THIS WEEK: We got back to school with Gotham Academy – First Year #1. Plus, we check in on the wider DC Universe / DC Absolute Universe happenings with new issues of Batman and Absolute Superman, as well as the Absolute Evil one-shot!
Note: the review below contains spoilers. If you want a quick, spoiler-free buy/pass recommendation on the comics in question, check out the bottom of the article for our final verdict.
Gotham Academy – First Year #1
Story by: Brenden Fletcher, Becky Cloonan, and Karl Kerschl
Script by: Brenden Fletcher
Artist: Marco Ferrari
Colorist: Eve De La Cruz
Letterer: Steve Wands
Gotham Academy holds a special place in my heart. When it first launched, it arrived right in the middle of social media’s cultural explosion, and I have to imagine that timing was crucial to its success. Over 92% of teens (13–17) were using social media then, an unprecedented number. In that time fans of all ages flocked online to share their excitement. Twitter threads, Facebook posts, Tumblr discussions — suddenly, people from all over the world were trading theories and celebrating their love for Maps Mizoguchi and Olive Silverlock.
Gotham Academy was widely praised for its original characters, layered mysteries, and the way it reframed the Batman universe through a fresh perspective. It felt like an entirely new world built for a new generation of readers. It’s one I was lucky enough to grow up alongside, and the rest, as they say, is history.
So it comes as a welcome surprise that on the day of its 11th anniversary, creators Becky Cloonan, Brenden Fletcher, and Karl Kerschl have returned with newly-added artist Marco Ferrari to give fans a prequel to the beloved series.
At its core, this issue is about healing from trauma, and that’s clear from the very first page. This isn’t the Olive fans remember. This is an Olive who has just lost her mother, Calamity, and been forced from poverty into sudden wealth at Gotham Academy. She’s still haunted by the image of a bat and the flames of her worst memories, and the story begins with her hiding under her bed as a familiar roommate steps into the room for the first time. Olive’s struggle mirrors the neglect so many in Gotham experience, though here it plays out through the lens of a world shaped by superpowered figures. What makes the story compelling is seeing how Olive begins to heal, slowly but surely, through the connections she forms with people who will become cornerstones of her life.
Overall, it’s amazing to see how Cloonan, Fletcher, and Kershl, break down Olive’s origin. They frame her as a child learning to navigate loss while finding strength in others, whether through Bruce Wayne’s quiet watchfulness, Alfred Pennyworth’s care (how I’ve missed him), or the presence of Kyle Mizoguchi. These encounters lay the groundwork for the relationships that will define Olive’s future, making First Year not just a prequel but a story about survival and growth in the shadow of the legends of Gotham. It honestly makes me feel the same way the original did, but knowing where this story will take these characters, I can’t help but want to know so much more.
To top that off, I don’t think there should be a debate between whether Ferarri’s art captures the atmosphere that Kerschl and Cloonan set so many years ago. Ferrari delivers with their art style, I had to genuinely do a double take a couple times to make sure who was doing what in this comic. His art only enhances the story and adds on to what whas set previously. One page in particular stood out the most to me, Batman comes crashing into Olives dining room as her mothers fire burned everything around them. It works so well with the page before it, Batman being the literal snap back to reality that Olive needed as the fire began to distort everything around her, even herself. The way he is able to really boring out what Olive is feeling onto the page, even how she sees batman as a demon all of the issue except for when he saves her.
I can’t help but think that’s on purpose, the authors are trying to tell us that Olive is in denial seeing Batman as the problem and not what her own mother was doing to her, and now he lives in fear of this idea, this version of Batman she has in her head. Seriously, pay attention to the surroundings of the art, even the boxes, they all have a story to tell. Most importantly pay attention to the mentions of fear, fear plays an important part of this story and with what is eluded at the end of this issue we can expect it to be a focus in the future.
Maybe I am looking into this comic a bit too much, however, I have to imagine that Cloonan, Fletcher, and Kershl have to have taken into account that their fanbase has grown older. While they draw in fresh blood, the deeper layers that exist to this story have to be there on purpose. The themes have grown with the fans, they are wiling to tackle broader themes about trauma, and resilience. Finding a good balance between the dark themes of Gotham but implementing the joy of friendship and curiosity through the eyes of Olive. You know what demographic this comic is leaning towards, but you can’t help but enjoy it for what it is.
