Someone is unhappy that the team decided to rob a train, but briefs them on their next mission—Operation Decisive Strike!

Plus, everyone levels up!

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VAMPYRATES! #1

Writer: Fred Van Lente
Artist: Luca Pizzari
Colorist: Adam Guzowski
Letterer: Jodie Troutman
Editor: Sebastian Girner
Publisher: BOOM! Studios
Cover Price: $4.99
Release Date: July 8^th, 2026

Previously in Vampyrates!, the world is under the effects of a thousand-year eclipse and most of it is under the control of The Vampirium led by Empress Nira. After successfully repelling a rebellion, Nira finally agrees to take on a husband for the sake of maintaining a new peace treaty with the rebellion.

Honeymoon’s Over

Vampyrates! #1 starts off with a prologue, which sees the ship, The Abyss, and her crew being harassed by an official ship of The Vampirium. While The Abyss was an official privateer for The Vampirium, due to the peace treaty, their actions are now illegal, turning them into pirates. In the present day, Empress Nira is preparing for her wedding by laying down the law on her soon-to-be husband and explaining that it’s strictly business between them. She then thinks about the night before, when she was sleeping with a human who tried to get her to run away with her. As the wedding begins, Nira’s cousin suddenly attacks, with the aim of taking over the Vampirium herself. Wounded and with nowhere else to go, Nira makes her way to the sea and the awaiting ships in the harbor.

Make All Sail

Vampyrates! #1 introduces its readers to a new world with all the inner workings that go with it. What’s nice is that it doesn’t spend a lot of time on these details but rather gives you exactly what you need to understand the current situation, then moves on. It’s not that there isn’t depth to the world, as we see many hints at greater lore and history, but it’s a pirate story first and foremost and seems far more concerned with that than world-building, which is a smart approach. The dialog is snappy, and nothing feels awkward. Granted, it does drift into some over-the-top melodrama, especially when dealing with some of the royal politics, but that’s par for the course with that kind of stuff. The characters are fun in a typical rapscallion way with the main character taking on all the right traits of the classic “rebellious princess” archetype. I was somewhat surprised by how little most of the characters being vampires plays into the plot. I imagine this will play a bigger role down the road, but here it’s mostly set dressing. Really, my only complaint with this issue is that the opening prologue telegraphs how the issue is going to end. I get that it’s supposed to give the issue a full-circle effect, but in reality, it made the last couple of pages come across as unnecessary.

A Whole Lot Going On

The art in Vampyrates! #1 is a mixed bag for me. I like the use of geometric shapes as ways to define forms and add depth to characters; it gives it a stained-glass look that I think is pretty striking. But this approach, mixed with a sketchy line, gives some of the pages a blurry look that doesn’t fully work. Also, there are a few moments when the action picks up, and some detail gets lost in the mix, and it’s not completely clear what is happening. In terms of like or dislike, I certainly lean towards the former, but the problems I have with the art are bigger than just annoyances or nitpicks.

Bottom Line: Good Times on the High Seas

Vampyres! #1 is a solid introduction into a new world that is efficient with how it builds its universe, opting for character-driven revelations over large lore dumps. The action is fun and campy in a way that blends pirate adventure with royal scheming. It has a distinct visual style that I appreciate its audaciousness, but a few problems with clarity hurt the visuals in a way that the style can’t overcome. 4 out of 5 stars.

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The San Diego Comic-Con is just around the corner, which means we have entered that strange part of the publicity cycle where publishers announce the panels where they will announce the announcements.

Yes, dear reader.

The hype engine has achieved self-awareness.

DC and Marvel have both revealed impressive schedules, but most of the projects being promoted are things we already knew were coming thanks to solicitations, teasers, and the general inability of the comic book industry to keep anything quiet for more than a few weeks.

There will undoubtedly be surprises.

For now, however, the news is mostly that more news will arrive when Comic-Con begins.

DC appears determined to put the “comics” back in Comic-Con this year. The publisher is bringing panels devoted to Gotham City, the Next Level initiative, Superman, and the Absolute Universe. Expect to see some new names attached to several series, along with enough teases to keep the speculation machine fed through the weekend.

There should be plenty to discuss once those panels take place, especially regarding the Absolute Universe. That line has become one of DC’s biggest success stories, and the company is clearly treating it as an important part of its future. What we won’t know until showtime is which new faces and characters will appear in that universe.

Absolute Batman will be everywhere this year.

Marvel has answered with an even larger schedule covering comics, games, animation, and the return of Marvel Studios to Hall H.

On the comics side, Marvel will hold panels for Avengers: Armageddon, the Midnight Universe, and the always mysterious “Next Big Thing.” The company is promising updates on Amazing Spider-Man #1000, Infernal Hulk, DNX, Queen in Black, and other projects. There will also be an X-Men ’97 Season Two presentation and a Saturday evening Hall H panel offering a look at what is coming next from Marvel Studios.

Once again, most of those things are not new.

We already knew about Avengers: Armageddon. We already knew Marvel was building the Midnight Universe. We already knew another season of X-Men ’97 was coming.

Marvel keeps teasing us with more Amazing Spider-Man #1000 variant covers, so it wouldn’t surprise me if, by the end of the weekend, the big announcement is that the publisher plans to release 1,000 variants into the world.

Because if you are going to celebrate #1000, why not make the long boxes suffer?

With some of the backlash Marvel has been getting lately, let’s hope the fans remain civil.

Which, in 2026, is apparently a big ask.

Over at Skybound, Robert Kirkman will discuss Invincible, Battle Beast, Void Rivals, Transformers, and his upcoming series Terminal. Another panel will preview the next phase of the Energon Universe, including G.I. Joe, Transformers, Void Rivals, and M.A.S.K.

Kirkman has become very good at keeping secrets until they are ready.

That includes the surprise appearance of Lara Croft in G.I. Joe: A Real American Hero #330 this week, which teased an upcoming G.I. Joe/Tomb Raider crossover in October. But keep in mind, this is Larry Hama’s G.I. Joe, so don’t expect Lara Croft to become part of the Energon Universe anytime soon.

At least, that is probably what the licensing spreadsheet is hoping.

IDW is teasing major Teenage Mutant Ninja Turtles news as the series approaches issue #300, but it is also holding back the details until the convention.

Oni Press has shown a little more of its hand. The publisher announced Touch Me Someplace Nowhere, Tradd Moore’s first wholly creator-owned solo series as both writer and artist. The book is scheduled for 2027, and Moore will receive a career retrospective panel at Comic-Con.

That is at least an actual publishing announcement rather than a promise that an announcement is coming.

As far as I can tell, no major publisher has decided to reveal its entire slate in advance and use Comic-Con primarily as an opportunity for creators to answer questions from readers. BOOM! Studios used to release most of their press releases weeks ahead of the panels, so we knew what to expect before anyone stepped into the room.

This time around?

Everyone is still saving something for the convention.

That makes sense. People sitting in those rooms should get more than a panel full of creators repeating information everyone read online two weeks earlier.

Meanwhile, the publishers have been much less secretive about the things they would like people to buy.

There will be foil covers, blind bags, ashcans, exclusive editions, collectible bundles, glow-in-the-dark covers, metal covers, action figures, Funko Pops, and probably several other objects that become “rare” the moment someone places them behind a convention booth.

Many of these exclusives will no doubt appear on eBay and the secondary market before the convention is over.

Possibly before the first panel has finished.

For now, we know where the publishers will be, which projects they plan to discuss, and what they hope to sell us while we wait.

