Last year (I think it was last year), Jeph Loeb introduced the notion of Superman visiting a therapist. The idea had plenty of potential, as it promised to explore the man rather than the Superman. A lot of that potential is to be found here, in a story about the Man of Steel's final session, but the script is still saddled with the same problem that's hounded the Superman titles for months: inaccessibility.
Superman visits Dr. Foster, his therapist, for the last time, claiming he's made a significant breakthrough. But before revealing what that psychological turning point was, Foster prods at his self-image, asking him one simple, yet complex, question: "Who is Superman?" As the Man of Steel tries to come up with an answer, he revisits the tumultuous events of the past few weeks and Manchester Black's attack on his wife. And he thinks back further, to a time when he faced off against a trio of even more powerful, murderous villains.
Arlem's name is a new one to me, so I assume he's a fairly new talent in mainstream comics. And though he tells the story fairly clearly, his rookie status shows. His style reminds me a little of Bart (The First) Sears's exaggerated approach, but it's uneven. Mind you, I'm sure some of that inconsistency stems from the use of three inkers on this issue. It's been a while since DC tasked its top talent with rendering the Metropolis skyline, and it's about time these titles got a shot in the visual arm, so to speak.
One gets a sense from the tone of the story -- the finality of Superman's session with Foster -- that the Superman books have reached a turning point. And the Man of Steel's reasoning about a burden he's managed to leave behind makes sense in the context of the character and recent events. Furthermore, Dr. Foster conveys the right tone of sincerity and concern. Mind you, this is territory Superman's covered before, and for longtime readers, it comes off as a bit redundant.
And as for newer readers, well, there's not much chance they'll be able to follow the path Kelly has set out before them. This script relies heavily on continuity, and it doesn't even fill in the gaps. Kelly never gets into why there are two General Zods, and to be honest, even I'd welcome a clear answer on that one. Furthermore, the prison scene at the beginning of the book is never explained. Regular readers will recognize the caged baddies as the generic Marvel knockoffs from the "Ending Battle" arc, but Kelly doesn't make it -- and many other plot elements -- all that clear.
Back in 1986, DC hired John Byrne to revamp Superman, to start over from scratch, because the Man of Steel's continuity was overwhelming and his power levels out of control. Well, more than a decade and a half later, the character's continuity has begun to overflow once again.
