is evil to explain this because I don't want my Lois to do this.

Plus, talk about convenient ... the Parasite drained Lois of just enough energy to remove her memory of Clark being Superman ... but not enough to drain her completely. Guess I have to roll with it.

And what is stopping Lois from using her powers to rediscover Superman's secret identity. She has to be powerful enough if she is freezing a platoon of criminals last issue and wiping minds in this one.

If there is one bright thing about this issue it is the reintroduction of Blackfire in the DC universe. She is working for Helspont and the Daemonites. But her dialogue makes it seems as if she is doing so begrudgingly, somehow protecting Tamaran by serving the Daemonite cause.

I do like the goth sort of look for her, especially the Alice Cooper eyes. I am not surprised about the skimpiness of the top. But the hair, eyes, and spiked cape all work.

But this issue is ultimately forgettable for many reasons. I don't think the Daemonites story will be concluded in the next couple of months. So maybe this was a way to put this arc on the backburner for a different time.

Overall grade: C-

Review: Superman #28

I have, in the past, been somewhat persnickety in my reviews of Scott Lobdell's Superman. There have been times when the book has not felt like a Superman book at all.

Happily, Superman #28 feels like a Superman book. It is a wild ride of new plots, quick scene cuts, and some nice character moments. Perhaps the best part of the book is the inclusion of a strong Lois working a story and interacting with Clark.

Adding to the fun is some slick art by Brett Booth. I think Booth's style works best on high energy stories, injecting just enough pizzazz to make the sequences pop off the page. In this issue, he shines in quieter moments - Clark talking to Cat in his apartment or Clark and Lois talking in a police station. Really wonderful art here.

Lobdell isn't on the book for much longer. Hopefully the remainder of his tenure will have this quality.

The book opens with Lois being Lois, out with the Metropolis Police Force, investigating crimes in the Suicide Slum area of the town. The lone car is suddenly pinned down with serious fire power. Just when things look their bleakest, Lois shouts for the criminals to stop and ... they do.

And so it seems that the Parasite didn't drain off all the Brainiac power from Lois. But it does seem he drained off enough to remove the memory of Superman's secret identity. I have to admit ... I was hoping for a 'normal' Lois. But I guess we will have more psionics from her.

Meanwhile, Superman just happens to be scanning the sky when he sees an odd crystal door to nowhere floating in space. Covered with odd glyphs and looking ornate and ominous, I am sure something awful will emerge soon enough.

What we do learn we get from the omnipresent Shay Veritas. From deep in the block, she has scanned the thing and moving it will do something ghastly to the space/time continuum so it is best left alone.

I have talked about Veritas a lot in the past. There is this faint whiff of malevolence in her. I think her thirst for knowledge probably blurs the lines between good and evil in her. Almost everything she says could be said in a subdued evil tone. Even here her saying 'It's weird. I love it.' is just odd.

Will she eventually turn heel?

Back home, Clark enters his apartment to find Jimmy crashed on the coach.

It seems all the money has made Jimmy feel lost.

I thought this scene was solid showing the friendship that Clark and Jimmy have. It is almost a cry for help from Jimmy who needs to feel grounded again. Of course Clark is going to open his doors to his friend. It might seem cheesy, but I thought the fist-bump worked as an image of them coming together.

Now it isn't a perfect issue. I like the idea of Sam Lane being elevated from warhawk general to Senate insider. I wonder if suddenly being in the belly of the political beast will soften him. He was becoming rather two-dimensional as the gun-toting anti-Superman warrior. And here he is suddenly confronted in his own apartment by a black-clad group willing to share what they know about The Tower.

Of course, before we get to that scene, we have to see the General's girlfriend in post-coital bliss saying how 'athletic' Sam is in the sack. It is one panel ... but felt gratuitous. I don't need to know about General Lane's prowess.

Okay, enough of being a downer. I thought this was supposed to be an upbeat review.

As I said above, I like the quiet character moments in this book. And I have really liked how Lobdell has handled the Cat Grant character over his tenure. She has become something more 'real' here, not just vamping and being catty.

In this issue, she talks about selling ClarkCatropolis to Morgan Edge for 13million. She likes being well-off. A poor Cat isn't a happy Cat. While Clark understands the sentiment, he tells Cat she should be proud of making a true news site, something with integrity. He believes in her.

I love how Cat responds. Despite her overly confident exterior, she sounds like she has an inferiority complex. No one has believed in her before. Nice.

