I’ll usually be the first person to tell you that Kelly Thompson’s Absolute Wonder Woman is more my speed. The heavy metal energy and raw magic in that book just hit the right notes for me. Even so, you have to respect what Scott Snyder and Nick Dragotta are pulling off with Absolute Batman #20. They’re taking massive, unhinged swings at the mythos. This issue is a total demolition of the Bruce Wayne we grew up with. Instead of the typical billionaire power fantasy, we’re following a guy who grew up in the system and is just now finding out his entire life might be a setup.
Title: Absolute Batman #20
Creatives: Scott Snyder (Writer), Nick Dragotta (Artist), Frank Martin (Colorist), Tom Napolitano (Letterer)
Characters: Bruce Wayne, Dick Grayson, Jason Todd, Tim Drake, Stephanie Brown, Duke Thomas, Martha Wayne (Flashback)
Villain: Scarecrow, Mayor Hill, Jack Grimm, Joe Chill
Format: Ongoing Series
Our Rating: 9.1/10 Stars
The Folk-Horror Nightmare of Absolute Scarecrow
The plot takes a massive turn with the introduction of this universe’s Scarecrow. He looks like something out of a folk-horror nightmare, complete with button eyes and a mouth stitched shut with wire. Tom Napolitano’s lettering for the character is incredible; the dialogue bubbles look strained and jagged, making you feel the physical effort it takes for the creature to speak. Consequently, the “Straw Man” title for this arc feels like a double meaning. Scarecrow is a distraction from the real threat of Joker, acting as a vessel for every fear and anxiety people use to avoid the real problems in their lives.
Frank Martin’s colors during these scenes are suffocating. He uses sickly neon pinks and deep, muddy blacks to make a prison cell feel like a tomb. However, the biggest shock comes when Scarecrow claims Martha Wayne was a high-ranking operative for the Court of Owls. To make matters worse, the villain has framed Bruce for the murder of Jim Gordon and executes Joe Chill right in front of him. Bruce doesn’t even get the closure with Chill he so desperately needs, which works exceptionally well for this meaner, leaner version of the story.
The Cowled Prince of Crime
Then there is the narrative flip that Absolute Batman was essentially created as a tool for the Joker. It challenges the old meta-deconstruction that Batman creates his own villains. Here, Bruce is a kid who slipped through the cracks of a corrupt system. He’s a symbol of rebellion against fascist structures, yet he’s being manipulated as a weapon. It’s a really fascinating way to look at how a symbol can be co-opted by the people in power.
The Robin Initiative and the Weaponization of Youth
Everything reaches a boiling point when the Robin Initiative enters the fray. These are state-sponsored pilots in walking tank mechs designed to replace the chaos of Batman. They represent a literal weaponization of youth by Mayor Hill and Grim. Dick Grayson and Jason Todd (R-2) have suits that look incredibly cool, and when Tim Drake, Stephanie Brown, and Duke Thomas arrive, their bikes transform into mini mechs. Seeing Jason Todd open fire on Bruce with a mechanical Gatling gun is a wild departure from their usual dynamic.
Ultimately, the scale of the mechs compared to Bruce makes the fight feel totally hopeless. It turns Batman into a true outlaw in his own city. The issue ends with Bruce standing defiant against a team of heroes who have been programmed to see him as the villain. It’s a high-octane cliffhanger that leaves the entire mythos in a state of chaos.
I’m still team Diana, but Snyder is definitely cooking something special here. It’s a much meaner, leaner version of the Batman story that refuses to play it safe.
‘Absolute Batman’ #20 Review: Scott Snyder Tears Down the Wayne Mythos
I’m still team Diana, but Snyder is definitely cooking something special here. It’s a much meaner, leaner version of the Batman story that refuses to play it safe.