The actual news is still coming.

At least, that is what the announcements tell us.

Cheers,
Stephen Schleicher

This week, we’re kicking back on the couch and counting down our top five favorite sitcoms of all time. From comfort-watch classics to sharp, endlessly quotable ensemble comedies, we dig into the shows that made us laugh the hardest, gave us characters we still think about, and somehow became part of our lives. Expect passionate picks and plenty of nostalgia as we celebrate the sitcoms that keep us coming back episode after episode.

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At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep MajorSpoilers.com strong. Become a Patron (and our superhero) today.

DOCTOR WHO: CIRCUIT BREAKER #1

Writers: Dulce M. Montoya & Dan Watters
Artist: Robert Ingranata
Lettering: Richard Starkings & Comicraft’s Tyler Smith
Colors: Valentina Bianconni
Editor: Jonathan H. Wilkins
Publisher: Titan Comics
Cover Price: $4.99
Release Date: July 8, 2026

Previously in Doctor Who: Circuit Breaker, once employed by the Time Lords themselves as an enforcer, The Doctor is now her own person. She is not, however, yet the Doctor of legend, traveling the universe, righting wrongs, and confronting evil head-on. This Doctor is a fugitive, unpredictable, refusing to play by any rules... with a questionable moral code.

Will she answer the call when asked to save the world?

“What The Heck Is A Dalek?”

Deep within the secret Black Archive of UNIT (the Unified Intelligence Taskforce), chief scientist Osgood has a quandary. Her collection is expanding without warning or explanation as strange artifacts appear, threatening to damage the fabric of space-time. As is often the case, Osgood and UNIT have called upon The Doctor as their technical advisor, but since so many of the artifacts seem to be related to The Doctor’s previous adventures, they have hedged their bets and called in The Fugitive Doctor, believed to be the earliest known incarnation of the Time Lord. So young is she, in fact, that she hasn’t quite found her place in the world. This Doctor is testy, impatient, angry, brash, and very much tired of her own reputation. She leaves the Black Archive in a bit of a snit, carrying the latest time-tossed piece, a strange cylinder with a cage at one end. A device that Osgood warns her is probably among the most dangerous: A Dalek blaster.

Her response is chilling: “What the heck is a Dalek?”

Interesting... And A Bit Overwhelming

I’m not gonna lie to you, Faithful Spoilerite; this overarching story, which started last week at the BBC website, then goes here, then encompasses three more comics, an issue of Doctor Who Magazine, two video games, a book, a DVD release, and two audio plays, is a bit daunting. However, taken upon its own merits, as a one-shot, this is an enjoyable comic.

The best Doctor Who adventures, in my mind, have a flair of improvisation to them, a feeling that the hero is just kind of making it up as they go along. This one is no exception, as The Doctor ends up in ancient Greece, unmasking a family of aliens pretending to be gods and facing ONE single Dalek... with tragic consequences.

My primary artistic complaint with the issue is one of consistency, as The Doctor’s cool hat seems to change shape from panel to panel, and her weight is inconsistent. (As one of the only heavy actors to play the character, I feel like Jo Martin deserves a consistent body size. Mileage, as always, may vary.) There’s a certain looseness to the facial expressions that I find attractive, though, and Osgood especially has some great reaction shots. Imperious, short-tempered, and bossy, The Fugitive Doctor reminds me of her impatient First and bombastic Sixth incarnations throughout the issue, and it works. There’s also an impressive callback to the Ninth Doctor’s rage-filled encounter from Dalek, probably the most resonant moment in the issue.

Bottom Line: They Have My Attention

After reading this issue, I have a long and a short response to it: In the short term, Doctor Who: Circuit Breaker #1 is a solid one-shot, featuring a less-seen aspect of The Doctor in an adventure that allows for first-time moments that are rare in a sixty-year-old franchise, earning 3.5 out of 5 stars overall. The longer response is worrying about how much of the story I’ve already missed and how successful I will be in keeping up with the multimedia approach of the Fugitive Doctor’s big solo show. Then again, given that the show is currently indefinitely in limbo, more Who is never going to be a bad thing.

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This week brings the Absolute origin of Harley Quinn, a Clayface series timed perfectly with his upcoming movie, a new Rocketeer adventure, and Ben 10 proving—once again—that relevance is a funny thing.

Sometimes it takes twenty years and an alien wristwatch.

IF YOU ONLY READ ONE COMIC THIS WEEK

ABSOLUTE BATMAN #22

Writer: Scott Snyder
Artist: Werther Dell’Edera
Publisher: DC Comics
Cover Price: $4.99

Here you go—the moment many readers have been waiting for:

The Absolute origin of Harley Quinn.

It is interesting that DC has tried several times over the years to introduce Harley-adjacent characters or possible replacements, and yet most of them eventually fall by the wayside. Harley remains Harley. The system keeps trying to build the next one, and the original keeps standing there with a mallet and a grin.

Also, Batman faces “ultimate” defeat.

Because of course he does.

ON THE BUY PILE

CLAYFACE: CELEBRITY DIRT #1 (DC Comics)

There’s a Clayface body-horror movie coming our way in October, so if you want to get ahead of the rush for everything Basil Karlo, this week’s #1 is a good place to start.

This issue feels like part of the pre-movie runway, as we learn more about Basil Karlo and his attempted Hollywood comeback.

Because if there is one thing Gotham villains understand, it’s reinvention.

ROCKETEER: INFILTRATOR (IDW Publishing)

Time for a new Rocketeer adventure.

Instead of fighting giant apes on an island, Cliff Secord now has to deal with the world believing Betty is a Nazi collaborator.

SAY IT ISN’T SO!

It isn’t so.

But that is what the world believes, which means it is time for Cliff—aka the Rocketeer—to get involved.

Man, I hope there is a lot of Nazi punching in this series.

BEN 10 #3 (Dynamite Entertainment)

As the reboot continues, Ben checks out his new transformations and deals with the horrific Kraab. Plus, someone finds out his secret identity.

As far as reboots go, I’m down with this one. Man of Action’s Joe Casey, one of the co-creators of the animated series, is at the helm, which gives the whole thing a little extra credibility.

The big question is:

Is Ben 10 still relevant today?

BEN 10 BY THE NUMBERS

This week sees the release of issue #3 of the new Ben 10 series at Dynamite Entertainment. The first issue sold a reported 112,000 copies, with issue #2 reportedly doing even better.

So in answer to the question:

Yes.

Ben 10 is still relevant today.

20+ years — since Ben 10 first became a Cartoon Network phenomenon.

10 — the number baked into the whole concept: Ben Tennyson, a 10-year-old kid, with a wristwatch that originally let him turn into 10 different aliens.

393 episodes — the reported total across the franchise’s five concluded TV series.

5 TV series — the original Ben 10, Alien Force, Ultimate Alien, Omniverse, and the 2016 reboot.

5 films — three animated movies and two live-action movies.

3 Emmy Awards — across the franchise’s animation and sound categories.

$4.5 billion — global retail sales generated by the franchise as of Cartoon Network’s 2015 reboot announcement.

100 million+ — Ben 10 toy units reportedly sold by Bandai before Cartoon Network moved the reboot-era master toy license to Playmates.

2 master toy eras — Bandai handled the original boom years, while Playmates took over the reboot line, including new Omnitrix role-play toys, action figures, vehicles, and Rustbucket playsets.

3.9 million viewers — Cartoon Network’s live-action Ben 10: Race Against Time drew a network-record audience in 2007.

