3/12 Comic Reviews: An Absolute Must-Read!
Absolute Batman #18 written by Scott Snyder with art by Eric Canete
The second part of the two-part introduction to Absolute Poison Ivy picks up right where the previous issue left off. As before, this issue has a number of threads running through it, but, despite the frenetic and nonlinear narrative, each thread carries so much momentum that the reader doesn’t even have time to be confused. It parallels the experience that Bruce is having as he fights to continue his mission against increasingly strange foes while wrestling with the realization that the idea of Batman has begun to evolve into something he didn’t expect. Change is very much the theme of the book, as he goes up against a person claiming to have evolved into something far surpassing her human limitations. Rather than restricting herself to plants, this version of Poison Ivy has assimilated every kingdom of species from plant to mammal to fish to bacteria. The result is a being who ostensibly has no weaknesses and can draw from any trait of any living thing to weaponize against her foes. In the process of explaining just what she’s become, she mentions “primal forces” that she can feel as colors, clearly a reference to the forces of life tied to the Swamp Thing and Animal Man mythos. Whether this means we’ll see some iteration of those characters at some point, it’s interesting to see the groundwork laid out for later exploration. Creating a comic universe in this way allows for a tighter continuity and more organic connection between what are otherwise disparate elements conceived of for unrelated stories with decades between them. Considering Snyder’s history with Swamp Thing, the possibility we may get to see him playing around with that mythology in future stories is enough to make me excited for the future.
Between the ongoing conflict, the story is intercut with scenes of Martha Wayne in New Mexico where she has called upon some old acquaintances from the Court of Owls. Rather than a cabal of the world’s elite, this version seems to actually serve as the counterpoint and were formed in order to rebel against the order of the world and the monsters who rule it. However, it seems they’ve gone into hiding, either giving up or shifting to a different method of fighting. The revelation that Martha was a Talon, allegedly the best Talon, and wants to revive their crusade is an interesting wrinkle. We still don’t know how they operate in this universe and it’s still up in the air whether they’ll be friends or foes to Bruce.
The other ongoing thread is the flashes of Bruce’s daily life as he becomes increasingly overwhelmed by how little control he seems to have over any aspect of his life. Despite his commitment to being present for his friends, none of them want to see him and it’s clear that the rejection is wearing on him. Meanwhile, even Batman, the outlet for his rage, is starting to be co-opted into something he doesn’t have control over. Batman merchandise is being sold on the streets and he’s being treated as the star of Gotham City. As Bruce says, Batman was created to be a tool in his crusade rather than a beacon of light itself. Again, it’s interesting to see the parallels drawn with Snyder’s previous work. Zero Year and much of his New 52 run as a whole were about Batman shifting into a symbol of hope to inspire people and remind them that everyone is capable of making a difference. In a darker world, things don’t always work out that nicely though, and becoming a symbol of hope may be more taxing than even Bruce can handle. Throughout the fight, Bruce’s resistance to change is shown to mirror Jack Grimm’s. Grimm is willing to kill, imprison, or break anyone that dares disrupt the status quo, and that ruthlessness is deeply rooted in a fear of the world becoming something he can no longer control. Unfortunately, it appears that Bruce’s takeaway is that he too needs to be crueler and more ruthless than ever if he wants to preserve what he believes to be his mission. He may think that taking an unnecessarily cruel step to hurt a defeated foe or cutting ties with his family and friends is what it takes to be strong, but the issue makes it clear that it’s only making him more like his greatest enemy.
Eric Canete’s illustrated both issues of this story as a guest artist and knocked it out of the park for each. Biblically-accurate Poison Ivy is a nightmare to look at as a constantly shifting mass of amalgamated tissue. It properly sells that idea that maybe Batman does have to be something more brutal if he wants to succeed. The entire story is one of the most chaotic ones yet, both in terms of the various narrative threads and the constant action of the main story as Bruce fights this monstrosity with chainsaws strapped to each arm. Yet, despite all the chaos, there is an order and flow to it all that keeps the reader on track and propels the story forward. Hopefully we see him return, either on another Poison Ivy story or for the debut of some new monstrosity this creative team has come up with.
It should come as no surprise that this issue was yet another high-octane, balls-to-the-walls thrill-ride. Much like Batman, this book is relentless and nowhere close to letting up. This nightmarish two-parter not only gave us a look at an all-new version of one of Batman’s most iconic rogues, it also set up plenty of threads for the next arc. As with all of the Absolute books, this is some of the best storytelling in superhero comics, so do yourself a favor and check it out!
