REVIEW: ‘Absolute Superman Issue 16’

Absolute Superman Issue 16 is published by DC Comics. Written by Jason Aaron, art and colors by Juan Ferreyra and letters by Becca Carey.

In Absolute Superman Issue 16, Superman comes face to face with Hawkman, one of the most experienced metahumans in the Absolute Universe. This chapter begins exactly at the moment the previous issue ended. Superman is accosted by Hawkman, a winged figure who tries to keep Superman stuck in one place and have a conversation. Hawkman is muscle for Lazarus, their in-house metahuman who deals with those starting to get above their station.

Absolute Superman Issue 16 also reveals the origin story, or at least the start of it, for Hawkman. There’s still a historical context to Carter Hall, but it’s changed dramatically. There’s so much unanswered about the origin story, which makes it even more sinister.

The pacing of Absolute Superman Issue 16 is fascinating. It starts slow, but we know a confrontation is coming. Superman flying off repeatedly are the little flickers of a furious fire burning within Hawkman, so it’s only a matter of time before conflict erupts. Superman hasn’t yet had the chance to battle someone who can match his power, making the battle impressive and enthralling. It’s violent and bloody, turning the last act of Absolute Superman Issue 16 into a breathtaking read.

There are two endings that both elicit different emotional responses. One that introduced a new element to the Superman and Hawkman fight. And another that shows Brainiac trying to create an Absolute Luthor, through absolutely horrifying means. It’s jaw-dropping in its brutality and severity, completely unexpected.

The dialogue in Absolute Superman Issue 16 is phenomenal, as it explores what really makes a hero. Superman and Hawkman are two extremes. Kal-El wants to save everyone, exhausting himself trying to answer every scream and cry for help. Meanwhile, Hawkman ignores them all. Superman is honest and opposed to everything Lazarus stands for. Hawkman works with them, kills for them.

What is also notable is the age difference. Superman is young and new at this. Hawkman is very old, and with that comes many attributes. For one, he’s learned to live in a hostile world, constantly toeing the party line and unwilling to risk anything that could change it. He’s also battle-hardened and knows how to fight. He can identify that Superman is just an instinctive person with powers, and doesn’t have any real poise or fighting ability. It makes the battle much more two-sided than expected.

The art shows Ferreyra delivering an evolving masterpiece that can completely alter the comic’s look to fit the scenario. In the opening pages, there’s a mystical look to Absolute Superman Issue 16. The layout and panels themselves are different, as if they’ve been etched rather than drawn with uniform, straight lines. You can see pencil markings on the page. Then the art resembles what was seen in the last issue. Hawkman’s design is incredible. It’s ominous and old, carrying elements from multiple areas that hint at Hall’s true age.

Superman has a glowing cape and hands bursting with power; Hawkman has a blend of magical and mechanical restraint. He’s composed and intelligent. Bandages cover any facial features that may be visible below the helmet. The design makes him terrifying, way more than any other concept seen with this character across the multiverse.

During the battle, a pastel effect takes over, emanating from how Superman’s powers are used and spreading through the panels. But Hawkman’s sharp, pointed edges can cut through that power and even fight back, causing such delectable destruction. With Lex Luthor in the suburbs, there’s a bright innocence to his suburban life, invaded by a figure that exudes fear, violence, and a blend of technological and body horror.

The colors are astounding and crucial to the painted style Ferreyra uses. In the opening, the old quality of the pages is implemented by the yellow hue that Ferreyra coats them with. Not just within the panels, but across the entire page. Like when you would dab teabags on a piece of paper to make it look like a pirate letter in school.

It’s effective and makes it clear how different that world is; the colors step into their own during the battle. The pastel red that comes from Superman fills entire panels, unleashing it in excessive fashion. It blocks out the rest of the world and focuses attention on the action within.

Sometimes the fighters are silhouetted to really contrast with the background and define what they’re doing. Superman is explosive and impossible to ignore, bursting with energy. Hawkman tries to be more subtle, or as much as anyone can in this universe. The SFX have a unique design for each individual, but blast, and even seem to match the parked effect that Ferreyra uses.

Absolute Superman Issue 16 demonstrates the change in the universe. Before Superman emerged, Hawkman was the only way a metahuman could exist. One that worked for the corporations and villains, stamping out rebellions and uprisings. He’s not a hero because they just didn’t exist. Superman is everything he isn’t, which terrifies those in power. The contrast is prevalent throughout the comic, making it a staggering read.

Absolute Superman Issue 16 is available where comics are sold.