4.49 million copies — Ben 10: Protector of Earth had sold across multiple platforms as of June 16, 2016, making it Guinness World Records’ listed best-selling Ben 10 video game.

April 24, 2026 — the date Ben 10 officially arrived in Fortnite.

2 outfits, 2 back blings, 2 pickaxes, 2 emotes, 1 pair of kicks, and 1 wrap — the Fortnite Ben 10 collaboration loadout.

Apparently, even the Omnitrix has to respect the item shop.

Ben 10 continues to be hot.

Now we just need a new animated series with kids screaming for their own Omnitrix.

Cheers,
Stephen Schleicher

STAR-CROSSED #1

Story: Mark Millar
Artist: Corrado Mastantuono
Lettering: Corrado Mastantuono & Nico Mastantuono
Colors: Clem Robins
Editor: Daniel Chabon
Publisher: Dark Horse Comics
Cover Price: $4.99
Release Date: July 8, 2026

Previously in Star-Crossed, Thena Khole and Cody Blue have been living the high life since they robbed the richest woman in the universe, but they put a price on their heads in the process. Now, the galaxy’s greatest bounty hunter is after them for the biggest payday of his career.

Is It Still Called The Millar-Verse?

We open in space (and somehow also in the year 1995), in the court of her Royal Highness, the Queen of Enough, as she dresses down her foolish daughter. Thanks to the princess’s lack of perspicacity, two thieves were able to steal a considerable amount of money from them. It won’t make a dent in their obscene wealth, mind you, but the Queen must think about how it will look. As she devises a truly gruesome (unnecessarily so, in my mind) punishment, we cut to the thieves in question, as Cody sits stunned, having received some sort of shocking medical news. Before we find out what it is, Thena arrives to take her to a space party, where they are castigated by the proverbial Mean Girls for their out-of-date ‘80s fashions. It’s all very Less Than Zero until the other guests start passing out, and the waiters break out their gas masks to fire on our heroes!

Elsewhere in the galaxy, Sharkey, the bounty hunter, sets his sights on capturing Thena and Cody.

A Matter Of Reputation

The most interesting part of this book comes at the beginning, where we see the royals in their element, and Millar really cuts loose with the viciousness. The Queen actually says, verbatim, that they didn’t earn any of their money, but it’s now their job to pass it on to the next royal court. It’s... not subtle. The question of “reputation” raised by the interaction is one that I had to think about applying to the story. Millar is a real hit-or-miss writer for me, with “miss” slightly in the lead, so I had to try to separate that reputation from the story being told. Every page is lovely and well-drawn, reminding me of the 2000 AD stories of my youth, but barely a panel goes by without something that makes me sigh or roll my eyes.

Our main characters seem interesting, but other than their predilection to party with their ill-gotten gains, we don’t get much past the surface. The method by which Thena escapes their captors is very ham-fistedly set up, and the Queen ordering her daughter to cut a steak from her own flesh, with the promise that it will continue daily until the thieves are in custody, is, frankly, disgusting. On the other hand, I love the art throughout, and the coloring is a perfect complement, balancing reality with late-twentieth-century hypercolor fashions, making for a good-looking comic book.

Bottom Line: Not A Lick Of Subtlety

It’s not the first time I’ve said it, nor do I expect it to be the last, but Star-Crossed #1 is clearly a pitch for a television series or movie, storyboarded beautifully, colored well, but I finished the issue thinking, “Boy that will make an interesting Netflix series someday” which, combined with pacing problems and an absolute lack of subtlety, rolls up to 2.5 out of 5 stars overall. Don’t get me wrong, there’s a lot to like here, especially with regards to Mastantuono’s visuals, and fans of Millar’s work will find all the “Millar things” that they love, but there’s a sort of hollowness to it all that makes it feel like I won’t get the whole story unless somebody options the rights... and that is a real bummer.

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REVIEWS

ROCKETEER: INFILTRATOR #1

Writer: Gabriel Hardman
Artist: Dean Kotz
Publisher: IDW Publishing
Cover Price: $4.99
Release Date: July 08, 2026

It’s the height of World War II, and Betty is a Nazi collaborator! Or so we’re led to believe. As Allied planes mysteriously explode in midair across Europe, rumors of a Nazi superweapon compel the U.S. to send its fastest asset undercover: the Rocketeer! With Betty posing as a defecting American actress in a German motion picture, Cliff Secord, a.k.a. the Rocketeer, accompanies as her brother and manager. And since neither has experience in deep-cover work, the Allies send a handler to support them—a debonair MI6 agent who assumes the role of Betty’s co-star.

The Rocketeer will need to maintain his cover, destroy a superweapon no Allied agent has actually seen, and keep Betty away from the handsome British secret agent with a penchant for beautiful women. It’s a lot for a reckless stunt pilot to handle!

MIDNIGHT ISLAND #1

Writer: Lylian
Artist: Nicolas Grebil
Publisher: Papercutz
Cover Price: $9.99 (digital $5.99, Hardcover $14.99)
Release Date: July 28, 2026

Mysteries unfold in this adventurous series set on an enigmatic island full of secrets and wonders—it’s Lost for a younger generation. Four children wake up on a deserted island. After taking refuge in an abandoned boarding school, they find an automaton who, every night at midnight, gives them a mission. If they fail or refuse to take up the challenge, the consequences could be terrible. From mission to mission, the children explore their surroundings, encounter other participants, and try to discover the reasons behind their presence on this island…

TRADE DISCUSSION

CATWOMAN: LONELY CITY

Writer: Cliff Chiang
Artist: Cliff Chiang
Publisher: DC Comics
Cover Price: $29.99

Ten years ago, the massacre known as Fools’ Night claimed the lives of Batman, the Joker, Nightwing, and Commissioner Gordon…and sent Selina Kyle, the Catwoman, to prison.

A decade later, Gotham has grown up—it’s put away costumed heroism and villainy as childish things. The new Gotham is cleaner, safer…and a lot less free, under the watchful eye of Mayor Harvey Dent and his Batcops. It’s into this new city that Selina Kyle returns, a changed woman…with her mind on that one last big score: the secrets hidden inside the Batcave! She doesn’t need the money—she just needs to know…who is “Orpheus”?

Looking for more?

This week’s pre-show IS FREE as part of our anniversary celebration, so if you want to hear the full conversation about Supergirl, movie theaters, and more, head over to Patreon.com/MajorSpoilers.

Join the conversation

We’d love to hear your thoughts on any of this week’s topics.

At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today.

Over this past weekend, two birthdays quietly arrived.

The United States turned 250 years old.

Major Spoilers turned 20.

One of those is admittedly the bigger accomplishment.

Twenty years is a long time.

When Major Spoilers launched, podcasts were still something you had to explain to people. Twitter didn’t exist. The iPhone hadn’t been announced. The Marvel Cinematic Universe was still two years away, and Diamond Comic Distributors seemed permanent.

Looking back, it’s remarkable how many things we assumed would last forever… didn’t.

It’s equally remarkable how many things nobody saw coming.

Major Spoilers has seen personal highs and heartbreaking lows. We’ve watched comic book empires rise, stumble, reinvent themselves, and sometimes disappear altogether. We’ve also been fortunate to work alongside incredibly talented people who went on to write for stage, screen, television, books, comics, music, and launch successful podcasts and businesses of their own.

Over the last twenty years…

• The Marvel Cinematic Universe went from a gamble to the biggest movie franchise in history.

• We watched movie studios flood San Diego Comic-Con before slowly stepping back.

• The Dark Knight changed how Hollywood viewed superhero films.