Absolute Superman #17 written by Jason Aaron with art by Juan Ferreyra
“Tell them Superman’s not for sale.”
It’s doesn’t seem fair that the first superhero Batman gets to meet is Wonder Woman, while Superman gets stuck with a complete blowhard like Hawkman. Continuing where the previous issue left off, the two of them have come to Metropolis to save the city from Parasite. Rather than a person, this Absolute version appears to be a parasite in truth, mindless grabbing everything and everyone it can get its tendrils on to leech off of them for power. Within the first two pages, we’re already treated to a horror show as Lois comes face to face with what happens when someone is captured by the creature. For a moment, I really thought we were going to lose Jimmy Olsen, a testament to the stakes of this universe. Thankfully, Superman is sticking to his newfound guns and isn’t going to sacrifice anyone. On the other hand, Hawkman is ready to write off the victims without hesitation and is even willing to come to blows with Superman over it if necessary. He keeps talking about the greater good, but once he’s willing to let an entire city die, it may be time to reframe what “good” actually means. It’s becoming increasingly clear that for all of Hawkman’s talk, his whole ideology is built around justifying a worldview that even he doesn’t seem to believe in. After everything he’s been through, Superman isn’t the kind of person who’d turn away from someone in need, regardless of the consequences. There is a single exchange which summarizes both of their perspectives while also being one of the most quintessentially “Superman” lines ever written:
“It’s impossible!”
“Of course it is. Give me five minutes.”
That exchange along with the smile Clark flashes while he flies off really hammers home how much he’s grown since the beginning of the book. He never expected things to become smoother after becoming more proactive as a hero, and he’s not going to let that dissuade him from believing his path is worthwhile. Hawkman isn’t having it, of course, but before he can do anything, he gets grabbed by the Parasite and thrown into the same nightmare that everyone else is experiencing. Thankfully, it’s Lois who realizes that what Parasite wants is for people to feel afraid so it can feed off of their adrenaline. The moment they’re not afraid, it has no need for them and will let them go without harming them any further. Rather than speak to everyone individually, Clark simply joins them in the Parasite’s grip, choosing to believe in the people and his own ability to inspire them, even if it means powering up the Parasite to astronomical levels.
We only get to see the experience through Hawkman’s eyes, but Juan Ferreyra’s art makes it an unforgettable one. Superman appears in the form of a small boy, innocent and optimistic, offering words of comfort to Hall as he drowns in his own demons. Hall’s bravado falls away and he’s revealed for the pitiful and pathetic man he is, selling out to his masters in exchange for being able to pretend that he’d always been the hero of the story. He’s so threatened by the idea that someone can do what he’s convinced himself is impossible that he’s trying to bring Superman down to his level. He tries to convince the child-Superman that he’s not going to survive, but instead is presented with the force of will that made “the people of steel” so indomitable. Everyone is freed and Hawkman tries to salvage his bravado by berating Clark, but he’s been exposed for the fraud he is and Clark makes it clear that he won’t be making the same mistakes Hall did. Hall was willing to shake hands and look the other way while the wealthy and powerful bled the people dry, but Clark makes it abundantly clear that he is their enemy and they will not be able to buy him. Of course, he’s got more to worry about than a washed-out enforcer. While he’s been distracted by Parasite, Talia al’Ghul has staged a breakout for her father. Clark had come so close to getting through to Ra’s and it’s clear from the way he reverently places the book of prayers on the bench that some of that influence remains even if Ra’s would pretend otherwise. On top of that, there’s whatever Brainiac is planning for Lex Luthor. If the horrific final page is anything to go by, there may be something brewing that even Superman isn’t ready for.
I’ve been raving about Juan Ferreyra’s art for the past two issues and I’m going to be doing it again for this one. The way he draws Clark’s smile is so perfectly juxtaposed with the horror of his surroundings because it really does make you believe that everything is going to be ok. On the other hand, when Clark needs to look intimidating, he’s drawn in such a way that you can imagine Hall sweating behind his mask and bandages beneath that burning glare. The biggest standout has to be the two-page spread of Hawkman’s mask while he’s grabbed by Parasite. The mask serves as a frame while the panels depicting the nightmare are positioned inside. It’s haunting and beautiful while also selling the surreal nature of the shared dreamspace they are occupying. It also helps reinforce how pitiful Hall is, trapped in his own mind surrounded by the people he’s sacrificed for what he’s convinced himself is the greater good. Of course, there’s also the aforementioned final page which may be one of the most horrific scenes I’ve ever seen in a superhero comic. It proves how utterly evil Superman’s foes are and guarantees that no matter what Lex becomes, no one will ever question why. I feel a real sense of dread going into the next issue having seen firsthand what could happen to Clark or his loved ones if he’s not careful.
