The concept of magic in the DC Comics Universe has always been a fickle beast. When it’s used properly as a story element, it acts as a fascinating facet in a world where aliens, parallel dimensions, and street level crimes co-exist. And just to clarify, we’re not talking about wizards or wish-granting entities or Shazam; what we’re talking about is occult ceremonies and, for lack of a better term, witchcraft. For quite some time (specifically during the ’80s and ’90s, the dark magical world of DC had been largely relegated to very niche titles, which often appeared under the Vertigo imprint. Comics featuring characters who still had a foot in the primary DC Universe (e.g. John Constantine, Swamp Thing, Zatanna, and so on) always seemed to march to the beat of their own drum, making their magical elements feel out of place at times. RELATED: Justice League Dark: Wonder Woman Is DC’s New Face of Magic Now this isn’t always a bad thing. The weirdne

Shatterstar is surprisingly complex character when you consider he was birthed from the often tumultuous Rob Liefeld era of X-Men comics. This is by no means an act of disrespect to Mr. Liefeld or Fabian Nicieza, who co-created the character, but it’s criminally easy to disregard a lot of sparring mask-sporting, sword-wielding characters who came out of the extreme decade that was the ’90s. These characters were often laughably goofy and rarely rendered with any sort of nuance or deep development when they first appeared (it took some time to properly turn Cable into the bonkers anti-hero we know today). Shatterstar is the perfect example of a character who needed the march of time to come into his own as a something more than just a one-note hero with an extreme aesthetic. Over the years, the character grew into something of an icon and one of the most popular LGBTQ superheroes in comics. The fact his sexuality was (mostly) handled with compassion and his

During Dan Slott’s decade-long tenure as the primary scribe of Marvel’s Spider-Man comics, he made some bold choices regarding character development; moves that were often quite divisive among fans. One of the more impactful revelations involved the iconic villain Doctor Otto Octavius, whose consciousness inhabited the body of Peter Parker in order to become the Superior Spider-Man. Now, this is not the first time the character has jumped the rails and taken a hard left into Crazyville (remember “The Clone Saga”?), nor will it be the last time Spider-Man will be subjected to such insanity — Spider-Geddon is looming, after all. Despite what on paper sounds like the most ridiculous thing that could happen to ol’ Web-Head, Doc Oc’s Superior Spider-Man earned his own ongoing series and was a hit with fans and critics. No matter how strange the events of the comics become, the norm that has defined Peter Parker for the better part of a century always com

Over the course of its thirty-six-issue run, X-Men Blue saw its fair share of highs and lows, but the one thing that remained consistent is writer Cullen Bunn’s love for the characters. His affinity for the original five X-Men seemed to grow issue by issue, and the way in which he handled the character of Magneto was nothing short of brilliant. In a time where dividing lines have affected society (and comics) so negatively, Bunn (along with a never-ending lineup of talented artists like Jorge Molina, Matteo Buffagani and Marcus To) allowed heroes to fall and villains to rise through moments of self discovery and tribulation. Where X-Men Blue shined the brightest is when characters questioned their positions in life. RELATED: The Original X-Men Tie-Up Loose Ends Prior to Extermination Following the exploits of the original five time-displaced X-Men after Brian Michael Bendis’ run on All-New X-Men must have felt like a thankless task. The addition of te

There is a certain weight the word “Crisis” carries in the world of DC Comics; the weight of decades of comic storytelling and mythology. Fans are inundated with crossovers and event books arguably too frequently, but a “Crisis” title still feels special. The stories told in these books often contain pretty high stakes. Sometimes, they’re huge, world redefining events designed to leave the DC pantheon changed forever by having timelines and realities folded in on one another and massive character deaths. But other “Crisis” stories are more nuanced. They’re personal, and the ramifications they create are more emotional. It appears Heroes in Crisis #1 might blend these two ends of the storytelling spectrum. DC Comics has always been willing to embrace its legacy, no matter how silly some of the exploits of yesteryear may be. There is no hero too ridiculous or villain too gimmicky. The publisher leans into that history even when retconning it or met