• Cosplay transformed from a handful of dedicated fans into an art form practiced by thousands of astonishingly talented creators.

• I had a son who was born a year after Major Spoilers launched, watched him grow up, graduate high school, and head off to college. My younger son is now a sophomore in high school. Young Zach from Zach on Film somehow became Old Man Zach with a career and three kids of his own.

• We’ve launched at least eight podcasts—maybe more; I’ve honestly lost count—and had the privilege of working with some wonderfully creative people along the way.

• We survived multiple hosting migrations—even if those Critical Hit images are still missing.

• We said goodbye to legendary writers, artists, editors, and creators whose work shaped generations of readers.

• Warner Bros. changed ownership not once, but twice, with another sale already being discussed.

• Disney acquired Pixar, Marvel, Lucasfilm, 20th Century Fox, Hulu, and enough intellectual property to make even Galactus feel inadequate.

• We watched Star Wars return to theaters, The Clone Wars turn galactic politics into compelling television, and streaming reshape how franchises tell stories.

• The Arrowverse came and went.

• The New 52 rose… and collapsed. DC Rebirth followed. Jonathan Hickman reinvented Marvel. The Ultimate Universe died, returned, and promptly found new ways to die again.

• Diamond Comic Distributors went from “the only game in town” to bankruptcy.

• We outlived countless comic book websites that were much bigger than we were.

• Crowdfunding became a legitimate publishing model. Webcomics became talent pipelines. Compact editions quietly became one of the smartest ideas in comics.

• Four different actors wore Superman’s cape. (Brandon Routh, Henry Cavill, David Corenswet, and Tyler Hoechlin)

• Ryan Reynolds turned Deadpool into proof that R-rated superhero movies could work—and then bought a soccer club.

• Black Panther became the first superhero movie nominated for Best Picture.

• Spider-Man: Into the Spider-Verse reminded us that animation could redefine an entire genre.

• Manga became one of the driving forces behind comic sales worldwide.

• AI went from science fiction to something people argue about every day.

• COVID brought the entertainment industry to a standstill. Those were dark days, but they also forced us to rethink how we connected with all of you.

• And yes… Pokémon GO somehow convinced millions of people to go outside.

The list could go on.

Twenty years gives you a lot to look back on.

Twenty years ago, I couldn’t have told you what Major Spoilers would become.

I certainly couldn’t have predicted who would come through our doors, who would become lifelong friends, or how many people around the world would decide to spend part of their week listening to us talk about comics, movies, games, and all the wonderfully strange corners of pop culture.

Some of you have been here since 2006.

Others found us last week.

Either way, you’ve helped turn what started as a little website into something that has become a huge part of my life—and, hopefully, a small part of yours.

Twenty years is long enough to watch kids grow up.

Long enough to watch industries reinvent themselves.

Long enough to lose friends, make new ones, and discover that communities aren’t built overnight.

They’re built one conversation at a time.

If Major Spoilers has been part of your journey—even for a little while—thank you for letting us be part of it.

Here’s to whatever the next twenty years look like.

I have a feeling they’re going to be interesting.

Cheers,
Stephen Schleicher

At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. Help us keep Major Spoilers going for the next 20 years. Become a Patron (and our superhero) today.

WHAT’S HAPPENING?

In what appears to be a response to DC’s “Absolute” Universe, Marvel has changed course regarding the release of their three initial “Midnight” comics—Midnight X-Men #1 from Jonathan Hickman and Matteo Della Fonte, Midnight Fantastic Four #1 by Benjamin Percy and Kev Walker, and Midnight Spider-Man #1 from Phillip Kennedy Johnson and ScieTronc on Wednesday, October 7. In fact, those three books will be the ONLY ones released by Marvel that day!

In a news release from the House of Ideas, here’s how it is being described:

“The light had its turn. Dark. Unpredictable. Unmissable. The ‘Midnight Universe’ draws in longtime fans and newcomers alike to enter a terrifying new world where anything can happen. Interconnected by rich lore, Marvel’s most acclaimed modern creators are given free rein to reimagine heroes with shocking twists and chilling transformations in boundary-less storytelling that will keep readers on edge issue after issue. The X-Men no longer fight for acceptance, they hunger for blood. The Fantastic Four venture into the unknown not to save the world—but to unleash terror upon it. And Spider-Man discovers that with great power… comes something monstrous. Midnight Spider-Man.”

Initially, these books were going to be released separately on different days along with regular Marvel titles. But Dan Buckley, the Midnight Universe Executive Editor, said, “The more we talked about ‘Midnight,’ the more we realized it was far more than just the birth of another new universe—it was on an entirely different scale creatively, a doorway to something that was not only immediately exciting, but had immense long-term promise.”

After seeing the scripts from other Midnight creators, Hickman said, “I haven’t been this excited about a book in a very long time. There are certain kinds of projects that I, and I think most fans, prefer for me to be working on: Ambitious stories with intricate plots and long-form payoffs, which is exactly what Midnight X-Men is.”

Johnson recently signed an exclusive contract with Marvel, and he added, “The Midnight meetings with Jonathan and Ben continue to energize me, every time. I want my readers and fans to know I’ve never written a longer series outline than the one for Midnight Spider-Man. By the time the first issue comes out, I’ll have written two 50-plus-issue series for Marvel and DC, but I want and expect Midnight Spider-Man to be the longest, most epic series of my career… the series on which I bring everything I’ve learned to bear.” That’s saying something, given his work on Marvel’s Hulk and DC’s Superman.

“The world these creators are building is truly special and the passion behind the stories they’re envisioning was palpable,” Buckley said. “We wanted to match their ambition with this unique launch plan, one that allows both retailers and fans to fully immerse themselves into this new line right from the start. When the clock strikes Midnight on October 7, these three series will unleash a bold new energy that we hope echoes throughout the industry for the foreseeable future.”

The main covers of the “Midnight” titles will be presented in what is called a Cloaked Cover trade dress, only revealing the full artwork when turning to the first page. With the exception of the debut issues, the full artwork will remain hidden, only revealing itself to readers who pick them up on stands.

WHAT’S GOING ON IN THESE ISSUES?

While some of the details of these new books remain shrouded in shadows, we do have some descriptions of the initial issues:

Midnight X-Men #1: “The shadows of New York City are stalked by vampires and the mutant empyres. The sword of Damocles hangs over the peace between these two species and the factions within them. An outright war is brewing, and the unturned will be caught in the crossfire.”

Midnight Fantastic Four #1: “An obsessive scientist delves into the secrets of the universe perhaps best left unknown to humankind, leaving himself and three others warped in strange and horrifying ways. What horrible secrets lie in the new dimensions they have discovered? And can humanity survive the discovery?”

Midnight Spider-Man #1: “A young man is transformed into a hideous spider hybrid by the ruthless Oscorp Corporation in their pursuit for eternal life. When Oscorp begins to use the secrets unlocked by his mutation to create more human-animal hybrids, he must embrace his grotesque new form to fight back.”

I find it interesting that Marvel usually lists them in the above order. Honestly, with Spider-Man being the most popular hero at the House of Ideas, and Kennedy’s style of being able to balance the humanity with the heroic aspects of the character, that’s the one I have the highest expectations for.

That’s not saying that the others won’t be appealing. It’ll be something to see the situations literally coming from a different perspective, a more horrific one.

IS THIS MARVEL’S ANSWER TO THE ‘ABSOLUTE UNIVERSE’

A lot of comics fans have been surprised by what they have perceived as a lack of Marvel response to DC’s very popular and continuing to grow “Absolute Universe.”

