Civil War II is upon us, and all of our favorite Marvel books are going to be subsumed by a conflict that pits hero against hero, sister against brother, and Avenger against Avenger. To keep track of the moral quagmire, we at ComicsAlliance will be following events closely to determine which side is right in this ethically grey debate.
This first month sees the playing field established with two prelude issues and today’s big, life-altering Civil War II #1. New characters are introduced, classic characters die, and lines are drawn in the sand as the principal players take their positions and prepare for war.
Earlier this month we shared writer George Mann's commentary for the first issue of the Titan Comics series Dark Souls, based on the hit action role-playing game set in a a primeval world of dragons, witches, and warriors.
With the second issue arriving in stores this week, we've asked series artist Alan Quah to offer his insights on the creative process for the issue, and to share a few of his pencilled pages. So grab your copy of Dark Souls #1 and read along as Alan details his biggest challenges, his preferred storytelling methods, and the rewards of working on such an epic story!
The X-Men. It’s a simple premise. A genetic fluke gifts (or curses) a select few with special abilities. These people are known as “mutants.” Some of those mutants band together as the X-Men, sworn to protect the society that hates and fears them.
We’ve been celebrating Mutant Week all week here at ComicsAlliance, and it’s fair to say that everyone has had a lot of fun. However, now it’s time to get serious and talk about the stuff that really matters, that being: What the heck is Xorn’s deal?!
If you’re unaware, Xorn was a character with a cool design and a cool hook, introduced by Grant Morrison and Leinil Francis Yu in New X-Men Annual way back in 2001. He had a star for a face, he was a healer, and he taught the remedial class at Xavier’s School For Gifted Youngsters. Then, Grant Morrison pulled the rug out from under us with a reveal so drastic that Marvel spent years trying to to undo it in a satisfying way.
Wolverine is, as the saying goes, the best there is at what he does. And what James "Logan" Howlett does best is make Marvel a ton of money. Since his first appearance fighting the Hulk in a comic by Len Wein and Herb Trimpe in 1974, to joining the X-Men, to making Hugh Jackman a box office draw, all the way to his recent death, Wolverine is one of the House of Idea's true superstars.
But the unspoken truth is that very few Wolverine stories are out-and-out great. Sure, there's a ton of great Wolvie moments out there --- "Now it's my turn!," that bit in his Civil War tie-ins where he survives being burned to atoms, "Tell Cyclops I made him a convertible" and so on --- but very few Wolverine-centered comics are classics. One exception to that rule is the original 1982 Wolverine mini-series by Chris Claremont and Frank Miller.
DC Comics kicked off the start of its next new era and its next pseudo reboot with DC Universe: Rebirth #1 by Geoff Johns, Ethan Van Sciver, Gary Frank and Ivan Reis this week. The issue contains a lot of shocking revelations that will have far-reaching consequences for all DC Universe titles in the coming months, but was it a good comic, and does it fill its readers with the hope and optimism that writer Geoff Johns had promised?
ComicsAlliance convened a roundtable of critics Elle Collins, Katie Schenkel, Kieran Shiach, and Andrew Wheeler to break it all down and give their unvarnished opinions of DC's new direction. Spoilers follow.
Since the dawn of the Silver Age, legacy characters have been a staple of superhero fiction, and having a new character step into a well loved roll can open up new opportunities for writers and artists to tell different kinds of stories. In The Replacements, we’ll look back at the notable and not-so-notable heroes and villains to assume some of the most iconic mantles in the superhero genre.
This week, in honor of Mutant Week, we’re looking at the X-Men’s most storied legacy position. That’s right, we’re looking at the women, men, and clones who have at one time or another called themselves Phoenix.
Digital comics app Comixology pulled off a major surprise this week with the launch of Comixology Unlimited, a monthly subscription service that's hoping to be the Netflix of comics, the Spotify of sequential art, the Marvel Unlimited of books not published by Marvel.
The Twitter reaction since the launch suggests the news wasn't just a surprise to readers, but to many of the creators involved too. ComicsAlliance spoke to Comixology CEO David Steinberger about the rollout, what is and isn't available on the service, and what the future might hold for Comixology Unlimited.
But sometimes a comic conquers these obstacles, finds an audience, excels at its craft on every level, has wonderful characters, and in the process showcases how to navigate that sticky quandary of how to write a marginalized character as a villain. The webcomic Cucumber Quest by Gigi D.G. is just such a series. There will be spoilers for the third chapter and third interlude, if you haven’t read them.
Welcome to The Issue, where we look at some of the strangest, most interesting and most distinctive single-issue comic stories ever to grace the medium. To mark the upcoming release of X-Men: Apocalypse, and the upcoming reveal of the top 100 X-Men of all time, we're also celebrating our own "Mutant Week" here at ComicsAlliance.
For the Mutant Week edition of The Issue, we're looking at two issues published nearly 15 years apart, in two completely separate runs with a largely different roster of characters, and a core concept that switched from government-sponsored superteam to mutant detective agency --- but it's the same title, the same writer, and almost exactly the same format. The books are X-Factor Vol 1 #87 and Vol 3 #13, "X-Aminations" and "Re-X-Aminations" --- or as they're more commonly known, those issues of Peter David's X-Factor where the team goes to therapy.
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