Welcome to the Credit Where Credit Is Due Department. Chuck Austen is probably the most maligned comics writer among online pundits and posters on message boards these days, and given what we've seen lately in such titles as Uncanny X-Men and Avengers, it's understandable. But when it comes to the world of the Man of Steel, Austen has always seemed to have a stronger footing. He offers up an entertaining and accessible script here that casts the superhuman star in a grounded light. This is far from a perfect presentation, mind you, but there's something about Austen's look at Superman's professional life and his attitude toward his more altrustic work that worked well for me.
Life has returned to normal in Metropolis. The city is a regular 21st century urban center again, not the futuristic landscape it was when B-13 technology infected every alley and corner. Clark Kent has been assigned back to the city beat once again, but what he's enjoying the most is serving in his capacity as the protector of Metropolis. What he's not so thrilled about, though, is the fact that work has separated him from his wife... that, and the news that a problem on the evil other-dimensional world of Apokolips is going to cause him some headaches as well.
Ivan Reis brings an appropriately soft look to the everyday characters in this story. He captures the playfulness that the writer injects into the main character; it's easy to see he's having fun from the look on his face. The detail that Reis and Campos bring to the cityscapes and the Fourth World action sequences is stunning, and there's an appropriately harsh edge to the Apokalyptian enemies.
Chuck Austen's script goes awry when it comes to a far too casual tone in some of Superman's dialogue. In an attempt to portray him as a regular guy, the dialogue gets far too colloquial and relaxed. Example: even when mocking someone else, Superman sounds ridiculous when uttering the word "dude." His reactions to Darkseid's news and the onslaught of a legion of Apokalyptian villains seems far too subdued and flip as well.
There are two elements in this issue that really won me over. The first is the workplace drama that Austen is developing. There's a ring of truth to what's going on, and the potential storytelling payoff is plentiful. Furthermore, I enjoyed Austen's portrayal of Superman as someone who relishes his high-flying, heroic activities. Superman isn't just happy he's helping people here... he's having fun. It's not hard to imagine someone having a good time with such powers as flight and invulnerability, and it makes it easier to relate to the fantastic figure at the center of this story.