Thanos Legacy aims to bridge the gap between the end of the last Thanos run (now commonly referred to as Thanos Wins, also written by Donny Cates, with art by Geoff Shaw) and the events of Infinity Wars, specifically the opening issue, Infinity Wars Prime. It’s a one-shot, so don’t be fooled by the large #1 on the front, or the “to be continued” that closes out the main story, but it’s also much more than a simple continuity tidy up, offering what will undoubtedly be a vital piece of Thanos’…well…legacy, moving forward. At first, the main purpose of Thanos Legacy doesn’t seem all that necessary. There didn’t appear to be much continuity to consolidate between Thanos’ last appearance and his next, and while his appearance in Infinity Wars Prime was a little…abrupt, there’s probably a healthy portion of the audience that knew there was more to the story than what was on the page. Thanos Legacy answers that question rather succinctly, albe

Don’t let the number on the front of the issue fool you: this is a one-shot special that explores the hidden history of Venom-like symbiotes in the Vietnam War, and writer Donny Cates is keen to dive deep into the center of the Venn diagram where monster movies, action movies and war movies meet. As such, Web of Venom: Ve’Nam #1 sits at that core nicely alongside 1987’s Predator, but that’s not the only movie Cates is taking his influences from. Apocalypse Now, Alien, Thing, Platoon — if you like any of those movies (or all of them), then you’ll find something to enjoy in Ve’Nam #1. Even the title is a pun worthy of the cheesiest ‘80s action movies, and that’s not a bad thing. In fact, it’s a pretty great thing, and much like a lot of Cates’ creations at Marvel so far (like Old King Thanos, or a casino in Vegas run by Mephisto), it’s filled with so many good ideas, you wonder how no one has done it sooner. RELATED: Marvel Ties Yet Another

Asgardians of the Galaxy. The name of this comic is perfect for a number of reasons. Firstly, it’s a great pun — it’s so good, in fact, that writer Cullen Bunn freely admits in the back matter to the issue that it was the germ of the whole idea. More than that though, it exactly fits what this comic is — or, perhaps more accurately, Bunn writes a great first issue that lives up to the premise of the concept. And like the B-Sharps in The Simpsons, it’s a name that’s funny at first, but grows more and more appropriate the more time you spend with it. The reason for that is pretty simple: with this cast of characters, Bunn hasn’t just gathered a group of Asgardians to “guard the galaxy.” They’re the misfits, the A-holes, a ragtag team of fringe Asgardians that never quite seem to fit in, a team that’s been brought together by subterfuge and circumstance to become the unlikely heroes that we as the audience see in all of them. Even the frog. As

Neil Gaiman’s seminal Vertigo Comics series, Sandman, was nothing short of a miracle in the graphic storytelling medium. Utilizing a mix of mythology from every corner of the world and classic melodrama, Sandman became a massive inspiration for any aspiring writer the book got its magical hooks into. The series was filled with complex characters, poetic reflections on life, death, and everything in between, and compelling mythos. Now, thirty years after the series originally launched, DC Comics is bringing the world of dreams back into the fold under the banner of The Sandman Universe. The titular one-shot focused on the supporting the characters of the original series reeling with the disappearance of Dream after the events of Dark Nights: Metal. The Dreaming #1 (which is one of four ongoing series in this universe) picks up shortly after the events of The Sandman Universe #1. RELATED: How Doomsday Clock & Dark Nights: Metal Affect The New Sandma

It’s been eight years since the first Scarlet #1. That’s not a cheap dig at the historically irregular release schedule of this series; rather, we it’s to illustrate the fact that a lot has changed in the world between that issue and this one. Sure, there’s the fact that longtime Marvel writer Brian Michael Bendis is now working for the Distinguished Competition, but that’s not all. Scarlet Rue and her band of revolutionaries were mad at a corrupt political system back in 2010 and, well, let’s just say that things have not improved since then. It may even be fair to say that there’s perhaps not been a better time for Scarlet to return. When we last saw Bendis and Alex Maleev’s character, she had drawn her home city of Portland to the brink of destruction. Her boyfriend was killed by a crooked cop, and her path of revolution via revenge aired online for the world to see, leading to mass protests, riots and the murder of not only more corrupt cops,

