Comic of the Week: “Absolute Superman” #5

Welcome back to G33k HQ’s Comic of the Week, where we pick a comic that stood out for the week and look at what makes it work and any constructive critiques we may have. This week, our look at DC’s “Absolute” line continues, with “Absolute Superman” #5, written by Jason Aaron, illustrated by Rafa Sandoval, and colored by Ulises Arreola.

DC’s “Absolute” comics take familiar characters from the comic line and set them in a new world, changing one key element about their backstory and letting the rest domino from there. In “Absolute Wonder Woman,” we saw what Diana is like when she’s raised in Hades instead of paradise, and in “Absolute Superman” we get a Superman that arrived on Earth when he was already a boy, with Krypton’s destruction having been delayed a few years.

Issue #5 wraps up the introductory story by giving us two stories: Krypton’s destruction, and Superman’s fight against Lazarus and their Peacemakers (which does mean that, yes, this is also the origin story for Absolute Peacemaker).

The story of Krypton’s destruction comes to a close with the chaos that ensues as the planet collapses. In this version of Superman’s backstory, Krypton’s Science League knew that Jor-El was right about the planet’s impending doom, but they silenced him and hid it so that they could make escape rockets for themselves and the wealthiest among them. As a result, no one managed to escape.

At the same time, we see how Kal-El’s parents tried to save as many as they could, creating a stark contrast between them and the Kryptonian elite. This also gives us a close look at the destruction of Krypton, watching the destruction through Kal’s eyes and feeling his loss. It’s very different from seeing a rocket containing a baby get launched from an exploding planet, as we’re taken into the chaos of Krypton’s collapse.

That’s accompanied by narration spelling out the reason for its destruction: the Kryptonian’s all but hollowed out their own planet as they carelessly used up its resources, consuming until there was nothing but a husk of a planet behind.

Let’s be real: every aspect of Krypton’s destruction is a metaphor for the modern era, as the rich talk about creating colonies on Mars while the environmental regulations designed to protect Earth are stripped away and our leaders refuse to take action against issues like climate change. But it’s a good metaphor, and a fittingly appropriate one for today’s world.

On the other side of the story, we see Superman as he takes down the Peacemakers in search of the one who killed two dozen civilians. It’s Superman at his angriest, tearing through tanks and metal walls on a path of revenge. This is Superman at his angriest and his most terrifying.

However, writer Jason Aaron uses this to good effect, showing that this is an imperfect Superman, but he’s doing his best. As we see him take off and talk to Sol (the Kryptonian AI that forms his “cape”), we see him in a moment of self-reflection and regulation, realizing what lines he could cross as he lets the anger control him. It works well.

While that’s all mostly summary, the delivery of the story is as important as the content itself. Aaron does an excellent job switching between the two narratives and making each one equally compelling. The narration takes us through the Kryptonian side of the story, showing us the chaos and making us feel the pain of the loss. The side set on Earth, on the other hand, shows us what this Superman can do when he stops holding back, and shows how terrifying he can be to those who get on his bad side.

Oh, and Krypto gets a moment to be a very good dog, so that’s a plus, of course.

Naturally, this is all helped by Rafa Sandoval’s art and Ulises Arreola’s color work. Sandoval’s illustrations fill the pages with action, from the chaos of Krypton’s collapse to the dust-like flowing of Sol as it takes a cape form around Superman. The sheer amount of detail that goes into some of these panels is fantastic, whether it’s crowded streets filled with distinct Kryptonians or the landscape of Krypton as it falls apart around Kal-El.

Sandoval’s artwork manages to capture the sheer horror of Krypton’s destruction, encompassing the large-scale scenes of the planet’s collapse and the looks of grief and terror on the survivors’ faces. But seeing Superman in an enraged state, eyes glowing red and action lines filling the panels, is an equally gripping sight. This is a different Superman than the one we know, and just as the Peacemakers aren’t sure how far he’ll go, even we as readers can’t be sure he won’t cross a line. The waves of red that follow him from Sol form an oncoming storm, a red aura, or a flowing cape, as needed for the best dramatic effect.

Then we have Ulises Arreola’s colors. For much of the comic, they’re a good blend of earthy shades and natural tones. But the use of red and green add a powerful effect when needed.

At first, the red is Krypton, including the crystal cave that resembles the classic Fortress of Solitude, the glowing effect of the ship bonding with its passengers, and the red sun. But the red just as quickly turns into a destructive force, both from Sol overwhelming entire tanks and the glow of Superman’s eyes. During his attack, the red floods the panels, casting everything in crimson to encompass Superman’s fury.

The green, on the other hand, overwhelms Krypton’s red during the planet’s destruction. This is, naturally, because of the green glow of Kryptonite, but the use of green against red creates a stark contrast, as we see green fires engulf the planet and emerald asteroids flying from the planet’s surface. It’s a great visual effect.

As this issue wraps up the first story arc of “Absolute Superman” and leads us into the next, one question remains: is it a good Superman story?

Well, yes, it absolutely is (pun intended). Like the other “Absolute” comics, it’s a different take on the character, changing his backstory and history while maintaining the core essence of the character. Superman is still the last son of a lost world, trying to use his powers to do what’s right in a world that doesn’t always reward goodness. This is still very much Superman, and as the story leads into its next arc, we’ll get to see more of how this world’s Superman is both alike and distinct from the one we know from DC’s mainline comics.