In my mind, the “Midnight” imprint bears some striking resemblance to the DC alternate reality. For instance, the three books all have a much darker, weirder view of what a lot of fans have felt was a brighter, more heroic Marvel Universe. That sounds very much like the “Absolute” version DC has been using, growing out of Darkseid’s take on the DCU heroes.

Scott Snyder has done what I consider to be a masterful job of aligning talented creators with the various books in “Absolute.” It seems like Marvel is following a similar formula with “Midnight,” with three of the biggest names in horror and darker sagas writing the new books.

As a longtime comics fan, I can’t help but wonder when the “Midnight” characters will come up against the MCU versions in some big crossover event. DC has done some of that in their “DC K.O.” books. Also, the inevitable comparisons will be made between “Midnight” and “Absolute” universes, and that will lead to a LOT of great discussions among fans, hopefully leading to even bigger sales numbers and excitement, which the comics industry still could use more of.

Percy had some interesting comments about his writing the FF: “Let’s be honest: Any other circumstances, Marvel wouldn’t let me write the Fantastic Four because I’m too mean and evil for the first family. But this is the dark continuity of the ‘Midnight Universe’—a fresh origin story for the characters that channels cosmic, Lovecraftian terror—which makes it a perfect match for me. Mad science and cults and hidden realities await. The pacing is patient and full of dread and mystery and rich with a mythology that will feel both familiar and uncanny.”

Obviously, Marvel thinks they have a huge success on their hands or they wouldn’t be releasing them as the only offerings on the first Wednesday of October, known as the month for horror among many.

Will they be worthy competitors for DC’s “Absolute” books? The House of Ideas certainly seems to think so! Ultimately, the fans will decide, so I’m anxious for these titles to come out so we can all read the stories many of us are excited to delve into!

What do you think? Will the “Midnight Universe” expand like the “Absolute Universe” has at DC? What other MCU characters would you like to see a more “horrific” version of? Could we get a crossover between the “Midnight” and “Absolute” universes someday? Whatever your opinion, share it on the Major Spoilers Discord server.

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Time for a great doubleheader this week in Episode #752! It all starts with David Steinberger and Chip Mosher, who have created “the new home for digital comics and manga” at neonichiban.com, then concludes with the return of Thomas Marvelli from A Signal From Space on Kickstarter now!

Both David and Chip are leaders at Neon Ichiban, the next evolution in digital comics and manga. It’s described this way: “This isn’t about better technology—it’s about a better future for comics.” We talk about how the site came to be, what you can find there and when new books are available, as well as what the two of them are making happen that will continue to move the comics industry into the future.

Then everything wraps up with the return of Thomas Marvelli, who is soon concluding another successful Kickstarter project, this time for A Signal From Space. Tom catches us up on all that’s going on with Another Door Comics, including this excellent science-fiction mystery. Here’s this book’s description: “An astronaut presumed dead for nearly forty years sends an impossible signal home and returns unchanged.” Be sure to back this high-power comics project at this link before it concludes on Sunday, July 12, at 9 p.m. EDT.

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At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today.

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THE DEADMAN #2

Writer: W. Maxwell Prince
Artist: Martin Marazzo
Colorist: Chris O’Halloran
Letterer: Good Old Neon
Editor: Paul Kaminski
Publisher: DC Comics
Cover Price: $3.99
Release Date: July 1st, 2026

Previously in The Deadman, Boston Brand was given the job of ushering souls to the afterlife. But a demon has appeared with an appetite for those souls, which has put the entire cycle of life and death at risk and in turn, the world. Now, The Deadman has been tasked with stopping it.

To Gotham!

The Deadman #2 opens with Boston dropping in on his ex-girlfriend and reminiscing about the life they had together. He then heads to Gotham City, where Batman and Plastic Man are teaming up to track down a cult dealing with Lazarus Pit resin. The Deadman needs Batman’s body to gain access to Blackgate, where a prisoner with a photogenic memory, who is also the only one who has read a specific encyclopedia of demons, resides. The Deadman tries to possess Batman, but discovers a surprising mental safeguard preventing him, which leaves him with no choice but to go with the other hero on the scene. Meanwhile, in Blackgate Prison, another villain has been waiting for his opportunity to bloom, and that just so happens to be right in the middle of Boston, getting the info he desperately needs.

Doing It All

The Deadman #2 is a dense book. Not only with the dialogue, of which there is a lot of it, but with just the sheer number of places the plot goes. We get a few sentimental moments, a handful of interstitials giving the backstory on a few things, some two-fisted punching action, and we even get an appearance by a deep cut version of Batman. While it handles most of this fairly well, a lot of it feels heavily contrived. As far as I’m aware, this is the first appearance by The Bibliophile. So, they invented a brand-new character for this plotline, then gave him a backstory that is not only convenient to the narrative, but it also forces a cameo by Batman. With this being just the second issue of this series, it would have been nice to let Deadman remain on his own for a bit before throwing in other characters, especially one as overshadowing as Batman. I really enjoyed the tone and light, irreverent take on the afterlife this title gave us in the first issue, so when this issue gives us even more of that, I was delighted to say the least.

Not Doing It For Me

The art style in The Deadman #2 was always going to be a divisive aspect of this title, and I think I’m falling on the side that doesn’t much care for it. In some places, I think it works and fits the title perfectly, specifically when we’re dealing with afterlife stuff and the supernatural. In these moments, the art makes everything come off as slightly askew, like it’s more like a copy of a copy of reality. This feels like it’s in step with the whole vibe that the writing is going for. But, seeing characters like Batman or Plastic Man in this style just doesn’t quite work, and it drags the book from irreverent into goofy territory.

Bottom Line: A Step Back, But Still Enjoyable

What made the first issue of this series so good was how everything felt unique and tailor-made for its main character. But in The Deadman #2 it’s like there’s a lack of confidence that Boston Brand as a character can anchor a title. The cameos from Plastic Man and Batman are done well enough, but it puts Boston on a smaller stage as the issue makes room for them. Also, I think there are places in this issue where the visuals fit the theme and tone of the book perfectly, but in other places, they just don’t fit at all. 3.5 out of 5

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WONDERWORLD COMICS #3

Writer: Will Eisner
Penciler: Lou Fine
Inker: Lou Fine
Colorist: Uncredited
Letters: Uncredited
Editor: Victor Fox
Publisher: Fox Feature Comics (Bruns Publishing Inc.)
Cover Price: 10 Cents
Current Near-Mint Pricing: $5.00
Release Date: May 28, 1939

Previously in Wonderworld Comics, the brainchild of Victor S. Fox, Fox Feature Publishing hit big from the proverbial get-go. With the Eisner/Iger studio (yes, THAT Will Eisner), Fox Features debuted the character Wonder Man, getting the attention of kids with a dime in short order. They also got the attention of DC Comics, which resulted in a lawsuit that made Wonder Comics #1 the only appearance of Wonder Man. Wonder Comics #2 featured Yarko the Great, one of a sea of Mandrake the Magician clones, with the caveat that he is the only one whose nom de guerre sounds like a euphemism for throwing up. That brings us to the newly rebranded Wonderworld Comics, and the debut of one of the best-looking forgotten heroes of the Golden Age: Gary Preston, The Flame!

It starts, as so many stories of this era, with PIRATES! To be fair, superheroes were brand-new and not quite fully cooked trope-wise, so stealing, swiping, and emulating the pulp magazines of the era was quite common. This time, we find renowned millionaire dipstick J. Havington Gild’s yacht being targeted by the legendary Black Flagg, a river pirate who operates in upstate New York.

