“It’s just what every growing girl needs.”
With this latest installment from Absolute Wonder Woman, Kelly Thompson continues to make Greek mythological knowledge flexible with guest artist/colorist Mattia de Iris.
Readers continue to introduce Hades, the master of the underworld. Hades traditionally functions as the guardian of the soul, and in his torture that Goddess Persephone is his most famous story, serving as a great evil in many Greek-related stories. All of this, Hades is not a great guy. Thompson introduces Hades’ absolute rendition, demanding that Wonder Woman holds every weapon, including her armor, with his calm tension, but maintains balance.
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Thompson’s greatest advantages and disadvantages are both shown in Hades as a character. Throughout the matter, Hades shares back and forth with our honorable character, explaining her story of meeting Prometheus and beating the final basilisk. The pacing is good, but the problem is somewhat insufficient as it exists to satisfy readers about Diana’s strengths and how she gained Pegasus. Ultimately, this feels like Thompson’s weakest script ever.
Hades works if you consider him a sleazy character. He tries to humiliate Wonder Woman, pulls her out of her friend’s safety, strips her of her armor and weapons, then continues to craze inside her head. They have a battle of words throughout this article, which reflects the greatest strength of Thompson’s script. There is a need to have a deep and clear understanding of Hades’ complexities towards women and instill fear in women. Thompson’s voice against Hades is phenomenal.
Thompson’s writing throughout this series has made me like flashbacks, but their usefulness somewhat stops this issue and feels less productive than intended. There may be more scenes displayed in the current scene, but readers are thrown back and forth like Diana and Hades talk. On the one hand, Pegasus is rad. I’m not going to argue about that. However, there is a need for a deeper understanding of Diana’s current struggle.
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When it comes to art, De Iris’ work brings Thompson’s script to life in depth like a cinema. Where Shaman’s works reflect the historical art of many Greek myths, Deiuris’ works reflect the actual myth itself. Every page makes the reader feel as if they are watching the story progression in front of the story. All the threats feel huge, and every action that Diana makes feels important. For me, I feel like de Iris pays homage to stories like the 1981 Titan Clash.
This issue ends with a short story by Kelly Thompson and Dustin Nguyen called “Li’l Diana.” As for the script, the story is cute and short, showing the sweet moments in which the days of Diana and Silse learn magic together and deal with many creatures in hell. This script is on par with many of Nguyen’s “Li’l Gotham” stories, where there is a childlike focus. Absolute Wonder Woman has Diana’s true love for young people. This should show readers that she was a little girl, just like she was a child once.
Absolute Wonder Woman #6 is a gorgeous arc opener, but it has some issues that hinder it. Despite these issues, Thompson, Deiuris, and Nigen pose strong problems through it.
“Absolute Wonder Woman” #6 continues to be the most beautiful book on the stand
Absolute Wonder Woman #6
Absolute Wonder Woman #6 is a gorgeous arc opener, but it has some issues that hinder it. Despite these issues, Thompson, Deiuris, and Nigen pose strong problems through it.
De Iulis’ art and coloring is gorgeous.
Thompson’s voice against Hades is fantastic.
Nyguen’s short stories are adorable and capture the perfect snapshot between Diana and Circe.
It relies on flashbacks to this issue that hinders storytelling.
