When writers attempt to make superhero stories “mature,” I tend to tune out. Almost across the board, the way writers shoehorn adult themes into superhero stories is through easy sex scenes or excessive cursing. As far as I can tell, only Alan Moore’s Watchmen has really presented the idea in a textured way that doesn’t rely on easy plot devices. I was hoping J. Michael Straczynski’s new series Sidekick would elevate beyond the standard “mature” superhero story. After all, JMS is currently taking the anti-hero/supernatural angle to new heights with Ten Grand.
Opening in the fictional Sol City, Sidekick focuses on the superhero team Red Cowl and Flyboy as they save their city from a mad bomber. The opening, as is typical, shows the team at the height of their fame and power. Next, which is also typical, we see Flyboy, grizzled, smoking and stuck in a crappy apartment. Clearly, something has gone horribly awry. Moving right to the next easy plot device, JMS has his hero approach a prostitute and get a blowjob. Yep, we’re off down a well-worn road by page four.
Sidekick works through present day action and flashbacks. In the present, a depressed Flyboy is the target of ridicule and he wallows in depression over all he’s lost, including a girlfriend he now watches having sex through her bedroom window. The first flashback details the downfall. At a parade honoring Red Cowl, a sniper assassinates the hero. As Sol City reels from the tragedy, Flyboy is informed that the once-rich Red Cowl is now broke. The final piece of the tragedy comes when no other hero will come to Sol City to take up where the Red Cowl left off.
Granted, this is Sidekick’s inaugural issue, but already JMS is setting himself up for an uphill battle. There are too many things happening that make no sense outside of driving the story along. First off, the story opens with Red Cowl flying around and stopping bombs, yet we’re supposed to believe bullets can kill him? JMS does inject a twist ending to help explain this hiccup, but it doesn’t solve the problem of why people would believe their flying hero could be killed this way.
Then we have this massive downfall of Flyboy. It makes no sense. Flyboy has many of the same powers as Red Cowl, why wouldn’t he just take over? I was also perplexed at why a city that watched Flyboy throw a bomb into space would suddenly start ridiculing him. At one point, JMS has Flyboy faking a robbery in order to seem important, which would work if there were any motivation to the city suddenly turning against him. Without it, the entire scene feels like a forced plot device.
Tom Mandrake’s art is uneven. Some of the panels are wonderful, blending an eighties retro style with a modern touch. When Mandrake is on point, his shading is excellent, as are his character faces. He also a solid knowledge of how to make heroes seem slightly bigger than life, Red Cowl is penciled to feel wider, taller and more muscular than anyone else. The problem comes when Mandrake gets lazy. Many of his panels have rushed backgrounds, and some of them are obviously placeholders.
I’m sure Sidekick will expand and deepen as the series continues, but already the structure is questionable, and many of the scenes follow the standard of an “adult themed” superhero series.
(2.5 Story, 2.5 Art)