I believe that’s why First Year matters today, 11 years later. It’s a fun comic that uses already existing lore to make up its own unique story and chooses to try new things. They aren’t rehashing old stories but instead choose to expand on existing ones. Being able to resonate with old fans, while being approachable to new readers. I love that even now, I still am coming up with my own theories and head cannon, trying to pull apart the layers of this comic. It’s so much fun, and it had been a long time since I felt that way.
First Year proves there’s still some stories left to tell in these halls.
Final Verdict: BUY
Round-Up
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Matt Fraction’s first issue of his Batman run hit readers with a very human look at Bruce, and I loved every second of it. From that moment, I knew I had a lot to look forward to with his future chapters. So, it’s no surprise that this newest issue hits the ground running. Fraction has this ability to tell a heartfelt story while mixing in some real brutality, and this issue left me craving more. It’s great to see Tim Drake back in a mainline Batman title, and the way this issue plays out makes it clear he’s going to be an important part of this arc.
The story moves between flashbacks of Bruce teaching Tim how to drive and the present, where Tim is trapped in an armored vehicle, fending off Gotham’s goons right after being shot by trigger happy cops. I genuinely felt a weight in my chest while reading. The book doesn’t shy away from showing Tim and Bruce getting beaten down, and it doesn’t let up on the brutality from the officers who injure him. The whole issue feels chaotic, and Fraction makes it clear this is not the same GCPD as before. Commissioner Vandal Savage has his grip on the police now, and it shows in the men patrolling Gotham’s streets.
Then there’s Jorge Jiménez. His art has always been a standout, but here it feels like he’s working on a whole new level. There’s a breathtaking full-page spread where Bruce uses Bat-spikes to stop the armored vehicle Tim is trapped in. Batman stands triumphant as the wreck crashes behind him, cape billowing, spikes retracting into his belt. It’s absolutely stunning, and it’s not even the best moment in the book.
That I have to give to a scene where Bruce and Tim exchange a silent look, just two panels side by side, each of them reading the other in an instant before making their move against the cops aiming guns at them. It’s simple, but the execution is flawless, and it pulled me even deeper into the story. Not to mention, with each new gadget used, Fraction gives a spotlight on what it does and is, alongside Jimenez’s designs for the gadget, just such a cool little addition. Paired with Fraction’s writing and humor, the art made this issue unforgettable. I couldn’t get enough.
With how this issue ends, I was already excited to see the next issue. Now I need to see it because it’s great to see street-level action again in a Batman title, and I’m a sucker for when Gotham turns on the bat. I can’t recommend this issue enough.
- I really love it whenever we get to see Absolute Kal-El reflect on his journey on Earth. There are so many standout moments in that alone that make me fall in love with Superman all over again. This issue covers how he almost fell under Brainiac’s control and how he barely managed to come back, thanks to his AI, SOL. From there, we see his travels across Earth; this is where he differs from mainline Clark Kent; he is rebellious, unwilling to join human society, yet as Superman does, he affects their lives and saves people regardless of his emotions. Learning from the world in his own way.Kal is simple in that pursuit. He could have advanced rapidly in society, but he chose to stay grounded as a son of the Redlands. He committed to manual labor, working under the sun as a farmer. The issue explores what makes Kal, for better or worse, human. He wrestles with the unfairness of life on Earth, the responsibility of controlling his powers, and even the temptation of whether or not he should kill. His emotions spill out of him like a child’s, because in this moment, he is still just that, a child, trying to find his place in a world full of uncertainty. As SOL tells him, what he really needs is some…solitude. It’s easily one of the most powerful moments in the issue. It doesn’t stop there either; it just keeps on giving with this issue.
