Review by Frank Plowright
In one form or another Metallo has been among the most dangerous of Superman’s regular villains, a human brain in a cyborg body only kept alive by a chunk of green kryptonite, which, of course, endangers Superman. Over Phillip Kennedy Johnson’s run, but particularly in Superman: Kal-El Returns, Metallo has been portrayed as someone to pity, sick of his circumstances. Mind you, Rafa Sandoval’s art hardly paints him as sympathetic, but there’s a reason for that.
Johnson has a clever plot in motion, and family is the key theme. Unlike his previous story of Superman working with others, Johnson emphasises the entire super-powered El clan, all of them in red blue and yellow and all of them mighty. Metallo also has family, a sister framed for a crime she didn’t commit, and through whom he can be manipulated. The secondary theme is that of refugees. Superman knows people from Warworld now on Earth are largely innocents abducted from their home planet for a life of slavery and now seeking sanctuary, but there are a few bad apples among them.
Sandoval handles most of the art very efficiently, the sheer number of characters notwithstanding, and his storytelling’s clearer than that of Max Raynor, who also presents more stylised versions of the cast.
There’s an awareness of Metallo not entirely acting of his own accord, but Johnson’s revelation is one of those well planned reveals that’s so obvious, but only after Johnson’s let you in on the secret. That’s handled well, but other aspects don’t work as efficiently. The foreshadowing of a scene with a gun is overplayed, and incorporating so many of the Superman family drags the story on longer than need be while all have to have their round with Metallo. The end, though, is rapid and To Hell and Back follows.
As the passage of time will erase the relevance of the reference, it should be pointed out that with DC celebrating the 30th anniversary of Superman’s death and return as Rise of Metallo was running, Johnson supplies a neat homage to tie in.
Can we also point out that unless it’s been resolved by another writer, Jon Kent’s fears of Superman disappearing from history have been hanging over the series for five volumes now. Jon may have forgotten them, but readers haven’t, and we’re way past due an explanation for something proving such a strong motivational force early in Johnson’s run.
