In some respects, Loeb delivers a thoroughly accessible script here, informing the read who this new Supergirl is and what her circumstances are. But as the plot itself unfolds, that level of accessibility wanes. This story seems tailor-made for older readers who remember the infinite parallel dimensions that defined the DC Universe, but even on that level, it fails to satisfy. On top of that, Churchill's elongated figures and busy artwork distract as opposed to serving the story. There's a glimmer of promise to be found in the title character and her sense of isolation, but the focus seems to fall squarely on gratuitous action sequences. It's too bad, because the last Supergirl story this creative team told (in Superman/Batman #19, reprinted in this week's Supergirl #0) was much stronger, more entertaining and more personal than this one.
Tired of being confined to Paradise Island, Kara Zor-El, AKA Supergirl, ventures out into the world to learn more about herself, but since her existence is supposed to remain a secret, she limits herself to chatting with other super-heroes. First on her list to befriend is Karen Starr, AKA Power Girl. Y'see, Kara is the Kryptonian cousin of Superman -- but as far as everyone knows, so is Power Girl. One of them has to be wrong, right? The answer to the mystery leads to an explosive, violent confrontation.
I've never been a big fan of Churchill's work. His style is heavily influence by Rob Liefeld's, though to be fair, Churchill's storytelling abilities are much stronger than those of the artist he once emulated. The elongated torsos and exaggerated sinews of the super-heroes are staples of Churchill's work, so it's no surprise those elements turn up here. What bothered me more was the lack of depth definition in Churchill's line art. For example, on page 9, we see Green Lantern (or is it still Sentinel) and Mr. Terrific charge at Solomon Grundy. Terrific's T-Spheres are floating all over the place, but there's no sense of where they are or how big they are. Churchill's art is flat, and it makes perspective difficult to discern.
The inherent flaw in this plot revolves around Power Girl's convoluted history, which has shifted several times to allow for changes to established continuity. Those unfamiliar with the character's background will no doubt be confused, but it also muddies the waters for those of us who are familiar with her every incarnation. Over in JSA: Classified, Geoff Johns is trying to make sense of that mixed-up history, but Loeb's script on this comic isn't at all consistent.
The strongest moment in the book is Supergirl's conversation with Stargirl. The common ground the title character shares with the young JSAer brings her down to earth. Loeb's narration really brings out Supergirl's desperate need to connect with others, to find purpose on her new homeworld. There needs to be more of a focus on how the character feels, on her inner conflict, rather than artificial encounters with other super-heroes. 4/10
