THIS WEEK: Reviews of Absolute Wonder Woman #21, Superman #39, Absolute Superman #20, and Gotham Academy #5!
Note: the review below contains spoilers. If you want a quick, spoiler-free buy/pass recommendation on the comics in question, check out the bottom of the article for our final verdict.
Absolute Wonder Woman #21
Writer: Kelly Thompson
Artist: Dillon Snook
Colorist: Jordie Bellaire
Letterer: Becca Carey
For once in the two years of this run, I fear for what will happen to Diana. Her current placement back in hell has affected her mentally, and not just in her saying so; it’s embedded in the brutality that guest artist Dillon Snook puts on display.
From the opening page, watching a bruised, dirty, and mourning Diana bury the remains of her charred animal friends, the tone of this comic is evident and engaging. As Thompson steers readers towards the next big event in a new arc, I would argue the focus of this story isn’t just on Diana. Instead, that regrettable honor falls on Dr. Barbara Ann Minerva.
Thompson has done a wonderful job making readers care about Barbara. With her current incarceration under Veronica Cale, the big bad of Absolute Wonder Woman, things were never going to get easy for her. At least, that’s what fan discussions had led everyone to believe. It’s hard not to think the transformation has already begun when a dead cheetah lies on the floor of Barbara’s cell, she’s still recovering from a slash across her arm, and the voice of Urzkartaga begins speaking to her.
It’s clear that the transformation has begun…or so we thought. It’s in interactions like these that Thompson’s scripting truly excels. More than anything, the dialogue does so much to build this arc, and funnier still, some of the comic’s most impactful moments come through Barbara and Diana’s conversations with themselves. Readers also have Jordie Bellaire to thank for elevating those scenes. The purple and orange color palette feels entirely intentional, creating a visual bridge between the two friends despite existing on different planes. Even separated, Bellaire centers them in the same emotional space: both women are trapped in prisons of their own. It’s subtle, but incredibly effective.
That said, Barbara’s dialogue with Urzkartaga is what really stands out. Barbara isn’t an idiot. She knows exactly what this ancient plant god is and understands what’s happening to her. Urzkartaga doesn’t exploit that fear or manipulate her. Instead, he speaks to her as an equal. It’s a refreshing dynamic, and to be quite honest, it leaves a stinging sensation in my chest because you genuinely want to see Barbara make it out of this alive.
Although the comic is centered around dialogue-heavy scenes, moments like these never take away from what’s happening around the characters. While Diana is trapped in literal Hell, Barbara exists in a hell of her own, one where an omnipotent god occupies her mind. In that sense, she and Diana aren’t so different after all. By the time the issue ends, readers will be eager to see where this story goes next, especially with the intriguing implications surrounding Gotham City.
Absolute Wonder Woman #21 continues to make this one of DC’s strongest ongoing series. Thompson keeps delivering fresh takes on Diana’s rogues while allowing the tension to simmer beneath the uncertainty of where these characters are ultimately headed. That unpredictability has become one of the Absolute line’s greatest strengths and in this case, I can’t wait to see where Thompson will take us.
Verdict: Buy
- Joshua Williamson, Dan Mora, Alejandro Sánchez, and Ariana Maher’s Superman issues been an absolute joy to read, and Superman #39 is one of their best. Part of that comes from Superman Prime’s unhinged nature and lighthearted attitude, which make following the chaotic twists of this arc an absolute blast. Yet Williamson never lets the spectacle overshadow character work. Instead, he finds surprising depth in Prime, who is forced to confront the “spirit” of Manchester Black, and, in doing so, face the inner demons that have haunted his brief reign as an all new Superman. Dan Mora continues to deliver some of the best artwork in comics today, and his seamless transitions between the main DC Universe, the animated series aesthetic, and the “Snyderverse” are easily among the issue’s standout moments. Alejandro Sánchez gives each reality its own visual identity through vibrant, distinct color palettes, while Ariana Maher’s explosive, immersive lettering amplifies every emotional beat and action sequence. Together, the creative team delivers a comic that’s visually stunning and not to be missed.
- Jason Aaron, Rafa Sandoval, Vicente Cifuentes, Ulises Arreola, and Becca Carey’s Absolute Superman #20 kept giving me moments that made me grip my comic just a little tighter. Sandoval’s Hawkman is one of the best designs from the Absolute line, and watching the character’s change of heart culminate in a team-up with Superman and Steel had me even more excited as the inevitable clash with King Shazam approaches. Aaron and Sandoval make every page feel massive, delivering incredible two-page spreads that carry real weight behind every godly clash. Arreola elevates those moments even further, layering the action with bursts of color and crackling electricity that leap off the page, while Becca Carey’s lettering ensures every punch and explosion lands with force. I won’t spoil how it ends, but the final pages set up an absolutely insane conclusion that has me counting the days until the next issue.
- Lastly, I have to shine a spotlight on Gotham Academy: First Year #5 because Brendan Fletcher, Becky Cloonan, Karl Kerschl, Marco Ferrari, Eva de la Cruz, and Steve Wands deliver a fantastic issue. It’s one of the strongest explorations of Olive’s inner turmoil the series has offered, using fear toxin as the perfect vehicle to peel back her emotional state. What really sells those moments is the execution. Eva de la Cruz’s vibrant colors shift alongside Olive’s emotions, while Marco Ferrari’s expressive artwork transforms those feelings into something chaotic, unsettling, and deeply personal. Every distorted panel and haunting visual pulls you further into Olive’s perspective. It’s clean yet gritty, beautiful yet unsettling, and somehow balances all of those contradictions without ever feeling at odds with itself. It sounds paradoxical, but on the page, it simply works. Kudos to keeping Olive on some form of sketch paper to show how she believes she doesn’t belong — a nice touch. Make sure to catch up before the comic concludes next month. It’s nice to have a comic that reminds us stories can exist alongside beautiful visuals that don’t involve violent action scenes.
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