“Your invitation didn’t mention it was a Dino themed party.”
The biggest struggle for Power Girls these days is caused by the title conclusion coming around the corner. The frustration is felt in the script, and in the end this affects most superhero titles. The industry is built around numbers, special covers and collections. That alone creates a ground where these comics creative teams lose energy and drive to continue the book. However, theorizing does not justify the actual content of the comic. Leah Williams appears in Power Girl #19 with her nasty writing, but it becomes a fun moment that was scattered throughout the comic.
The comedy brought to you by Mariposa continues to be the most powerful part of Williams’ script in this arc, with her ignoring the three-man battle power girl, Omen and Steel, ignoring the chaos of circumstances that will continue the star’s opening party. The villain himself continues to be as touching as in the previous article. In this issue they turned into unfounded enemies, feeling more like normal cannon feed than new and dangerous enemies. The way they are ultimately thrown to the side as they are punished by the goddess they worship enhances this and makes them feel like a team of gang fools rather than a dangerous threat.
Furthermore, Omen’s traits become weaker and weaker as this arc progresses, and from a strange but adorable best friend of the Power Girl, she randomly falls in love with Axel’s cousin Siegfried. Her writing height has come from the start of the series, allowing both the powerful evolution and connection of Page and Lilith, as well as a powerful set-up for the villain. Void Three unfortunately never hit that chord.
DC
Another character exposed to the broken sentence is Steel (one more). Although Natasha’s writing throughout the series has been high, especially in this arc, Natasha feels like a hot head, her comedy writing is dry, and her role as a member of the star doesn’t matter. As Natasha Irons, she is a powerful asset of Steelworks and Supercorp, but this third entity adds nothing to her strengths or intelligence. Also, I don’t like Power Girl and Co, and don’t add any real growth to characters other than Steel (90s).
As for art, the greatest strength of this arc remains the linework and coloring from David Valdeon and Romulo Fajard Jr. Their creativity never runs out and is displayed in fast, colorful set pieces of stars. They both help Williams paste landings in her script, and the comics wouldn’t be the same without a comic-inspired work. All the characters are expressive and there’s a lot to do in the comic, whether in the background or in full focus. Also, we can appreciate Baldeon’s visible love for comics, as he feels that much of his panel work is inspired by Shonen.
Despite the best efforts of the opposing team, Power Girl #19 is an overwhelming problem. Many of the typical comedies are entertaining, and art enhances atmosphere and behavior, but the inactive villains do not just undermine the story, but feel like they have no height for the grand purpose that is already shortened. I hope that what was set up for the final chunk of the story will allow me to bring it home.
“Power Girl” #19 is a mix of new ideas and nasty missteps
Power Girl #19
It boasts excellent art, fun premises, and powerful comedy core, false features and an undertaken villain, but with the latest entries it brings the series a bit off.
Mariposa continues to breathe fresh air into the cast, the perfect car for Williams’ deadpan comedy.
The art is vibrant and stylish, accented by the inspiration of the manga and Schoenen anime.
The Omen character felt weak after the previous Ark was very strong against it.
The new villain is rather shiny, hastily, and has no presence in favor of a really cool design.
Pacing remains inconsistent by the end of the problem.
