Few creators in the modern comic book industry command the same level of visceral energy and raw emotional honesty as Daniel Warren Johnson. Known for his kinetic art style and deeply human storytelling in works like Do a Powerbomb and Wonder Woman: Dead Earth, Johnson has a unique ability to blend high-octane action with profound thematic depth. His involvement in any project brings an immediate sense of prestige and excitement, making him one of the most respected voices in the medium today.
In this snippet of our exclusive interview as part of Major Discourse with Comic Book Clique and Dirt Sheet Radio, superstar artist and writer Daniel Warren Johnson opened up about the intense creative friction behind Absolute Batman Annual #1. As one of the top selling single issues in recent DC history, the book has sparked intense conversation across the industry. Here is the untold story of how the issue came to be, in the creator’s own words.
The Financial Reality of the Dark Knight
The journey began with the practical side of the comic book industry. While the Absolute Universe has become a massive success for DC, Daniel Warren Johnson initially hesitated to join the line despite the obvious financial incentives of drawing Batman.
"So this actually goes back to my priorities. You know, when you were talking about, like, money and what's driving me, it's no secret that, like, Batman art sells well. Batman comics sell well.
A lot of times it's financially rewarding, to work on, like, a Batman book. That's no secret. And my art rep knows this.
He's like, “Hey, you should work on Absolute Batman. Make a pretty penny.” That's basically was the vibe. Yeah. Not in a bad way. It's just reality.
And I was like, “Nope, I have no ideas.I don't want to do it”
And Felix said, “Well just think about it. And I was like, okay."
The Search for an Absolute Idea
Despite encouragement from the core creative team of the Absolute line, the spark for the story did not arrive immediately. Even with Nick Dragotta and DC editorial expressing high interest, Johnson waited for a concept that felt necessary rather than just profitable.
"And I'm thinking about it, and…nothing. And he, every once in a while he'd ask me and he'd be like, “Hey, DC, I know DC is interested”.
And Nick Dragotta, the artist on Absolute Batman, was like, "Hey, if you wanted to do something at DC with Absolute, I'm sure we could work something out.” Like, everybody's super excited about the possibility of you doing something.
I was like, "Thanks so much. I have zero ideas."
The Spark of Inspiration and the Ultimatum
The turning point came from a specific, powerful mental image triggered by current events. Once Johnson found the central visual for the story, he approached DC with a clear vision and a "take it or leave it" attitude regarding the political and social undertones of the script.
"I watched, like, the inauguration, and I watched this stuff happening for the second time, and I just got this, image in my head of that double-page spread.
Like, it just popped into my head I was like, that is enough of a powerful image that I could build a story around it. I kind of messaged Nick and I was like, “hey, I think I might have an idea. Maybe.”
And I got on the horn with the head of the Absolute Batman line, the editor, and I was talking to her and I told her my idea over the phone and I told her exactly what it was going to be.
Not word for word, like what you read in the comic, but it was like the vibes were very clear. And I said "This is what I want to do. If you don't want to do it. If DC doesn't want to touch this, no big.”
Like, I totally get it, but I'm not doing anything different. It's either you take the whole pie or you don't take it at all. And to their credit, DC was like, “Yep, we're into it. Let's do it.”"
A Miserable Writing Experience
Even with DC’s approval, the actual production of the Annual was a grueling process. Johnson describes a period of intense self doubt where he considered softening the message of the book by replacing the antagonists with more traditional Batman villains like Mr. Freeze.
"And so it was like, full steam ahead. And it's because I had this idea that I wanted to do it. And it's funny that you mentioned, you know, zombies or, or, know, Man-Bats or whatever, because halfway through writing this thing, I was like, “What am I doing? This is so on the nose.”
Like, "Oh, my God, what have I done?” You know? I'm like, rewriting it. Being like, “Mr. Freeze's Agents...” or whatever.
I was like kind of backpedaling and this book did not want to get written. And I was kind of like, you know, because you're like, kind of putting your flag in the sand and saying like, “Hey”. And, which I don't do a ton of…you know.
I'm a pretty quiet when it comes to, like, world stuff. I'm not really yelling on Twitter or anything like that. It's just kind of my choice.
But, with something like this, I just felt very strongly that I had to do it. And, so it took me six weeks to write the issue, which is insane. Like, usually a, script like that would take me like two weeks. And I just editing and then getting stuck and then looking up like, the dirt sheets and then getting stuck. And it was an absolutely miserable experience."
Pushing Through the Friction
The difficulty extended from the script to the drawing board. Johnson reveals that the entire project felt like it was resisting being created, though he found his footing once he reached the pivotal double page splash that originally inspired the pitch.
"The whole book was actually really tough to draw. It was tough to write. The cover was tough to draw. It just didn't want to get made. But I knew because of that initial idea, because of that spark, I knew that it was worth making.
And when I drew that double page splash, I felt like, I don't know, it was like, right in the middle of the book. And I was like, yep, this is....it's not easy, but this is right. Like, I'm on the right path.
I just felt it in my bones. And, I was actually hoping, like, as things got a little heated up with, like, the Charlie Kirk dude or whatever, I was worried maybe D.C. was going to get cold feet. And I was bracing. But to their credit, they kept it going like we did it."
The Viral Sketch and the Fallout
Before the book even hit shelves, a simple doodle prepared for New York Comic Con set the internet ablaze. What began as a routine sketch for a convention appearance turned into a lightning rod for the intense cultural reactions that would eventually surround the release of the Annual.
"And, you know, and then when I started wrecking people's lives, I just started doing some doodles. And I didn't really think anything of it because I did that, like, ICE drawing. It's a good drawing for sure. But I was just doing it because I was going to New York Comic Con.
I was going to New York Comic Con, and I just doodle for fun in my house, and I bring a stack of little sketches that I just have for sale. That's just what I do at shows now. I don't have time to really take personalized sketches.
I just do what I have, and I bring what I have. And this is just one of the many drawings of Batman I had made. And I wasn't even really thinking about posting it. I didn't think much of it. And then my art rep posted it.
He posted, so I might as well just go all in. Yeah. And I posted it, and it blew up, and I had people threatening me. I had people celebrating me. It was absolutely insane."
Connection Through the Art
Ultimately, Daniel Warren Johnson views the work as a form of communication that transcends social media debates. For him, Absolute Batman Annual #1 is an expression of personal feeling and a way to connect with an audience experiencing similar emotions.
"Art speaks louder than words. I don't really have to say anything, I think it's very clear how I feel. Personally. I don't necessarily believe in violence, but, man, drawing it, it's a way to have this connection with other people that are going through the same thing."
As of this moment, Absolute Batman Annual #1 has reached a major sales milestone, contributing to the broader Absolute line that has sold over 8.2 million units. Specifically, this issue helped propel Absolute Batman to become a dominant force in the 2025 market, with the flagship series moving close to 3 million copies. This would be impossible without the determination and spirit of creators like Daniel Warren Johnson.
Want to hear the full conversation? Watch the complete interview with Daniel Warren Johnson on the Comic Book Clique YouTube channel for more behind the scenes insights into the Absolute Universe!