That’s... a choice, I guess. Still, the Gild family does make a lovely target for ransom, so who am I to judge? Fortunately, he’s not the only one who finds the waters of the Empire State enticing for their business.

Sure, that kid from Gotham City has his –mobile, and his –plane, and even his Whirlybat, but it takes a certain kind of superhero to have their own crime-fighting YACHT. Moreover, The Flame is an expert in tracking through his chosen rivers, managing to track Flagg and company where the police could not. As for Black Flagg, he is prepared to torture Gild’s young daughter to convince the old man to sign over 200,000 bucks (which is a little over 4.5 million in 2026 dollars). Of course, the foolish pirate chooses exactly the WRONG element to do it with, as The Flame can transport himself through even the smallest fire, even a wooden match!

The art in this story is by Lou Fine, who is one of my favorite Golden Age artists. His wild and lanky superhero physiques are always excellent (if you ever get a chance, you should check out his work at Quality Comics, especially on the adventures of The Ray), and The Flame’s note-perfect costume is an example of minimalism that verges on genius. There have been several Flame revivals over the years, notably as part of the crew of Project Superpowers, but none (to my knowledge, anyway) have ever had to update the uniform of our man Gary Prescott and the Union Gap.

Wading into a hail of gunfire, The Flame makes short work of Flagg’s pirates, his Flame-Gun setting the ship on fire. The cowardly Black Flagg makes a run for it, while The Flame whisks away his would-be captives to the Flame Yachet and safekeeping.

But he’s not done yet. Giving chase, The Flame uses powerful grappling hooks to immobilize the pirate’s speedboat, then leaps across the chasm to the other ship for the requisite pirate butt-kicking.

It’s honestly impressive how much detail Fine manages to pack into these panels, all of it looking amazing, even the part where he wholesale murders everyone on Black Flagg’s ship.

It was 1939. Even Batman had a .45 in 1939.

Still, as the story ends with a tiny bit of Errol Flynn gallantry and The Flame retreating into the sunset in his Flame-Yacht, it’s easy to see why The Flame became one of Fox Features’ top guys, despite only making about 45 appearances back in the day. Wonderworld Comics #3 also features the funny animal strips, text pieces, and unfortunate racism that you find in most books of the era, as well as the second appearance of Yarko, but it’s The Flame that really shines, earning a well-deserved 4 out of 5 stars overall. If you dig through the entire publishing history of Fox Features, you’ll run into a number of characters like The Flame who either never quite caught on, or who got sidetracked for one reason or another, but who are in truth just ahead of their time, like Stardust the Super-Wizard, Dynamite Thor, and yes, The Flame himself. Given that most of these adventures are in the public domain, I highly recommend digging some up if you can.

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FANTASTIC FOUR #13

Writer: Ryan North
Artist: Andrea Sorrentino
Colorist: Edgar Delgado
Letterer: VC’S Joe Caramagna
Editor: Tom Brevoort
Publisher: Marvel Comics
Cover Price: $4.99
Release Date: July 2^nd, 2026

Previously in Fantastic Four, Johnny Storm has had some incredibly bad ideas in his time, but every once in a while, he also has an incredibly good idea. Unfortunately, it’s hard to tell which is which until you’re neck-deep in their consequences, and by then it’s usually too late.

On The Prowl

Fantastic Four #13 starts off with Nicolas Scratch getting an unexpected visit from the spirit of vengeance himself, Ghost Rider. After enough intimidation and the threat of the infamous Penance Stare hanging over his head, he agrees to leave The Fantastic Four alone. Afterward, it’s revealed that it wasn’t actually Ghost Rider, but Johnny Storm using a combination of his and Sue’s powers to appear like Ghost Rider. The duo then decides that since their plan worked so well, they might as well pay a visit to some other villains. We then get a flashback to see how the plan originally came to be. Back in the present, after knocking off a handful of pesky evil-doers, they arrive at The Wizard’s lair. But the villain isn’t as scared of Ghost Rider as the two hoped he would be, and it quickly becomes time for Plan B.

Best In The Business

When it comes to one-and-done stories, there are very few who can match what Ryan North has been doing in this run of Fantastic Four. The whole series has been built on a solid foundation of storylines that are wrapped up in one or two parts, and this particular comic joins them as another solid example. What really surprised me about this issue is how, even though the Fantastic Four have been around for many, MANY, decades, the way the powers are utilized here feels unique and exciting. Also, I appreciate how, for a story with such a silly premise, there isn’t an attempt to take it too seriously. It happily exists in a lighthearted and silly territory. From Johnny’s attempt to stick to the gimmick, to his insistence that the team should keep trying to mimic other heroes, to the stupidity of the bad guys, this whole issue is just a good time. If there’s one area that rubbed me the wrong way, it was how intricately it goes into the mechanics of how powers come together to create a copy of Ghost Rider; it comes off as unnecessary and kind of like filler, as it takes up at least four pages throughout the issue.

Not Quite Matching

So, on the surface, the choice to go with a somewhat grittier and spookier look makes sense for a comic that is centered around the idea of Ghost Rider. There is a good deal of shading and sketchiness, and the brief look at Johnny’s “facemeats” is legitimately a little creepy to see. But as the curtains are pulled back on the whole trick, the art doesn’t shift to match, leaving the whole issue with a sinister look. It looks fine, but when you have Johnny’s mustache being tugged on, or scenes with the whole family enjoying a pleasant day, the look just doesn’t match what is actually going on in the issue.

Bottom Line: If You’re Looking For a Nice Chuckle, Here’s Your Comic

Fantastic Four #13 establishes a goofy idea and just runs with it for a while. While it’s not necessarily amazing storytelling, it sets a good tone and stays consistent with it until the end. A few odd moments between the art and some filler pages stick out a little, but nonetheless, this is simply a really good time. 4 out of 5 stars.

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ABSOLUTE MARTIAN MANHUNTER #12 (of 12)

Story: Deniz Camp
Artist: Javier Rodriguez
Lettering: Hassan Ostmane-Elhaou
Colors: Javier Rodriguez
Editor: Kate Kubert
Publisher: DC Comics
Cover Price: $4.99
Release Date: July 1, 2026

Previously in Absolute Martan Manhunter, it all comes together here: green and white, life and death, husbands and wives, fathers and sons, free will and fate, crime and punishment. Beginnings and endings.

Why do people do the things they do?

We Are Made Of Choices

At the end of issue #11, John Jones came to the conclusion that his son, Tyler, was dead. Despair-The-Zero (whom I’m gonna call Despero because... well, he/it is clearly Absolute Despero) taunts him with the image of his son’s funeral, pushing the world closer and closer to Anti-Life. The Martian in his head makes a last-ditch effort to find the only thing that can dissipate Anti-Life: Empathy!

In the space of moments, John Jones remembers being in the womb, the strangeness of being born, only to realize that he’s not in his OWN memories, but in those of his estranged wife, Bridget. As for Tyler, the creature/concept/existential dread that John calls The White Martian is in his head, making him the proverbial beachhead for one last attack on humanity, one that is felt everywhere. In Gotham City, Batman realizes that mathematics no longer makes sense. Then, Superman keenly feels the loss of all language, as he enjoyed learning the fifty-odd ones he knows. Wonder Woman stares into the skies over Gateway City and gives the ongoing horrors a name... KAOS.

Is Free Will A Fairy Tale?

