Once again, we're faced with Chuc Austen script that boasts some strong, interesting elements that tap into the human side of superhuman characters. Unfortunately, we're also faced with another script that doesn't really make much sense in terms of plot. There are elements in the art that don't quite work for me this month as well. Ultimately, the weaker elements outweigh the strengths of this issue. The odd thing is that a few years ago, the uneven nature of this issue wouldn't be enough to keep readers away, given the connection in this issue to Kingdom Come. But it's been eight years since that landmark limited series, and I have to wonder if anyone will care about the villain anymore.
Fearing the escaped Doomsday may rain down his wrath and power on Smallville, Superman has asked three young heroes -- Superboy, Wonder Girl and Kid Flash of the Teen Titans -- to watch over the Kansas town. The Man of Steel's fears prove to be founded, but it's not Doomsday who appears and wreaks havoc. It's someone new, someone who calls himself Gog. Meanwhile, separation and trust issues place a strain on Clark and Lois's marriage.
Reis and Campos's collaboration boasts a strong Neal Adams influence, and there's a gritty quality that reinforces the critical nature of the issue's events. Still, there are aspects of the art that don't sit well with me. That gritty quality sometimes translates into some sketchy linework. Furthermore, Gog looks... silly, to be honest. His jester-like shoulderpads look rather goofy and detract from the air of power and intimidation he's meant to exude.
Austen includes an important element in this issue, and that's a look at Clark's everyday life and how it frustrates him. He's mad at Lois for keeping secrets from him, but deep down, his ego has been bruised a bit by Perry's contention that he doesn't appeal to a younger demographic. Of course, that's why Austen includes the Titans in this issue, to ease Superman's hurt. The problem is that there's no logical reason in the plot for them to be involved in the story. If Superman really believed Doomsday would target Smallville, I find it hard to believe he'd put teen heroes in harm's way.
I'm also at a loss as to why Austen began his run on this title last month with references to Doomsday and Apokalips, only to abandon them with his second issue. Furthermore, the writer doesn't offer a terribly accessible read here. The reasons for Superboy's connection to Smallville are left unclear, for example. I realize that Gog's motives go unsaid in order to foster an air of suspense and mystery, but the effort falls flat. Instead, he comes off as a generic villain with no real purpose at all.
