Superman #27 is a comic full of ups and downs. Most of the UPS appears early in the matter, with a red kryptonite-fueled Superman gaining Marilyn Moonlight, while Lois Lane dealing with the sudden loss of her powers and the return of an old friend. Meanwhile, Lex Luthor continues to pull the string behind the scenes, but this time he intends to help the steel man rather than hurt him. But Downs comes from how fast this issue appears to be through its development from the speed run speed.
First of all, there is a way for Superman to cure from his red K infection. After all, Luthor somehow gets treated by his property, despite claiming that his old enemies, Pharm and Graft, did. Secondly, Merlin Moonlight is making a welcome re-emergence. It is revealed that her powers are somehow scientifically based, not magic, and linked to luthor. What was supposed to be a massive release would soon feel complicated, and that doesn’t even get into how much plot Joshua Williamson stuffs into this single issue. The Superwoman storyline, the power of Marilyn, the fate of Luther… it all comes to you with the full power of a freight train.
It’s not that Williamson has been unable to juggle multiple plots before. One of the best parts of his Superman Run is the way the story gains momentum, which has resulted in some major rewards going down the road. However, in “Superman Red,” I feel that this is a story that should have been three parts rather than two. That way Williamson could really breathe development and make the problems even better. The final page reminds him that he is doing his best, especially as he sets the stage for what has been brewed since DC began its “All in” era.
DC
The accidental nature of Superman #27 also appears in the artwork. This artwork is the flip side between Eddy Burrows, Everfereria and Sean Isaacs. I’m not against the change in artwork, but it has to fit the story. Do you want to flash back to the past and present? That’s a good change. Are you having a standalone issue? That’s a good change. However, the shift from one issue to the next is quite uncomfortable. I love Izaakse’s work, but I would prefer if he explained the complete problem or just stuck with the finale.
Meanwhile, Burrows and Ferrelia are more than they deliver when it comes to their respective pages. The standout is definitely the opening, featuring red K-fueled Superman and Marilyn Moonlight. Thanks to the way the duo utilizes perspective, it’s the type of image that will instantly grab your attention. Alejandro Sanchez also deserves a cry for the colour work he does, especially with the contrast between the red and blue and Marilyn’s black and white. It’s leaking to Ariana Maher’s lettering and makes for a really cool visual.
Superman #27 rushes to the current story arc and feels it midway through true conclusions and the doors are closed. That being said, the next issue of bullying feels like a very big deal in the best way. If you’re following DC’s “all” era, you won’t want to miss it.
“Superman” #27 hits the brakes on an interesting story arc
Superman #27
Superman #27 rushes to the current story arc and feels it midway through true conclusions and the doors are closed.
It’s always great to see Marilyn Moonlight.
Burrows and Ferrelia are more respectful than anything, and bring about a great battle sequence.
The last few pages tease a very big thing.
I feel this storyline may have solved the extra issues.
Artist changes can often be a bit harsh.