This comic floored me. The script, the art, and the look at a greater Absolute Universe cosmology; it all comes together in an ending that is at once hopeful, thoughtful, but realistic. It’s a story about hope and second chances, and every panel is a mind-grabber. From the beginning, the reimagining of Martian Manhunter as something truly alien has been fascinating, but the use of Despero (who could be said to be one of Prime J’onn’s major foes, if he has such a thing) as a counterpoint to the Manhunter has been terrifying. I especially appreciate that the battle against the end of everything is also a very personal battle of a family to connect and to heal, something that John and Tyler have never been able to do. Bridget is especially heroic throughout these pages (maybe more so than our protagonist), but the final defeat of Anti-Life being as simple and as perfect as it is? It just feels right.

As for the art of Javier Rodriguez, I wish I could find a word other than the cliche, “perfect.” But that... that’s all I got, folks? Combining the power that compares to Kirby, the loose organic feel of Ditko, balanced with the comic realism that reminds me of Chris Samnee, it’s just so gorgeous. And then, you add in the wild, vivid colors that Rodriguez is known for, and you get a synthesis that just can’t be missed.

Bottom Line: This Book Is BEAUTIFUL

Long story short, Absolute Martian Manhunter #12 is the capstone of a series that has confounded, entertained, and enamored me since issue #1, and you better believe I’m gonna tell you to read it, as it deserves every one of the 5 out of 5 stars overall that I’m able to give. The experience of reading AMM is one that I haven’t felt since the good old days of Morpheus and company, a journey that’s as emotional as it is dynamic and world-shattering. It’s the kind of comic that makes me remember why I read comics.

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Whether you’re spending the holiday around a grill, watching fireworks, or hiding inside with the air conditioning and a stack of comics, there are plenty of good books arriving this week. We’ve also got a quick trip through America’s first 250 years—because even history deserves the occasional “By the Numbers” treatment.

IF YOU ONLY READ ONE COMIC THIS WEEK

100 BULLETS THE US OF ANGER #1

Writer: Brian Azzarello
Artist: Eduardo Risso
Publisher: DC Comics/Vertigo
Cover Price: $3.99

One of Vertigo’s defining crime series returns with Brian Azzarello and Eduardo Risso back at the wheel. If you’ve never read 100 Bullets, imagine hard-boiled noir, conspiracy, and moral ambiguity wrapped inside one of the best-looking crime comics ever published.

ON THE READ PILE

Beast of Broken #1 (Dark Horse Comics)

Ready for some werewolf-esque storytelling? Instead of staying off the Moors, you need to be careful where you poke about in Puerto Rico. Capitalism and indigenous people clash with a big creature in the mix!

Young Hellboy: Thrilling Sky Adventures #2 (Dark Horse Comics)

Young Hellboy continues to scratch that pulp-adventure itch, with flying aces, strange mysteries, and exactly the kind of globe-trotting fun you’d expect from Mike Mignola’s world.

Archie Comics Celebrates America’s 250th (Archie Comics)

Because it is the week of July 4th, you should do a little bit of celebrating with Archie and friends. This is an anthology of previous tales, but at least you’ll get a bit of history from Archie’s 85 years of publishing. Plus, you get to support Archie Comics, too!

Power Rangers Unlimited #1 (BOOM! Studios)

Because you know we love Power Rangers, and you do, too!

The Last Starfighter #1 (Mad Cave Studios)

The adventures of Alex Rogan continue in Mad Cave’s take on the classic movie. Will Alex be able to rebuild the Star League to defend the frontier against Xur and the Ko-Dan Armada? Wait… I thought Xur died in the movie?

Marvel Swimsuit Special Brand New Beach Day (Marvel Comics)

Because 12-year-old boys still exist.

DECLARATION BY THE NUMBERS

This week, we celebrate 250 years of the United States of America declaring its independence.

3 days — from the Wednesday, July 1 newsletter to July 4, 2026, the 250th anniversary of the Declaration of Independence. The Continental Congress adopted the Declaration on July 4, 1776, while delegates began signing the engrossed parchment copy on August 2.

56 signers — the number of delegates who eventually signed the Declaration. Not all of them were present on August 2, and some signed later.

13 United States — the phrase used in the Declaration’s title after Congress ordered the document engrossed on parchment on July 19, 1776.

1 handwritten, signed Declaration — according to the National Park Service, there is only one handwritten, signed Declaration of Independence, and it is displayed at the National Archives in Washington, D.C. Take THAT, Nick Cage!

50 of 56 — the number of signers who most likely signed on August 2, 1776. Five more signed later in 1776, and Thomas McKean, the 56th signer, signed sometime after January 1777.

23 lawyers — the largest occupational group among the Declaration’s signers. The next most common groups were merchants and plantation owners, with 12 each.

26 and 70 — the ages of the youngest and oldest signers: Edward Rutledge and Thomas Lynch Jr. were both 26, while Benjamin Franklin was 70.

50 years to the day — John Adams and Thomas Jefferson both died on July 4, 1826, the 50th anniversary of the Declaration.

95 years old — the age of Charles Carroll of Carrollton, the last surviving signer, when he died in 1832.

If you celebrate the Fourth of July, have a great weekend! For the rest of you, there are still plenty of FIFA World Cup matches to watch!

Cheers,
Stephen Schleicher

RADIANT BLACK #43

Story: Kyle Higgins and Michael Busuttil
Artist: Giona Zefiro
Lettering: Becca Carey
Colors: Rod Fernandes with Marcelo Costa
Editor: Michael Busuttil
Publisher: Image Comics
Cover Price: $3.99
Release Date: July 1, 2026

Previously in Radiant Black, at the end of the Catalyst War, Nathan Burnett moved to Los Angeles to take another swing at his writing career.

So... How’s that going?

Finding What Matters To You

This issue picks up exactly where we last saw Nathan Burnett, the first Radiant Black, at the end of The Catalyst War, a moment labeled “001.” (Foreshadowing is your key to quality literature.) By Day 044, he has found an apartment in Los Feliz and begun looking for work. By an astonishing stroke of luck, he meets an old acquaintance, who recommends him for a writing job on a movie/potential multimedia franchise, eventually leading him to end up at his first big L.A. party...

...hosted by the super-villain known as Sheer. So, that’s bad.

What’s also bad is an increase in what the media are calling “Radiance Events,” uses of Catalyst technology by various bad actors all around the world. And then, Nathan takes out the bracelet he has been carrying since day 001.

Bracelet? Why, Whatever Do You Mean?

What happens next makes me very, VERY happy, both as a Radiant Black reader and as a general nerd. Higgins and Busuttil’s script cleverly parallels the story Nathan is writing with the world he lives in, and the echoes of that story (which, by the way, is an adaptation of the comic book Ordinary Gods, one of Kyle Higgins's other creative outlets) in his life are very cool. The art is also well done, fitting seamlessly with the established visual language of this series. As Nathan grows his beard, literally and figuratively, the story becomes increasingly about the choices he has made and what really matters to the original Radiant Black, making for an engaging, emotional plotline that begins without any armored battles or world-shattering events. I think the best part of the way Radiant Black has unspooled is seeing the technology that empowers heroes, criminals, and giant robots from space actually CHANGE THE WORLD. Not in a grandiose way, since much of the time it means “guy with strange super-powers trying to knock over a bank,” but the more entertaining method of seeing the world adapt and change to deal with it all.

