Comic Book Herald

A Comic Book Reading Order Guide For Beginners & Fans

Doug Smith

Iron Man by Denny O’Neil: Self-Destruction and Rebirth

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WARNING: References to addiction. If you are struggling with addiction, call the SAMHSA (Substance Abuse and Mental Health Services Administration) National Hotline at 1-800-662-HELP.

For generations, superheroes have been held up as an inspirational ideal, symbols of our own ability to transcend our limitations and realize our fullest potential. But for every moment of hope, there is one of doubt; a personal crisis that tears our self-image away and leaves us to face our own inner darkness. For many, this struggle is unending. It may break us. But it also gives us the opportunity to rise up, stronger than ever before.

In 1980, legendary writer Dennis “Denny” O’Neil returned to Marvel comics after a decade of revitalizing characters like Batman and Green Arrow for DC. The author would take on a number of assignments while at Marvel, including work on the Amazing Spider-Man and picking up Frank Miller’s Daredevil, but one of his most impactful works for the company would be his four-year stint on The Invincible Iron Man alongside artist Luke McDonnell. Drawing from his experiences with addiction and recovery, O’Neil’s run would fundamentally transform the armored avenger, having the hero wage his greatest battle yet, and turn his inner resilience into his greatest strength.

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ACTION COMICS by Grant Morrison | A New Future For The Man of Tomorrow

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For over 80 years and a thousand issues, Superman has held a titanic legacy in fiction, using his incredible powers to fight a never-ending battle for truth and justice. He’s been a champion of the oppressed, a reporter, an alien, an immigrant; countless forms that have coalesced over the years into an image that’s practically synonymous with the American myth itself. But what happens when someone takes this icon and its countless forms, and breaks it down to its base elements? And how do those base elements change when they collide with other conflicting plans?

In 2011, DC Comics announced The New 52, a publisher-wide initiative that reset its ongoing continuity and relaunched every title set in the fictional DC Universe. Spearheaded by then-Chief-Creative-Officer Geoff Johns and Co-Publishers Jim Lee and Dan DiDio, the initiative was meant to both streamline the company’s superhero line for new readers and give a roster of all-star creatives the opportunity to reshape and modernize the characters as they saw fit. It was here that superstar writer Grant Morrison–fresh off a 7-year run on Batman–and artist Rags Morales would collaborate to bring this new version of Superman to life, crafting a story that celebrates the character’s place in fiction while introducing a more modern, conflicted take on the hero. While the run was widely regarded as a misfire, characterized by the many production and creative struggles that would define the rest of The New 52, it’s also a coda to all of Morrison’s thoughts on Superman, pulling from every iteration of the character to forge an all-new future for the Man of Tomorrow.

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Inferno: The X-Men’s Empire, Destroyed

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That’s the real war, isn’t it? Ensuring you’re on the winning side?

After decades of struggle, the Mutant race has achieved utopia, and built an empire that spans the galaxy. Together, they have transcended scarcity, disease, and death itself. But what is the true cost of this paradise? And what becomes of it when the many secrets, compromises, and hidden agendas that built it are finally brought into the light?

Brought to life by Valerio Schiti, Stefano Caselli, David Curiel, RB Silva, and Tom Muller, 2022’s Inferno is so much more than a crossover. It’s the ending to a saga that writer Jonathan Hickman began in the pages of House of X and Powers of X, transforming the X-Men, their world, and the Mutant metaphor behind it all. While the “Krakoan era” would encompass every title and creative team on the x-line of comics it would all be in service of Hickman’s vision for the title, uniting Mutants, both good and evil, in a desperate mission to stave off extinction and build a sanctuary for the species.

“I think what happened after Grant and Frank did their thing is that you got that version of the X-Men and then there’s been this nostalgic version of the X-Men…Playing the old hits kind of stuff,” muses the writer. “And those two things have been fighting with each other, probably since that run. You don’t want to do archaeology or nostalgia tropes. My job is to do new stuff with it, and launch us into a newer age of X-Men.”

As each new corner of this sanctuary is explored, Hickman and his collaborators craft a larger picture across the line, putting the nation of Krakoa on a path that would end in its ultimate reckoning. While a number of factors influenced the event’s production, including top-down editorial decisions from Marvel Comics and input from the other creatives on the line, Inferno is the definitive end of Hickman’s vision for the X-Men, as countless threats spark back into being, threatening to burn down everything the Mutants have built. After years of storytelling, Inferno delivers what would become Hickman’s legacy for X-Men: one last trial by fire for the Mutant race.

*SPOILERS AHEAD*

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Batman: The Court of Owls – The Dark Heart of Gotham

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Since coming to life in the pages of Batman, a question has hung in the air over the dark knight’s home: What is Gotham City? For some, like Bruce Wayne, Gotham is a city of light; one that tests its people and shapes them into something just and enduring. But there is also a darkness living in the city’s streets and skyscrapers; a malignant, hungry presence that defines Gotham as much as the dark knight himself.

It’s this ancient and powerful evil that writer Scott Snyder and artist Greg Capullo would explore in their now-legendary story The Court of Owls, sending Bruce Wayne on a chilling journey into the blackened heart of Gotham City. Built on a masterful plot, breathtaking gothic visuals, and a terrifying new villain, Court of Owls is a story that cemented an entirely new era for the dark knight, as his mission to save his city gives way to a reality darker and more mysterious than he could ever imagine.

*SPOILERS FOR THE RUN TO FOLLOW*
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FF by Jonathan Hickman | Grief, Hope, and the Quest for a Better Tomorrow

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Since their arrival in 1961, the Fantastic Four have stood as timeless icons of relatability and imagination, with their dysfunctional-yet-loving dynamic as Marvel Comics’ “first family” taking them across the stars and into the frontiers of the unknown. But when tragedy strikes, and that timeless bond is broken, the surviving members of the family will see their team and their mission evolve into something else entirely. Welcome to tomorrow. Welcome to the Future Foundation.

To many, writer Jonathan Hickman’s tenure on Fantastic Four is one of the title’s most definitive runs, weaving together years of separate stories and firmly re-establishing the team as the beating heart of the Marvel Universe. Hickman would introduce countless iconic stories over his run, but the writer’s greatest mark on the title would come through a 2011 relaunch, with the series re-emerging under the new title “FF.” Following the team as they rebuild in the wake of an immense loss, the story acts as the throughline for Hickman’s vision of the Fantastic Four, digging deep into its characters and resting cosmic, existential adventures atop a more grounded tale of grief and hope. But while the story acts as a re-invention of its characters and themes, it’s also a celebration of Marvel’s First Family, and how even in the face of tragedy, hope and adventure can spring eternal. [Read more…] about FF by Jonathan Hickman | Grief, Hope, and the Quest for a Better Tomorrow