“If you think about it, rocks are ice when you look at them in slow motion.”
A new era for Power Girl begins as Leah Williams and new series artist David Baldeon properly set the stage for the All In Initiative. Readers are welcomed to a new home base, classic renditions of Power Girl’s famous costumes, and a new cast of villains for Power Girl and her friends. to fight against.
Williams has relied on comedic storytelling from the beginning of the series, and Baldeon’s presence makes it stronger than ever. Screenplay-wise, this is Williams’ strongest work in recent times, with smooth transitions between panels and settings helping to introduce new faces throughout. But what particularly stands out about Williams is how it reintroduces old concepts such as The Star, formally known as the Daily Star.
Star has been in Power Girl’s history for years, originally existing as a forerunner of the Golden Age of the Daily Planet, and a nod to Superman’s Canadian roots with inspiration from the Toronto Star. Over the years, The Star concept has evolved from primarily an Earth-Two concept to rebranding as the Metropolis Star and more. This new home is a fitting development considering how Power Girl’s relationship with Earth-Two’s past has been explored. .
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The rebrand name fits with this new arc’s theme of evolution and development, which has been done many times during its run. Page’s new costume is a modern take on a classic design, so it’s only natural that The Star will follow suit and establish a new status quo for the cast going forward. Now comes the tricky part. That’s the introduction of The Void Three. First introduced in Power Girl #13, the Void Three are a trio of nature-based supervillains, only two of whom we have ever met. The first is Aquus, a water-based being, and the second of the Void Three.
As a concept, these new Rogues are amazing and move towards solving the long-term dilemma of Power Girl missing the Rogue Gallery. But the biggest problem with their introduction comes with the reintroduction of Aquus, and is clearly an ongoing issue with Williams’ script. Like series fan Axel Gast, she later reappeared due to the lack of focus on her character. Of course, the reveal of her origins was partly intentional, but it wasn’t as organic as it needed to be to sell a new threat.
Aquus grapples with the exact same issues, and her reappearance feels more definitive than her first appearance. If it weren’t for the editor’s note we see, readers could easily have guessed this was her first appearance in the series. Thankfully, Williams manages to strike this balance well, making the action sequences feel as chaotic and fun as possible. David Baldeon is aiding this effort with his high-stakes, old-school cartoonish approach to comic book art. He succeeds in making the book feel like it’s animated, whether it’s in the action scenes or simple expressions of the characters. He helps steer the book in the right direction creatively needed to match Lear’s action and comedy sensibilities.
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Additionally, Fajardo Jr. molds himself into Baldeon’s pencils, providing some of his best work to date. His coloring has always been a highlight of the series, and it truly lets Baldeon’s linework and visual personality shine. Together, they are an impressive creative duo, a perfect match for Williams and her chaotic storytelling.
Overall, Power Girl #17 is a very appealing change of status quo that picks up a storyline that hasn’t had much time to cook before, while simultaneously pushing the series in a new direction and serving as a good jumping-off point for the series. Masu. character.
“Power Girl” #17 enters a new era
Power Girl #17
Overall, Power Girl #17 is a very appealing change of status quo that picks up a storyline that hasn’t had much time to cook before, while simultaneously pushing the series in a new direction and serving as a good jumping-off point for the series. Masu. character.
Williams takes a comedic approach to this new arc and sticks to the landing as the series’ comedy is more sophisticated this time around.
Baldeon’s art is action-heavy and wild, only complemented by Fajardo Jr.’s gorgeous coloring that blends in with Baldeon’s line art.
Aquus’ reintroduction isn’t as smooth as expected and reflects previous issues with the series as a whole.