Of course, Jimmy knows you have to follow the money. Why would Edge offer that unless they were close to something? I wouldn't mind a rehash of the Edge/Intergang connection. Any other guesses.

Contrast that Cat/Clark hug to this Lois/Clark hug in the police station in the next scene. Clark heard the police scanner talking about Lois' encounter and heads to the station.

It is clear Lois is worried about what is happening to her but isn't ready to talk to Clark about it yet. That hug speaks volumes. She loves Clark on some level. And the lack of background really makes the reader focus on the act.

But I love Clark's reaction. Contrast that to his happy smile with Cat. Here he is shocked, unable to finish the hug, his arm poised away from her. His feelings for Lois have been confused in this title ... loving her but keeping his distance. That expression he has here is perfect to convey that.

In one of those Lobdell leaps, we jump from Clark talking to a police officer to Superman standing in front of a tattooed individual claiming how powerful his group is. I have to assume that it is one of the goons brought in from the Lois crime scene. And Superman wonders what power the guy might be talking about, noticing some odd movement in the evidence room.

But before he can investigate further, Starfire (who saw something on her team's monitors that threatens Earth) arrives, blows through the police station wall, and tells Superman to get out of her way so she can save the world from this mystery threat.

Outside of the Sam Lane moment, this one also felt a bit off. I wish we were in a DCU where heroes didn't explode through walls or yell at Superman. Wouldn't it be a better place if Starfire flew through the window and said 'Superman I need your help to save the world?' I suppose that it is more a criticism of the New 52 than to Lobdell.

Still, overall this was a pretty good Superman issue with some zaniness, some action, and some great character moments with the rich supporting cast of the super-family. Add to that the slick Brett Booth art and I have to say I was entertained.

Overall grade: B

Bullet Review: Red Hood And The Outlaws #14

The 'New 52' is just over a year old which means that some characters are still meeting each other for the first time. And so when the Superman or Supergirl shows up in another title, I am probably going to pick it up.

The latest sighting of Superman was in Red Hood and the Outlaws #14. Now I will admit that I picked up Red Hood #1 and thought the treatment of Starfire was so terrible, that I haven't been back. So I have no idea what has been happening in this book up to now. This isn't a full review as the back half drifts into a romantic tryst by Jason Todd with a Death in the Family twist. Instead, I'll concentrate on the Superman pieces.

Scott Lobdell is the writer here and in Superman so he might be trying to spread his vision of the Man of Steel. It also ties into the Superman Annual #1 from the summer, a book which I thought was a bit muddled. At least the scenes there haven't been forgotten.

Mostly though, the issue again portrays Superman as someone that other heroes seem to distrust. Lobdell continues to show us that others think Superman is lording over 'mere humanity' rather than being a hero, an inspiration, and despite his powers, down to Earth. It isn't the take on Superman that I have. And I think it isn't how most Superman fans want him to be portrayed. But it's here, like it or not.

Right off the bat, I can see that things have changed in the book. Starfire is a much more coherent, much stronger character in the book. And, shockingly, she is in a bodysuit!

The prior arc must have taken place on Tamaran because Kory is commanding the ship. Her first mate's name ... K'TTen. Yeesh. Along for the ride are the other outlaws Red Hood and Arsenal. And, a flight attendant Jason picked up also is there.

Approaching Earth, the ship is confronted by Superman who wants to speak to Kory.

As is typical, and maybe because they are Outlaws, the team wants nothing to do with Superman. Jason comes right out and says he simply doesn't trust Superman. Interesting that a character like him can talk about trusting anyone.

One thing I did like was that Lobdell notes that Batman does trust Superman.At least the Trinity seems like a unit.

The best course of action for the Outlaws is to teleport themselves to their island hideout, figuring even Superman couldn't follow them that way. But, he is Superman after all. Shortly after they arrive, he is there.

Does any image or page better encapsulate how Lobdell views Superman? He is descending from the clouds, the point of view is looking up at him, he is completely calm with arms outstretched ... it screams angelic or 'above us'. And then to add some grist for the mill, there are 2 pistols aimed right at him, all while Jason says sarcastically that Superman is 'real human'.

Now don't get me wrong, I love Morrison's Superman and he certainly has portrayed Superman as deific at time. But he also has Superman on the ground, helping people, inspiring people. Even in All-Star Superman, the most god-like ending of a Superman story, the scene many people talk about is Superman hugging the girl who is about to commit suicide. It is inspiring ... but personal and close ... not impersonal and distant.

