Absolute Wonder Woman #22 Review – The Last Temptation Of Barbara Minerva

Absolute Wonder Woman #22 (DC Comics, 7/22/26): Writer Kelly Thompson and Artist Dillon Snook bring Circe’s kidnapping at the hands of Scylla to a close, while Barbara comes to a fateful decision. Filled with plenty of mythic lore and true consequences, this is one of the stronger issues in the series. Verdict: A momentum-building issue with weak art.

• Writer: Kelly Thompson
• Artist: Dillon Snook
• Colorist: Jordie Bellaire
• Letterer: Becca Carey
• Cover Artist: Hayden Sherman (cover A)
• Publisher: DC Comics
• Release Date: June 22, 2026
• Comic Rating: Teen
• Cover Price: $XXXX
• Page Count: 28
• Format: Single Issue

Covers:

Analysis of Absolute Wonder Woman #22:

First Impressions:

Okay, this is better. “Better” in the sense that the mythological meanderings of the series land on true, game-changing consequences in Absolute Wonder Woman #22 that amount to more than poetic musings intermixed with fantasy battles. There’s nothing wrong with fantasy action on its own, but the outcomes should always lead to meaningful change, as they do here.

Recap:

In Absolute Wonder Woman #21, readers found out how the previous (and now dead) Cheetah came to be. Barbara Minerva, trapped in a cell with Cheetah’s corpse, received the tale of wo through contact with the Cheetah’s patron god, Urzkartaga. The history lesson served as a sales pitch to Barbara to take up the mantle. Meanwhile, Diana fought her way through the Manticore and assorted mythological baddies in the search for her missing mother, Circe.

Plot Analysis (SPOILERS):

Now, the fateful threads come to a close. Barbara hears the sales pitch to end all sales pitches – an appeal to Barbara’s insecurity and vanity to become more than she can be. Her insecurity is driven by her desire to be Diana’s equal. Her vanity is driven by a lifelong ambition for greatness. Ultimately, Barbara accepts Urzkartaga’s offer to become the god’s avatar. She transforms into the new Cheetah and escapes her cell.

Meanwhile, Diana finds Circe in chains and the captive of Scylla. She unleashes a subtle spell that weakens Circe’s chains and embiggens her sword to confront Scylla. Diana offers Scylla a chance to release Circe, but the monster refuses. And then they fight.

Manitcore later joins the fight on Diana’s side, thanks to a post-hypnotic suggestion in the previous issue. Circe frees herself and joins the battle as well. When Scylla eventually gains the upper hand and prepares to deliver the killing blow, Hecate intervenes and sends Scylla packing. However, Diana fails to show Hecate the proper respect for her help, possibly because Diana knows Hecate was involved in Circe’s kidnapping. The issue ends with a return to the Wild Isles, but with the beginning of a plan that makes Hecate an enemy rather than an ally.

How is the story in Absolute Wonder Woman #22?

Where was this level of forethought from Kelly Thompson several issues ago? The days of one-and-done arcs that accomplish nothing more than semi-cool ideas and atmosphere no longer work, so to see a conflict end with a substantial change in the status quo, even if it’s a bit nebulous, is the right course of action.

Barbara is now Cheetah, with power, a godly patron, and possibly a new course in life. Diana and Circe are now back in the Wild Isle, but their obedience to/reverence for Hecate may be at an end, possibly with Circe caught in the middle of the conflict between god and demi-god. Drama requires conflict, but meaningful drama requires conflict that resolves with change, and Thompson brings the change in this issue.

How is the art in Absolute Wonder Woman #22?

Ahh, why must we always take a little sour with the sweet in this series? Dillon Snook’s squiggly, (intentionally?) sloppy art is fine if you’re reading an indie comic about a little girl picking flowers in a meadow. It’s not a fit for a grand, mythological tale with epic action and deep, emotional drama.

The weak flatness of the art style undercuts the momentous action taking place on the page. You have tall but still human-sized Diana in a pitched battle with gigantic monsters, but Snook’s inconsistent scaling, (intentionally?) amateurish hatch lines, and general imprecision fail to convey how big and tense the fight should be. Yes, it looks big, but it looks big in the sense that a middle schooler draws a large, yellow dump truck next to a smaller stick figure in a remedial art class project.

Characters

Both in terms of page space and emotional impact, Barbara and Diana get equal billing as the lead characters in this character-driven issue. Barbara is tempted by all the right triggers of persuasion and emotional manipulation by Urzkartaga’s offer. Diana gives her all to save her mother, knowing that victory puts her at odds with the godly patron that has served as the center of worship since she was a child. Both are simultaneously victims and champions of gods, which is a frightful place to be.

Originality & Concept Execution

Barbara’s decision was a foregone conclusion since she first appeared in the “what” of her new status quo isn’t that original so much as the “how,” which Thompson pulls off well. However, Diana’s journey is still wholly original, relatively speaking, because there hasn’t been a sense, until now, of where she’s going.

Pros and Cons

What We Loved

• Great “sales pitch” by Urzkartaga
• A new status quo for Barbara
• A potential game-changer for Diana

Room for Improvement

• Snook’s art is super-weak
• Barbara’s escape was too easy
• Jordie Bellaire’s coloring is bland

Art Samples:

The Scorecard:

Writing Quality (Clarity & Pacing): 3.5/4
Art Quality (Execution & Synergy): 1.5/4
Value (Originality & Entertainment): 1.5/2

Final Thoughts:

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Absolute Wonder Woman #22 resolves the last temptation of Barbara Minerva and concludes Diana’s rescue of Circe. This issue is one of Kelly Thompson’s strongest scripts, but the glory of what could be was severely undercut by inexcusably weak art.

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