It’s fascinating how a single issue can present such relentless optimism while also depicting such bone-chilling horror. It makes Superman all the more inspirational because he’s faced with such cruelty, but refuses to abandon his idealism. It’s the classic “Superman vs Darkseid” conflict, but on a level we’ve never seen before where it is one man against a profoundly cruel world. This book is a masterclass in how to write Superman, showing how the stories can be dark without undercutting the idealism of the hero. Much like the man himself, this book is a ray of light shining in the darkness and as much a must-read as it’s been since day one. I’ll keep banging this drum every month, because this is the stuff heroes are made of.
Absolute Wonder Woman #17 written by Kelly Thompson with art by Hayden Sherman
“Dr. Poison. I believe I told you to be good.”
After last issue, it looked like Diana was going to be stuck in a situation she had no way out of. It turns out that the situation was even more complicated than it appeared. Zatanna Zatara had hijacked Diana’s magic and seemed ready to turn it against her, but instead she uses it to secure her own safety and escape from Cale. One of the consistent through-lines of the book has been Diana being rewarded for choosing to believe the best in others and Zatanna’s turn proves the inverse is true as well. Veronica Cale attempted to use a parasite to create her own version of the Suicide Squad, but it turns out that using fear as a tactic ensures a complete lack of loyalty from anyone in her service. Cale’s paranoia and desire to undercut Diana have massively backfired against her and even resulted in Diana finally learning the name of her foe. With Zatanna off the board, Cheetah and Dr. Poison are quickly disposed of, leaving Diana to face off one-on-one against Giganta. Just about all of Diana’s battles have been won with her wit as much as her strength, and it’s a fun change of pace to see her get into a straight-up slugfest. Giganta may be the first opponent who clearly outclasses Diana in a physical fight due to her size, but Diana has her magic back which allows her to level the playing field and match Giganta in both size and strength. (One side note, there’s a distinct “ping” effect whenever Giganta grows. We’ve already seen that some New God technology has ended up in the hands of the various Absolute villains, but it’ll be interesting to see if the Giganta connection will ever be followed up on specifically or if it’s just indicative of Cale’s own resources.)
Speaking of Cale’s resources, she recognizes that not having Zatanna pretty much guarantees that Diana is going to be walking away in one piece. With no other choice, she deploys another magic user, one who she appears to have less control over save for a piece of leverage he believes she has. Coerced or not, the flaming skeleton of man she sends out appears to have no qualms about bloodying his hands and burning Diana’s. Based on what we see, I feel fairly confident this man is Giovanna Zatara, father of Zatanna and that the “leverage” may have been the belief that his daughter was in Cale’s grip. Zatara was a hero and a loving father in the mainstream universe, but there’s no evidence so far that those heroic traits are still present and it may take more than a conversation for Diana to get out of this fight. Of course, that also raises the question of Zatanna and what she’s up to. It’s obvious that the witch still has a role to play in Diana’s story and while they had been set up as foes, Diana has proven remarkably capable of winning friends.
Hayden Sherman’s art pierced directly into my soul this issue with a fight that looked like something straight out of Ultraman. As much fun as it is to see Diana outsmart her foes, it’s incredibly satisfying to seeing two giants throwing down. The sense of scale is especially well-handled as both Diana and Giganta continue to increase their size over the course of the fight. Whether she’s standing next to her smaller friends or a skyscraper, the scale is as consistent as every other aspect of Sherman’s art even amidst the fast-paced action as the opponents trade blows across the city. Another standout moment is when Diana regains her power and gives the above-mentioned quote. Everything about the framing of the scene and her body language make it clear to both the reader and her enemies that the tables have just turned. Of course, I can’t neglect to mention the first scene were we get a proper look at Diana’s newest foe. You might think a flaming skeleton with the tiniest vestige of flesh on his face would be intimidating and you’d be right. The figure oozes menace as he approaches and it’s immediately obvious why even Cale would be hesitant about using him. Despite her victories, the final page makes it clear that the fight is far from over and Diana still has her work cut out for her.
I know I sound like a broken-record, but this book is insanely good. It’s dark fantasy meets superhero action with one of the coolest protagonists in comics. This creative team, along with the other Absolute teams, prove that not only can you reinvent the wheel, but the wheel can actually be so much cooler than we ever imagined.