Over the last few months, we’ve seen the heroes (and villains) of the Marvel Universe on the Hunt for Wolverine, ever since it was revealed that his dead body had up and disappeared from not only the super secret hiding place that the X-Men stored it but the unbreakable Adamantium tomb it was encased in. Now those stories have been told (across four separate four-issue miniseries, all under the Hunt For Wolverine banner), it’s time to piece together all the clues in this, the closing one-shot Hunt For Wolverine: Dead Ends. Despite the seemingly pessimistic title that would imply a fruitless search, there’s actually a lot to be revealed here. As a standalone issue, Dead Ends falters, but this was always meant to be read as the final act of a larger mystery, and as such, the detective gathers the suspects together in one room to go over the case, before blowing it wide open. Okay so that analogy doesn’t exactly work, because the detective, in this case, is

Warren Ellis has a knack for taking a well-worn storytelling trope and putting a fresh spin on it to make it shiny and new. From superhero tales that feature a high concept conceits like Planetary, to cross-country adventures that happen to take darker routes across the country as detailed in his first novel Crooked Little Vein, Ellis refuses to play by anyone’s rules. In Cemetery Beach #1, it seems like he’s at it again, though this inaugural issue doesn’t have bite you’d expect. Cemetery Beach is the story of Michael Blackburn, a government agent (of some sort) who has been sent to an off-world colony filled with the worst of worst to act as a one man reconnaissance. The folks who call it home have been kicked out off Earth for one reason or another (or so we’re led to believe) and have little contact with their home planet. This first issue doesn’t give a whole lot to go on with regards to a larger scope beyond that; there are a few context

Kelly Thompson is having one helluva year. The writer been actively playing in a few different worlds of the Marvel Universe, where she’s continuously produced fun and exciting stories. Through snappy dialogue, fast paced plotting, and collaborating with talented and vibrant artists, it seems there really is nothing she can do wrong. Thompson’s grasp on specific characters shines on each page, where interactions between characters who have been part of the Marvel canon seem natural and illuminate their shared histories instead of trying to rewrite them. One of the best examples of this can be found in the pages of the miniseries Rogue and Gambit, and the subsequent ongoing title, Mr. and Mrs. X. Thompson continues this trend in the debut issue of West Coast Avengers.  Since their debut in 1984, the West Coast Avengers have provided a home for characters most fans wouldn’t exactly consider A-listers. They’re no gaggle of schlubs, of course; heavy-hitt

Batman has always lent himself to horror tropes with relative ease, thanks in large part to a rouges gallery filled with murderers, madmen and literal monsters. Even the Dark Knight himself dresses up in a ghastly outfit to frighten criminals, determined to be the biggest thing that goes bump in the night in whatever alley he prowls. Of course, Batman’s history with horror has had its ups and downs from a narrative standpoint (much like with any genre the Caped Crusader is dropped in), but when some of the more gothic elements of the character are riding high, more often than not, artist Kelly Jones is acting as one of the pillars atop which the Dark Knight sits. Now, Jones is setting up a new nightmare in the pages of Batman: Kings of Fear #1, and boy, is it good to have him here. RELATED PREVIEW: Fear Is in the Forecast in Batman: Kings of Fear #1 For those of us who were teenagers in the ‘90s and were reading Batman comics at the time, Kelly Jones was our

Say what you will about Brian Michael Bendis’ Superman stories so far, but you can’t deny that the man is willing to swing for the fences with all the gusto of a child hopped up Cocoa Puffs playing with action figures on a linoleum kitchen floor. What unfolds is creative, ambitious, and maybe a bit messy, but it’s never dull. And Bendis, aided by the art team of Ivan Reis, Joe Prado and Oclair Albert, continues treating the exploits of The Man of Steel like a game of superhero mad libs in Superman #2. For the sake of avoiding spoiler territory, let’s just say, this issue has a pretty big, “Wait – what just happened?” moment in the middle of the book that we eon’t expound upon here. Let’s just say, this comic is absolutely worth your time, especially if you’ve been a long-time Superman fan looking for some justice for some of the more maligned comments in the character’s history, or if you’ve just been enjoying Bendis’ run so far. Let�

