An element of the supernatural was introduced early in what was otherwise the vigilante crime story of Tomboy, and it’s increased as the series continued. We saw what Addison actually did for the first time in Absence of Good, and the opening chapter of No Absolution lays out exactly what Addison’s caught up in, and what she’s inherited. In one way it changes the entire focus of the series, as what was a crime series with supernatural aspects in this final volume becomes a supernatural horror story. On the other hand, Mia Goodwin has asserted Tomboy as strong character based drama from the start, and that’s never changed, and doesn’t change here. There are people we’ve come to care for, and that piles on the tension as everything draws to a close.

As a series over three books, this is an astonishingly accomplished piece of work from a new creator, and so much continues to impress as plenty of secrets have still to be uncovered in this final outing. The switch of emphasis is a stunning piece of storytelling, yet entirely consistent with everything presented to date, and Goodwin is still surprising until the final pages. Throughout this book it becomes apparent how much thought has been applied from the start, as things that have been foreshadowed come to fruition, including what Addison has been told she has to be. Terrifyingly, there are no exceptions.

Artist Michelle Wong also impresses again, not only with good personality definition, but with some ornate stained glass windows, and some nice symbolism late on. It makes up for her not being very fond of drawing cars.

Tomboy concludes here, but in a manner that certainly leaves a door open should Goodwin want to revisit the themes again in the future. Whatever she tries next should be worth watching. If only she’d come up with a logical reason for what’s just a snappy title.