And to add another layer of distrust, we learn that Tamaran and Krypton had strained planetary relationships. So Kory is going to keep Superman at a distance because of the politics of a planet which no longer exists and which Superman never stepped foot on.

Yep, everybody seems to have a reason to not like Superman.

Despite recognizing that they are outgunned, the Outlaws decide to attack Superman. Because that's what people do in the DCnU, distrust and attack Superman. Notice he never seems to move, floating above them all, almost impersonal in how he attacks them. And even the 'I don't want to hurt you but I will' just doesn't sound right coming from Superman.

It takes the words of Isabel, the non-powered flight attendant to point out it is absurd. That Superman could have forewarned the Outlaws so they wouldn't feel attacked. And they could always just ask Superman what he wants.

It turns out that Superman just wants to talk to Starfire about her episode with an agent of Helspont, seen in flashback, a panel lifted from the Annual. I guess Superman just wants to touch base with the other extra-terrestrials contacted. That would mean J'Onn should also be expecting a visit.

But it is an odd scene. Starfire admits she hasn't thought about it much. Arsenal derides Superman, telling him he should just ask the Outlaws for help. Even Kory says he 'needs' their help. And Superman again seems cold, saying he wants to bring them all in for their crimes. But since Batman vouches for them, he won't. It just seems odd.

After saying his piece, Superman leaves. Kory is surprised she didn't hate him. So again, someone assumes they will hate Superman and is surprised when he is an okay guy. Arsenal wants to go out and find Helspont and stop him! This feels like Bizarro world.

One thing I did like was Jason's surprise that Batman has vouched for the group. I am surprised too!

The remainder of the issue takes place in Jason's apartment as some drama with Isabel and the Joker ensues.

So this felt like another brick in the wall of Superman deconstruction from ultimate hero to distant mistrusted jerk. I want to blow up that wall!

Furthermore, who knows when or where this Helspont story will play out. In the Superman book? Here in Outlaws? Universe-wide crossover? It doesn't look to be happening any time soon.

The art by Pascal Alixe is decent enough, a sort of rough Eddy Barrows.

At the very least, the issue showed me Starfire isn't a brain-dead anymore!

Overall grade: C

Review: Supergirl #2

It has been something of a slow news week for the Super-comics and it also is the 5th Wednesday of the month which means only a few comics are coming out. So I figured I would look at more 'Supergirl meets Superboy' moments.

I reviewed the Silver Age meeting here. And I just reviewed the Matrix/Metropolis Kid meeting here. And so I thought I would look at the first meeting of the last incarnations of the characters. And that means a  closer review of  2005's Supergirl #2 written by Jeph Loeb and penciled by Ian Churchill.

I have a lot of issues with Loeb and his initial run and this issue showcases a lot of what I didn't like. Loeb certainly did do his best to make Supergirl powerful which is a good thing. But he may have made her too powerful for me. This is when there was some debate that she might be more powerful than Superman (who I just think needs to be the yardstick for the DC universe). But when Loeb has Kara effortlessly bash her way through everyone, it eliminates any concern for her, any feeling of conflict.

But more than her power level, I didn't like the personality of Kara here. She is moody, emotionally labile, but with a default mode of anger. She rarely acted heroic and was constantly fighting heroes. There was no sense of goodness or hope or compassion in this Supergirl. And that just didn't feel right.

As for Ian Churchill's art, I am of two minds. I think he really draws faces extremely well. But his sense of body composition veers to the impossible. And there is way to much cheesecake in these issues for me as well.

At this point in her life, Supergirl had barely met Superboy, just a one panel introduction in the last issue of her origin story in  Superman/Batman #13. After fighting Power Girl in Supergirl #1,Kara flies to Smallville to seek out Superboy. At this point, Superboy has gone into self-exile and simply wants to be left alone. So what will happen when 2 angry and isolated young 'heroes' meet for the first time?

Well, if you are a seasoned comic reader, you will know that they will fight.

As I said, Superboy wants to be left alone and doesn't take kindly to Supergirl's arrival, flying up to meet her before she can even land.

This being the Loeb Supergirl, rather than try to talk to him and figure out why he is so angry,  Supergirl antagonizes him, prompting a fight.

Now that top panel is great linework by Ian Churchill, very expressive.

After an exchange of punches and heat vision, Superboy grabs Supergirl. But she tosses him off  like a rag doll. And here is where all that buried anger Loeb had Supergirl have surges. She "will not be bound again!" It was this underlying attitude that bothered me most with this Supergirl. She doesn't even want the name Supergirl, implying it was forced on her by Superman.

