Review by Ian Keogh

When Brian Michael Bendis wrote the Superman titles Jon Kent was sent into space as a pre-teen and returned having aged to his late teens, repurposing him as a possible headline character rather then the cute and cuddly kid. However, that just introduced another Superboy, but under Tom Taylor DC took a chance, and made him more interesting. This takes several forms, an idea introduced early being that what the US army and the Metropolis police consider is for the best in protecting humanity might not coincide with the way many citizens see it.

The political stew plays out via the fictional nation of Gamorra, but looking beyond to the real world and the countries the US sees as friendly is no great step. Playing alongside that is social activist Jay Nakamura and his webcast The Truth, which reveals the human cost of political decisions. Jay’s a really interesting character even before the bomb drops. He’s committed to his beliefs and willing to put himself out there to protect his principles, and before meeting him Jon’s doing the same, ensuring he’s not his father. This is expressively explained in a scene between Jon and Superman, and also pleasingly handled is Taylor and primary artist John Timms collaborating to present scenes of Superman’s power being used in ways that haven’t been seen before.

Timms uses a broadly realistic form of cartooning, but there’s no great consistency to his art. Sometimes people will look more or less naturalistic, and in other places they’ll be stretched and exaggerated. What matters, though, is that overall it looks the part, and is far preferable to the fill-in chapter drawn by Daniele Di Nicuolo, who lacks the sense of scale Timms provides.

However, it was none of the above that set the comic world chattering, but the same sex relationship that develops between Jon and Jay. Actually, the term “develops” doesn’t apply to what’s a clumsy initiation breaking acceptable boundaries when the lunged kiss is no longer considered charming, but almost an assault. Thankfully there’s a more natural progression thereafter. There are also some parts of Taylor’s plot that don’t make a great deal of sense, such as why Gamorra’s ruler would pick a fight with Superman, although it’s also apparent that Taylor’s plotting for the long term, so explanations may be forthcoming at a later stage.

This has been a bravura introduction supplying plenty of moments to think about, but never forgetting that spectacle is what most readers want from a Superman story. The Rising is next.