Perez spends the first three or four pages recapping Action Comics. Because it seems likely someone buying Superman isn’t buying Action. Yeah, sure.
But then Perez fills the issue with content–Superman’s big action sequence isn’t even until the second half–and Nicola Scott isn’t up to the detail. Overall, the art isn’t bad. When reading a page, it seems completely passable and occasionally good. But on any closer examination, the problems become clear. And Trevor Scott’s inks seem way too sharp for this comic. With the two Scotts on art… Superman loses its previous retro vibe.
And that retro vibe was one of the comic’s pluses.
The art isn’t even the major problem though. Perez begins the comic on a narrative gimmick (a news story about Superman) and he’s never able to recover. Instead of a clear focus, the narrative jumps around.
The comic’s not offensive, it’s unpleasantly middling.
A Cold Day in Hell; writer, George Pérez; pencillers, Pérez and Nicola Scott; inker, Trevor Scott; colorists, Brian Buccellato, Brett Smith and Blond; letterer, Carlos M. Mangual; editors, Matt Idelson and Wil Moss; publisher, DC Comics.