Absolute DC Universe: Stale iconic characters get a fresh look in comic book

At some point, most of us have had a relationship that started strong, with respect and attention, only to go down south as we were taken for granted. Eventually, we move on. Then, years later, that person reappears, claiming to have changed, and tempting us with something new, and fresh but let’s be honest here, trust at this point does not exist. That’s is my current relationship with DC and Marvel comics.

Over the years, I have been forced to drift toward indie comics, which feel fresher, bolder, and more inventive. DC and Marvel, by contrast, often seem repetitive and rarely excite anymore. But the Absolute series” from DC recently caught my attention.

The Absolute Universe is a fresh continuity, independent of the main DC Universe, led by Scott Snyder as part of the DC All-In initiative. It all began in October 2024 with the DC All-In Special.

The first series released includes Absolute Batman by Snyder and Nick Dragotta with Frank Martin as the colourist, and Absolute Wonder Woman by Kelly Thompson and Hayden Sherman with Jordie Bellaire as the colourist, both debuting in October.

In November, Absolute Superman by Jason Aaron and Rafa Sandoval with Ulises Arreola Palomera as the colourist. Other characters are to come in 2025 with Absolute Flash on my radar.

Let’s say you are a newcomer to comic books

The Absolute series offers a chance to reimagine classic characters in several issues. What I appreciate is just how approachable it feels for newcomers, while still offering longtime fans something fresh. Each story is standalone, making these editions accessible and satisfying for readers of all ages and levels of familiarity.

Without the mansion…without the money…without the butler.

With this version of Batman, DC has stripped Bruce Wayne down to someone familiar and grounded. This isn’t your typical Batman; he’s relatable, almost vulnerable leading to memorable moments for die-hard fans. Imagine the physical presence of Frank Miller’s Dark Knight Batman but with an agile, brutal edge.

Batman’s movements and costume design—treated as a weapon down to the earpieces—are gritty, and layered but remain familiar. And while the story is about Gotham’s darkness, it’s largely told from Alfred’s perspective, offering a fresh angle. With this issue, I found the ending incredibly satisfying as compared to the other books in the universe.

The artwork is clean, with a subtle grayscale palette and deep shadows that contrast beautifully with colourful flashback panels, helping track the different timelines. Character designs sit between cartoonish and realistic, with striking action poses.

I loved the incorporation of the bat symbol, though this version is what can only be described as an obese bat symbol. There’s also a lot of exposition, which felt a bit heavy compared to other comics that rely more on visuals.

Without the island paradise…without the sisterhood that shaped her…without a mission of peace.

This might be my favourite of the three from a story perspective. This Wonder Woman feels like she’s stepped out of a darker, mythological world—think of the Hellboy comics,. Themyscira is given a totally new fascinating treatment. The pacing is tight, blending current events and flashbacks seamlessly, with creative panel work that illustrates the passage of time. The storytelling lays a solid foundation for Diana, which works well for new readers.

The colours are warm yet desaturated, with hatching used for shadow effects. Thick linework around the characters’ eyes gives them a distinct look. However, I was less impressed with Wonder Woman’s costume.

Unlike Batman’s bold bat symbol, her costume felt generic, aligning more with modern political and social correctness than any classic Wonder Woman aesthetic. Honestly, without context, you’d be hard-pressed to identify Diana as Wonder Woman right away.

Apart from the costume design, the story felt too short. Just as the action was picking up, we hit a typical comic cliffhanger. It’s not a bad setup for a series, but I wish this first issue had ended on a more substantial note, like Absolute Batman.

Without the fortress…without the family…without a home

Superman, or Kal-El as he’s known here (Clark Kent doesn’t exist in this universe), has always been tricky to reinvent because he’s so overpowered. But in Absolute Superman, they’ve grounded him by redefining the foundation which in this case is Krypton’s society, making his origins more relatable.

The new take on his powers adds interesting limitations, keeping him powerful but not invincible. There are some impressive action set pieces, and a familiar DC character makes a surprising appearance, expanding this universe and setting up an interesting dynamic between two iconic characters.

This one’s my favourite in terms of art. The colours are vibrant and glossy, with deep shadows and dynamic lighting that make every page pop. Superman’s suit redesign feels functional and familiar, retaining the iconic look that makes him instantly recognizable.

The story explores themes of exploitation and class dynamics, which is interesting, but sometimes it feels a bit heavy-handed.

Right now, this series feels focused and promising, with each character’s story limited to five issues. But I can’t help wonder and worry that DC might try to complicate things by introducing multiverse crossovers or alternate versions of these characters like they always do after a few years. These books look great and it would be a shame if they drew us into their usual web of convoluted storylines.

Whether you’re a seasoned comic book reader or just looking for a place to start, the Absolute universe is a promising entry point.

It offers a grounded, accessible look at iconic characters who have, admittedly, started to feel a bit stale. I read these on Comixology/Kindle but you can also get a hard copy on Amazon.

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