Superman #6: Faster than a speeding bullet…

”Knight Terrors” is officially over, and Superman’s latest solo series is back on track. After the whirlwind events from the first five issues, Lex Luthor is currently in prison, yet still directing his company from Stryker’s Island Penitentiary. Mercy, his faithful Gal Friday, has been tasked to help Superman in his role as the protector of Metropolis. After dealing with a Parasite, who was manipulated into becoming hundreds of mini Parasites, Lex was attacked and left for dead. Is this the end of Lex? Will Lois drive everyone at the Daily Planet crazy as she continues to fill in for Perry? Does red underwear belong on the outside of the pants?

As we race to the end of the year, the Dawn of DC shows no signs of slowing down (except, y’know, for those two Knight Terrors months where it abruptly slammed to a total halt). Williamson officially kicks off the second storyline in the Superman solo title with the Chained. We’re led to assume the Chained is a literary nod to one of Superman’s several nicknames, but it turns out to be something far more sinister. Williamson seems intent on using his run to introduce as many new villains as he possibly can, and while that’s a very lofty goal, it almost feels like he’s throwing any and everything at the kitchen wall, waiting to see what sticks. The fact that all of these new villains are somehow tied to Lex Luthor is also something that’s beginning to grow old. Yes, yes. Lex Luthor is one of the absolute worst people on Prime Earth, or any earth, with the exception of Earth 3, but now that he’s in prison they’re all crawling out of the woodwork? 

One of the best parts of the issue was, and continues to be, Lois’s new role as the Daily Planet’s editor-in-chief. Lois Lane is one of those characters that everyone knows exactly who she is by name. She’s a part of the superhero zeitgeist, like Commissioner Gordon or Alfred Pennyworth, who despite not having any kind of particular crime fighting skills, when you say their names everyone’s eyes light up with that moment of recognition. With Lois Lane, she’s always portrayed as one of the most prolific reporters, who will literally put her life in danger to tell a story. Not to get rich, or wide recognition, but because it is what the world needs to know. So seeing her have to put her natural inclination aside, and try to become Perry, it’s interesting to see what the writers can come up with, as they try to steer this unstoppable force that is Lois’s need to discover the truth, to becoming the captain of a ship who needs to not only focus on one story, but the bigger picture that is an entire newspaper. 

Joining Joshua Williamson is Gleb Melnikov. Joshua and Gleb were partners in crime on the short-lived Damien Wayne Robin series. Gleb’s art style is full of sharp lines, with rounded edges. It’s a style that’s reminiscent of a young Todd Nauck but with exceedingly rushed and visually grating inks. Like the two artists mentioned, Melnikov’s style works particularly well with a younger character, like Robin, but his Superman feels messy, and distracting from the story. Melnikov’s work here is for lack of a better term, serviceable, but nothing to really celebrate here, feeling rushed and poorly rendered. It’s an Everest-sized step down after that amazing opening arc by Jamal Campbell; the disparity in quality is so vast that it’s worth wondering how Melnilov got the assignment in the first place other than being friendly with the author.