Well, I'll be damned. A Superman story featuring an intriguing plot, strong characterization and detailed, dynamic artwork. Finally.
While one minor point in Johns's script stretches credibility, the opening chapter in this new story arc proves to be a surprisingly entertaining read. But even more surprising is the darkness and maturity that dominate the story. Two tense exchanges bring an edge to the title character's world that one doesn't often see. And Ferry's able to flex his muscles with his slick artwork and show off his versatility.
Lana Lang-Ross, wife to Vice-President Pete Ross, has angrily trudged off into one of the more dangerous parts of Washington, D.C. to answer a cry for help, and she's seemingly disappeared. Pete turns to their old friend, Clark Kent, to help... not to contact Superman, but to do something himself. As he prepares to delve into the urban heart of darkness, an ally turns up to offer some services and expertise, but friction arises, not appreciation.
Ferry tells the story here clearly and captures the eye with his sleek linework. But the most impressive aspect of his performance on this issue comes when the atmosphere shifts from the typically bright, wondrous tone one associates with the title character to something far more foreboding. He's aided in his efforts by the colorists, who darken and mute their tones to suit the quiet but much more tense and grave feeling that comes over the plot and characters in the latter part of the book.
There are a couple of odd bits in Johns's script that don't sit quite well with me. First of all, he asks a lot of reader to believe that the wife of the U.S. vice-president would be able or allowed to slip off by herself into what is essentially a ghetto. But the plot requires it in order to move forward. The other element that seemed out of place was the Power Girl appearance. Sure, she's essentially under Johns's control over in JSA and has a pre-Crisis connection to the Man of Steel. But the emotional "reunion" seems to take place simply for the sake of nostalgia; there's no apparent connection to the plot, and the scene adds nothing but a few extra pages to the story.
What makes this issue worth reading, though, is that Johns's explores the title character as something other than a Big Boy Scout with super-powers. He examines the angrier side of Superman, the more determined, mature and realistic side of the character. He quite clear exploring the Dark Knight within the Man of Steel. I also found the friction between Lana and Pete and how it involves Clark to be a fascinating, dark avenue of characterization with a great deal of potential.
