(P) R.B. Silva
(I) Rob Lean
What garbage. I’m sorry – I usually refrain from using such frank and harsh words in the name of decency and (semi)professionalism. But this time, I just can’t help myself. Superboy #13 is such a a terrible example of the comic book format that it embarrasses me. DC’s ‘New 52’ initiative was largely meant to introduce new readers to comic books in a way that wasn’t embroiled in continuity and studious knowledge of past chronology. Now, I’m all for a strong, cohesive continuity within a comic book universe, but Tom DeFalco just kills the concept by bringing up obscure references from past issues like it’s going out of style. I’ve read every issue of Superboy so far, so if I’m annoyed by the amount of Editor’s Notes littered throughout the issue, I can’t even begin to imagine what a curious reader might think.
Superboy #13 is the epitome of unnecessary and stupid. Not only does the ongoing narrative plot of the series fail to progress, but it feels like a step backwards because at the end, Superboy reunites with Caitlin Fairchild and her not-Ravagers-but-Ravagers group of misfits. I thought we were done with all that N.O.W.H.E.R.E. bullshit, but here it comes again just to make me mad, I’m assuming.
No, I would not recommend reading Superboy #13. There’s literally no value to that purchase. Wait for “H’el on Earth” to start – hopefully that event can shoot some life into the dull, formless mess DeFalco is calling an ongoing series. Jocelyn Lure? The most underdeveloped, least interesting character I’ve seen in years. Superboy’s landlord, Dallas? So completely useless and stupid, I cannot even tell you. And because this series’ chronic problem of hideous inner monologue persists, there doesn’t seem to be any redeeming factors about this issue. Don’t buy it, don’t read it. I promise you’re not missing anything.
Oh, and the cover features the special handcuffs designed to suppress Superboy’s powers because that’s definitely worth making prominent on the cover image of your comic booj.