Jason Aaron just knows how to pull my strings, really digging deep into what makes Superman so loved in this series. Even in a world where nothing is right, Smallville manages to play an important role in Superman’s life, with another standout moment where Kal’s kindness is given back tenfold to Lois and Jimmy from Smallville’s citizens, even introducing Absolute Lana Lang, and it’s damn fine introduction. The issue wraps up from there with a really heartfelt moment I won’t spoil, and then we learn Ra’s full plan to draw out Kal, going so far as to bring an entire army with him to Kansas. I have to point out the detail of them rolling over the Kansas sign, the same one where we once got that definitive Absolute Superman shot with his cape blowing in the wind and the state motto, “Ad astra per aspera” (“To the stars through difficulties”). If that isn’t foreshadowing, I don’t know what is. I had such a good time with this issue. It’s great to see Kal come full circle, finding friends and coming to terms with what he needs to do.. This is a Superman that is (literally) alien to their readers, and yet familiar in all the right ways.
I can’t wait for issue #13.
- We are a year into the Absolute-verse, and it’s crazy to finally see the big bads we’ve been following step into the limelight. For the first time, we have all the Absolute antagonists at one table, and we also get the first appearance of Absolute Green Arrow. When I saw Al Ewing was writing this, I knew I was in for a real treat, and the more I read, the more I began to understand how DC was pulling the strings. First and foremost, what a fantastic ride. I was genuinely immersed, willing to dig deeper into everything Ewing was putting on the table.Ewing clearly wants to make a statement, and he delivers with jaw-dropping moments, bringing in fan favorites like Wesley Dodds, Ted Grant, and even Iron Munro, all reinterpreted to fit the Absolute narrative. The issue keeps layering on more and more, breaking down how these antagonists see our Absolute heroes, what they represent to them, and how they differ from other “anomalies” they’ve faced.
A standout moment is the Joker’s monologue, the first time we see him in a full-length conversation. Despite his name, Ewing makes it clear he is no less insane. And that isn’t even the craziest moment there’s one sequence I can’t even mention without spoiling something truly insane in this issue. On the art side, Giuseppe Camuncoli and Stefano Nesi deliver an eerie yet grounded look that enhances every moment, making the final reveal hit as the standout scene of the issue. This book cements itself as a must-have, whether you’re an Absolute fan, an Elseworlds enthusiast, or just someone who appreciates strong storytelling. It’s a brilliant way to set up the future of the Absolute arcs, and I can’t wait to see what comes next.
I really love it whenever we get to see Absolute Kal-El reflect on his journey on Earth. There are so many standout moments in that alone that make me fall in love with Superman all over again. This issue covers how he almost fell under Brainiac’s control and how he barely managed to come back, thanks to his AI, SOL. From there, we see his travels across Earth; this is where he differs from mainline Clark Kent; he is rebellious, unwilling to join human society, yet as Superman does, he affects their lives and saves people regardless of his emotions. Learning from the world in his own way.Kal is simple in that pursuit. He could have advanced rapidly in society, but he chose to stay grounded as a son of the Redlands. He committed to manual labor, working under the sun as a farmer. The issue explores what makes Kal, for better or worse, human. He wrestles with the unfairness of life on Earth, the responsibility of controlling his powers, and even the temptation of whether or not he should kill. His emotions spill out of him like a child’s, because in this moment, he is still just that, a child, trying to find his place in a world full of uncertainty. As SOL tells him, what he really needs is some…solitude. It’s easily one of the most powerful moments in the issue. It doesn’t stop there either; it just keeps on giving with this issue.
We are a year into the Absolute-verse, and it’s crazy to finally see the big bads we’ve been following step into the limelight. For the first time, we have all the Absolute antagonists at one table, and we also get the first appearance of Absolute Green Arrow. When I saw Al Ewing was writing this, I knew I was in for a real treat, and the more I read, the more I began to understand how DC was pulling the strings. First and foremost, what a fantastic ride. I was genuinely immersed, willing to dig deeper into everything Ewing was putting on the table.Ewing clearly wants to make a statement, and he delivers with jaw-dropping moments, bringing in fan favorites like Wesley Dodds, Ted Grant, and even Iron Munro, all reinterpreted to fit the Absolute narrative. The issue keeps layering on more and more, breaking down how these antagonists see our Absolute heroes, what they represent to them, and how they differ from other “anomalies” they’ve faced.
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