Coming fresh off the heels of a ten year run writing The Amazing Spider-Man, Dan Slott is bringing the original Marvel Comics family back into the fold. For some fans, this is wonderful news. Slott is held in high regard by a lot of comic readers as the man who defined Spider-Man for over a decade. However, others weren’t too impressed with the twists and turns taken during his tenure. It’s paramount to note the division Slott’s work on Spider-Man will probably paint your expectations for Fantastic Four #1 — and your opinion on the book will be galvanized within its first few pages. The reason being is that both properties are steeped in humor and play to sitcom sensibilities when they are at their best; this isn’t to say high-stakes drama and bonkers plot lines can’t play out, but they should feel far less operatic than something like an X-Men or an Avenger book. Unfortunately, Fantastic Four #1 doesn’t stick the landing in regards to recapturing

Let’s clear the air right now: Kelly Thompson is a fantastic writer. She could be writing us to-do lists and parking tickets, and we would still happily read them. But where Thompson gets to show her talents in full force is when she clearly has a deep connection with her subjects. When the characters speak to her, they don’t spew perfunctory exposition just to hasten the plot. No. When the characters are loved by Thompson, they sing. In Mr. and Mrs. X #1, the relationship between two of the most beloved X-Men of all time, is practically a choir. The series’ debut issue sets itself apart from other comics featuring a superhero wedding by focusing on the events surrounding it. It’s a wide decision from a narrative stand point, which most of you would agree if you’ve ever sat through a wedding. The ceremony could be the most beautiful declaration of love between two people, but the drama leading up to that moment and everything that follows is far more

When it comes to tackling horror in mainstream comics, DC has always excelled in presenting dark narratives filled with intrigue, fascinating characters and bone-chilling terror. From Alan Moore’s iconic run on Swamp Thing to Neil Gaiman’s Sandman and the myriad other titles in the Vertigo imprint, the publisher has never hesitated to walk down the darker back alleys of the comic landscape. Even top tier superhero books like Detective Comics have narrowed their scope from time to time in order to focus in on the evil that lives in the hearts of men, and the monsters lurking in a realm bleeding into our own. The culmination of these horror-centric ideals has always been a team of characters who operate outside of the normal (if there is such a thing) spectrum of superhero books. Characters like the occult detective John Constantine, the magician Zatanna, and the elemental monster with the heart of gold, Swamp Thing, are not often considered “first-stringers�

The Fighting Kims are back for a third adventure, but this time it’s in a brand new ongoing adventure. The open-ended comic is something Black Mask isn’t particularly known for, but the break-out success of the two previous Kim & Kim miniseries all but demanded that the publisher give the people what they want. Oh S#!t, It’s Kim & Kim is an accessible jumping on point for new readers of the fearless bounty hunting duo, casting them in a new status quo with new allies, new enemies and new potential love interests who may also get them both killed. Across titles like Quantum Teens Are Go, Vagrant Queen and Eternity Girl, Magdalene Visaggio has proven to be one of the most inventive idea machines in modern comics, but it’s in Kim & Kim where that skill really gets a chance to shine. When you read a Kim & Kim comic, you almost get the sense of the familiar; small touchstones of the pop culture of our own world filter through the galactic adven

Coming in the wake of the New York Times leaking the ending of Batman #50 before the issue hit shelves, and right before the inevitable Comic-Con announcements of books you can’t actually read for six months, Robert Kirkman’s Skybound imprint couldn’t have picked a better time to pull a Beyoncé. Die!Die!Die! was announced one day before it went on sale. It’s a startling move, practically unprecedented in comics – Brian K Vaughan and Marcos Martín did a similar thing with the self-published Private Eye, but as that was a ‘pay-what-you-want’ digital release, it’d be more accurate to describe them as ‘pulling a Radiohead’ rather than a Beyoncé. But what about the actual contents of the comic itself? RELATED: Robert Kirkman Surprise-Launches New Comic Die!Die!Die! On the face of it, Die!Die!Die! is a pretty straightforward offering. If the title doesn’t tell you everything you need to know, then the slogan on the cover should: “Blood-soaked