Man Or Super-Man? That Is The Question: Reviewing ‘Steelworks’ #2

What would happen if a city known for its supers was able to essentially get along without those same supers? That’s the question that John Henry Irons/Steel is seeking to answer. The rest of his superfamily might not like the answer very well.

Very easily this could have just been a series about the Steels, John, and Natasha, kicking butt and doing science. There is plenty of that here. What the series does though is go beyond that into the realm of actually looking at the concept of superheroes and society. Positing that a city, and even the supers, might be better if the regular populace didn’t need the supers as much. That they could handle the small things themselves which would leave the supers to be able to handle the bigger stuff.

On the surface, it’s a question that bristles the hairs on the back of most heroes’ necks. It could be ego, sure, but often they’ve been heroes for so long the idea of not being around naturally puts them on edge.

I like that Michael Dorn makes it so that neither John nor the others are inherently on the right or wrong side. In fact, this issue makes sure we understand John’s perspective even more. There is merit to the idea. With the right tech and advancements, people could be somewhat more self-sufficient for smaller issues. Ya know, cats in trees or similar things that don’t require a bevy of superpowers to solve or fix.

Alongside this, we have a plot featuring a man who blames John for the issues in his life, getting the Kate Pryde treatment. Superpowers that let him move through solid objects (except his is about movement and speed) and disrupt electronics. A perfect foil for two heroes whose entire gig is about technology. Say hello to Silver Mist.

For a first-time series writer, Dorn very easily balances these two plots alongside character moments. Nothing feels tacked on or like it’s getting the short end of the proverbial stick. There is even the hook of corporate shenanigans as Charles Walker III (the man that empowered Silver Mist) wants to destroy Steelworks before it can help people or ruin capitalism.

There is a bit of an artistic increase with this issue. Sami Barsi and Andrew Dalhouse are still on art and colors but are joined by Vicente Cifuentes and Max Raynor on art and Matt Herms on colors. There are distinctive things that set each of the artworks apart. They are similar enough that even though it’s a noticeable change, it’s not a jarring or sudden one.

It helps that the different artists tackled different portions of the story. In the Steelworks/Supers portions, there is an overall lighter, almost animated, sort of feeling to it all. The shots with Walker & Silver Mist are heavier and shadowy with a bit of an edge to them. This makes sense, with one section being a more hopeful space, compared to the malevolent villain pages.

Color-wise both Dalhouse and Herms are hitting the same notes. Bright vivid colors that make sure we remember that this is a superhero world and a very bright shiny city. Much like the rest of the art, the two-color palettes take on the lighter or heavier feeling of the work they are paired with.

Rob Leigh remains to bring all the variety of letters to the page. Per usual it’s full of great energy with every single word. Dropping in the right little bits and pieces to make sure that we hear everything as we’re meant to. Font that shrinks or grows to indicate quieter/whispering versus louder moments, that stand apart from the more normal tone moments. Always a huge fan of dropping big colorful logo font names in the middle of a sentence. Love that comic-book energy.

Steelworks #2 is now available from DC Comics.