On paper, giving the New 52 version of Superboy to the man behind the “Luther Strode” series is a fantastic idea. DC seems set on making this incarnation of the Boy of Steel grittier, with a heaping helping of violence (hence the bloody “S” crest on the cover). Unfortunately, very little of Justin Jordan’s voice comes through, in a story that falls very much in line with the “Lobdell era” of Superman.
Written by Justin Jordan
Illustrated by RB Silva, Kenneth Rocafort, ChrisCross“BLOOD AND STEEL” begins as The Teen of Steel decides it’s time to become more proactive in his battle against evil. But how far will he go before he crossed the line?
We begin with a flash forward, wherein Superboy and Krypto in the clutches of a mysterious villain. To explain his current predicament, Jordan rewinds the story, where we find Kon dealing with the consequences of a recent battle. However, a mysterious boy wearing a surgical mask heralds the arrival of a villainous duo straight out of the 90’s.
While the team’s gimmick, one is hulking brute powered by the psychic energy siphoned by the other, is an interesting one, it’s played for the most basic of superhero brawls. Superboy punches his way across a dozen pages, trading off caption boxes with the enigmatic figure, identifying himself as the telepathic Doctor Psycho. Their psychic conversation does lead to a creative use of word balloons text, though it doesn’t save the generally dull expositon. The epilogue, rather than providing insight into Superboy’s present predicament, adds a slightly illogical time-travelling twist.
It’s a shame that the plot doesn’t match the mostly favorable quality of the art. Featuring the work of regular artist RB Silva, “Superman” artist Kenneth Rocafort, and the underrated ChrisCross, this issue is a stylistic tour de force. Each artist does a wonderful job in their own right, and colorists Richard and Tanya Horie’s bright and vivid palette unifies the pencillers’ work. Silva’s pages are defined by thick lines and large panels, packed with depth and detail, calling to mind Stuart Immonen’s work on “All-New X-Men.” Rocafort’s characters are stiffer than Silva’s, but his distinct panel layouts are as engaging as ever. ChrisCross’ work is the most generic of the three, and most of his pages lack backgrounds, likely the result of time constraints.
Unfortunately, the varying styles don’t necessarily mesh into a visually cohesive story. While Silva and ChrisCross’ styles aren’t drastically different, and Rocafort’s angular pencils aren’t far off either, his unique panel layouts are utterly incongruous with the former’s more conventional page structure. The fact that the particular art shift occurs in the middle of a scene makes the change even more apparent. While it’s hard to fault Rocafort’s for working outside the box (quite literally), the shift of style would’ve been better suited elsewhere, such as the issue’s prologue or epilogue. Also, the character Psiphon is drawn completely differently by Rocafort and ChrisCross, an odd mistake that is embarrassingly obvious, adding credence to the possibility of rushed production.
It’s always strange when a writer known for delivering fantastic creator owned and stories falters on a Big Two book. Justin Jordan made a name for himself on “Strange Talent of Luther Strode,” and has done very respectable work on Valiant’s relaunched “Shadowman.” As mentioned before the break, Jordan’s debut feels neutered of his distinct voice, a manufactured continuation of what has come before under the pens of Lobdell and DeFalco. Whether this is due to editorially mandated story beats, or less devious, the growing pains involved with a new creative team, it’s essentially business as usual for the Boy of Steel. Take that as you will, and purchase accordingly.
Final Verdict: 4.2 – Browse. Jordan’s arrival on “Superboy” will give existing fans no reason to depart, but it’s unlikely to win over new readers.
