The focus of this book got drained away long ago, with the revelation of Clark’s identity stealing the energy from all the Superman family books, and now Covid-19 hurting the publishing schedule. The focus of the first few issues on quality journalism, and how to do the right thing in a dark world isn’t entirely lost here though, and it’s (for me) the strongest element of the book. Lois’ talk with Clark, with Mike Perkins showing all the conflicting emotions they both have about one another and having the same goals, is a delight. Clark saying we should shout all the louder to get people’s attention, whilst eating potato chips, shows just how much better a grasp Rucka has on him than the current Superman writer.

I’m less convinced about the multiverse discussion between Renee Montoya and Jessica Midnight. It feels out of place in a book so rooted in crime noir, but given the final few panels it may turn out to be signposting for a reveal Rucka has yet to make. There are only two issues left, so there’s time. There’s time too for a satisfying conclusion for the main Kiss of Death mystery, and I hope Rucka helps me regain the investment I’ve lost in it. The artwork by Mike Perkins and colouring by Andy Troy remain a big draw for me – they complement one another nicely, and given the tonal switches between light and dark, that’s no mean feat. Some of the faces are inconsistent, but the emotion is not, and Perkins’ gritty art easily propels what’s become a distracted book forward excitingly to its conclusion.

writing	★★★★☆
artwork	★★★★☆
colouring	★★★★☆
overall	★★★★☆