And here is one of many examples of my problem with Churchill. Supergirl's skirt looks the size of a napkin, riding so low on her hips it should simply fall off, her torso elongated.

And remember, Loeb has made her extremely powerful. Without breaking a sweat, she defeats Conner, smashing him in the face and dislocating his jaw. In the prior issue she took out Solomon Grundy with one punch while the JSA as a team couldn't touch him. She beat up Power Girl. In 2 issues, she'll take out most of the Justice League.  There is little feeling of threat or conflict here. I don't mind a powerful Supergirl, she should be in the top tier of the DC pantheon. But I need some to think that things could go wrong to become invested in the character.

I say that big moments deserve big art in comics, but not here. We already had the double splash of her escaping Superboy. Did we really need a splash here.

Now here is a redeeming moment of this character. It isn't all bad in the Loeb issues. After this initial brawl, Supergirl extends the olive branch, relocating Conner's jaw and asking if the two can start over. 

This is an example of the frenetic personality Kara had in these issues. I mean she went from fury to happy in a couple of panels.

But this is also an example of a hero on the journey, making a mistake and trying to correct it.  That's okay.And remember, Conner did initiate this.

Unfortunately, the Titans suddenly arrive and a new fight opens up. The Titans attack both Kara and Conner.

Now I have talked about how this Supergirl was too angry and too powerful. Here is a great example.  She shrugs off Wonder Girl's magic lasso attack (despite it being magical). And Kara is filled with so much anger, she is able to usurp control of Cassie's god-given magic lasso. Just like that she sends painful feedback into Wonder Girl. It is sort of ludicrous. This was a lasso given to Cassie because of her heritage and magical. It simply shouldn't work for Supergirl.

And I don't know if this moment needs a splash page.

The skirt is drawn so short that it is distracting. But my big pet peeve on the artowork here is how Churchill draws legs. Look at those taffy like calves, stretched to pencil thinness. Look at those ankles ... or lack thereof. Impossible.

So she batters Conner. She shrugs off Wonder Girl's end move.

And then Supergirl's inner darkness is so great that she cannot be contained by Raven's soul self. In fact, Raven seems more shaken by Supergirl being in her than Supergirl is for having been enveloped by Raven. So everyone's end move is useless. You would think that Raven should have some effect.

But someone whose father is a demon, who has battled with evil herself is repulsed and shaken by Kara's soul. What a horrible way to portray Supergirl. This 'is she evil' stuff wore thin pretty quickly.

So why did Titans come?

Cyborg says that they detected something heading to Kent Farm at high speed. They had to investigate.

But isn't there a better way to protect their lives and anonymity than by brawling in their corn field. Wouldn't this attract more attention?

With everyone arguing about Conner's self-exile and Supergirl's arrival, Kara suddenly become morose. Look at the glum Supergirl sulk away because 'everybody wants her to go away'. So we have even more labile emotions.And no nuance her ... she goes from full fury to full happiness to full fury to full despondence.

It was hard to figure this Supergirl when all this was happening. She had wild swings in her responses. But anger and hate seemed to be her fallback mood. Who wants to read that book?

Thank goodness these mood swings were explained away by Kryptonite poisoning.

I will say there is one nice moment here when Conner calls Kara his cousin for the first time. Kara seems touched by the sentiment, like maybe someone does care.

But before, she can leave Starfire arrives ... even more fun over the Kent crops! She wants Supergirl to go with her to the Outsiders. She has some answers for Supergirl. This, of course, allowed Loeb to let Supergirl beat up on that hero team in the next issue (even if while sparring). But that was the theme of these early issues, angry Supergirl looking for answers and beating up heroes. It just didn't work.

And we get another splash page, this one a pin-up shot of Kory.

Now this issue embodied a Supergirl that you didn't want to piss off, that didn't love humanity, that was hell on wheels. And this is despite having acclimated to Earth.

Frankly after rereading this issue, I realized that this Supergirl better fits the pre-release DCnU description of the Green/Johnson Supergirl. The current Supergirl is light years away from this. Even when confused and lost, the current Kara just seems to have more depth, more goodness, stopping when she thinks she is endangering innocents.

Since this was one of the first issues of the last incarnation of Supergirl, I suppose they are of medium importance to a Supergirl collection. They really set the tone for the first 20 or so issues. It is probably available for under $5.

But reviewing this reminded me that I didn't like this book very much back then.

Overall grade: C-