Boy, did I love “Supergirl” #34.
Since her reintroduction to the current DC Universe, I had only the most passing interest in Superman’s cousin, Kara. Her “debut” in “Superman/Batman” was one of the least interesting storylines in the otherwise light and quite enjoyable run Jeph Loeb had on the series. Her ongoing series went through creative teams and general approaches like sweat socks and I rarely could be bothered keeping up.
Last month, however, I was tempted back into the book’s graces. The big melding of the Superman Universe was on the horizon and there was the promise of a truly integrated set of books. So, I figured, why not?
What I found was a truly fresh and interesting take on Supergirl that didn’t rely much at all on her recent past and tied her adventures incredibly well into the overarching storylines in the Superman books. It was fun, dynamic, and finished with a heck of a reveal.
So, man, was I excited to read this issue and see where Kara was headed from there. A new job, a new identity, a new focus. How exciting!
Imagine my disappointment when I found instead a complete 180 from the last issue, setting aside pretty much every new development in Kara’s life in Metropolis and instead focusing on explaining all the stuff that happened between her debut and this new take on her series.
“New Krypton” has reunited Kara with her parents, which, sure, probably necessitates a deep conversation or twelve, I get it, but this issue ends up being less interesting conversation and more non-stop exposition.
To be honest, I couldn’t care less about the circumstances of Supergirl’s arrival on Earth, or the poisoning that led her to try and kill Superman. Gates took such care to build a new and interesting beginning last issue that seeing him pull all that back to explain a whole bunch of stuff that honestly has very little relevance to Kara “now” was a pretty unwelcome slamming of the brakes to the momentum laid out by his rather electrifying debut on the book.
Jamal Igle and Keith Champagne are still doing the same great work they did last issue, so there’s no complaints there. I’ve loved Igle’s work since I first saw it in “Firestorm” those many years ago. He’s got traces of Michael Golden in his work with a kind of softness to the line and characters that’s all his own. He’s made a name for himself on increasingly larger scale books, refining his style in the process.
Hopefully, now that this rather ill-placed interlude is over, the developments introduced at the close of the book will return the focus back to what I enjoyed so much about the first issue of this run.