Bottom Line: Surprising But Satisfying

Much of Radiant Black #43 is focused on seeing Nathan wrestling with his story, his priorities, and his expectations of the world and himself, and it does it in a way that is relatable and even exciting, showing us a man growing to understand what really matters to him, earning 4 out of 5 stars overall. I also recommend looking out for Giona Zefiro’s next work, as he really impressed me throughout this issue.

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In this episode

• Rodrigo’s review of Toy Story 5

• How audiences watch movies now versus then

• World Cup teams and who we’d like to see in the final four

• A look at Marvel Tokon Fighting Souls and its roster in a new Rodrigo Quiz!

• Thoughts on live-action Persona, new Ghost in the Shell, and One Piece anime adaptations

• Fourth of July fireworks: love them or leave them?

• The best vacation destinations in comics!

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This week’s pre-show IS FREE as part of our anniversary celebration, so if you want to hear the full conversation about Supergirl, movie theaters, and more, head over to Patreon.com/MajorSpoilers.

Join the conversation

We’d love to hear your thoughts on any of this week’s topics, from your favorite comic-book vacation destination to your World Cup picks.

At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today.

Every week, the internet picks someone or something to hate.

Sometimes it deserves it.

Sometimes it doesn’t.

The harder question is this:

How many of us actually stop long enough to figure out which is which?

There are a couple of instances where we see a dogpile actually having a positive outcome.

Sonic the Hedgehog is a great example. The initial design didn’t reflect the classic character design, and the company went back and changed it. The franchise has released three movies to date, with two more planned through 2028.

Shows like Brooklyn Nine-Nine and Lucifer have both had new seasons thanks to online campaigns where everyone got on board.

Sometimes the crowd is right.

That’s what makes the wrong crowds so dangerous.

Don’t get me wrong—if a company has done something wrong (your opinion or fact), it is okay to call them out.

A publisher who doesn’t pay their artists…

Call it out.

A fast food chain that changed its offerings to something subpar…

Call it out.

Someone abuses their position…

Absolutely call it out.

The question isn’t whether criticism is justified.

The question is whether you’ve made the criticism your own—or simply rented someone else’s outrage.

We need a moment to take a deep breath, examine the information, and decide whether jumping on the dogpile is actually helping (getting a publisher to pay their staff) or just dunking to be part of the pack.

Constant dogpiling because it is “fun” and everyone else is doing it does more harm to a fandom and industry than one might think.

When you see this happening on your social media, ask yourself:

• Who organized it?

• Is it legitimate?

• Are bots involved?

• Do I actually believe this… or am I borrowing someone else’s certainty?

• And most importantly— Would I still believe this if nobody else was talking about it?

Algorithms, coordinated campaigns, influencers, recommendation engines—even bots—reward momentum.

Once enough people appear to believe something, the temptation is to assume they must be right.

That’s how dogpiles form.

Not because everyone examined the evidence.

Because everyone saw everyone else running in the same direction.

Every fandom eventually becomes the culture it rewards.

If outrage becomes the easiest path to belonging…

outrage eventually becomes the product.

And once outrage becomes the product…

Nobody remembers what they supposedly loved in the first place.

And that’s a terrible foundation for building a community around something you claim to love.

Cheers,
Stephen Schleicher

With Artificial Intelligence (AI) now seemingly all around us, we can no longer believe what we see!

WHAT’S HAPPENING?

AI is a subject I’ve hesitated to write about, but I can wait no longer! It has invaded my own life, so I need to speak about it!

There’s no doubt that computers have changed our lives, and some would argue that they have not improved our lives. We now have computers in our phones, our homes, our cars, and everywhere else possible!

At first, computers were described as “labor-saving devices,” there to make our lives easier and more manageable. However, what started with great intentions seems to have gone the opposite way.

Computers were going to take away the things we didn’t want to do, like manual labor tasks, and free us up to have more time and energy to do the more creative, entertaining things. Sadly, it has turned out that the reverse is true—computers have largely taken over the creative aspects of our lives, leaving us to spend much of our time handling the more humdrum, mundane parts of our lives.

A good example of this had to do with newsletters and newspapers. I can use one of the papers I work on as a good example. I used to design and put together ads as well as the entire paper. Recently, I noticed that I was receiving mostly ads that were already assembled, and that they seemed strikingly similar when it came to design and layout.

The next time I spoke with the paper’s owner, she told me that she had started using AI that, once she entered the information, could generate an ad in seconds, much cheaper than “any other way,” which I took to mean me doing it.

Now, I first encountered this situation back when I was attending a software conference. To show us what the package could do, the presenter took four separate pictures of the audience, which filled up a large room. He entered those photos into the software, and it combined them all into one big photograph. I turned to one of the co-workers there with me and remarked, “We can never trust our own eyes ever again.”

I’ve looked around online, and I see this happening in many organizations. The ads look very similar, mostly with very busy backgrounds, no white space to rest the eyes, and ablaze with a great many colors that, to the uneducated eye, look “fun” and appealing, I’m told.

So, the number of hours I work has seriously been reduced while AI moves more of the process back on the owner, who has to input the information and send me the ads so I can park them on the pages.

I took note of the variety of organizations obviously using AI, and they vary from local governments to local businesses to even some national organizations.

It may not be long before all those previously created endeavors will no longer be touched by human designers, but will be popped out of a computer program.

It intrigues me because I also proofread a national education journal, and one of the hottest topics currently being discussed is the influence of AI in the classroom. Many teachers have started to do away with “homework” in favor of assignments actually being done in person in the classroom so the teacher can observe that the student is truly doing the work being turned in. The lure of a computer choosing and putting together an assignment seems to be just too alluring to students who feel it is “the wave of the future.”

AI AND COMICS

What I consider the saddest thing of all is that there are now comic books being written, drawn, colored, and lettered by AI. “We have to keep up with the technology,” one creator told me. “If we don’t, the cost will overwhelm us and make it impossible to afford to make comics.”

Much like the ads and student assignments we’re facing, it’s often very easy to tell what has been generated by the computer. It just doesn’t have the depth and style creators use to make their books.

Granted, AI can “learn” how certain creators think and do things. If AI gets enough examples of what any specific writer creates, it can almost mimic just what that person would do. However, there are ways to discover just who made these stories or artwork. Maybe someone thinks they have saved time and effort by turning creative endeavors over to the computer, but what will happen if or when you no longer have contact with the Internet or certain pieces of software. What will you do then? Actually have to buckle down and really do it yourself? You might truly create something fans will love more! How amazing!

MOVING FORWARD

I am gratified to see more and more publishers actually publicly stating that AI has no part in their creative processes. After all, I don’t pay to buy comics that some PC or Mac popped out of its printer. I want real stories, real art that will affect me as a human being, not what some AI thinks I can be fooled into liking.

Do I think there is a place for AI? Yes, if we as fans and consumers obviously know that the books we are reading or the graphics we are looking at came from AI, then we can judge it as such. I am all for computers competing with other computers, just as much as I prefer human creativity judged against other human creativity.

Interestingly enough, software packages are being developed that can clearly identify what other computers have produced. I hope that this programming will be generally distributed and added to computers in the future so that we can KNOW what it is we are looking at, either AI or human creation.

As far as my personal situation, I have seen this coming for some time. The owner of the paper, when I told her that the day was coming when she would just tell the computer to generate the new issue instead of having creators involved, she welcomed it, looking forward to that as being faster and easier.

Still, I have always been offered work in proofreading and editing behind the scenes, which is where I prefer to be. I have always said that editors are like Batman—we prefer the shadows. I knew one editor who felt her name should be first in the list of credits, above writers and artists. I told her that if that was what she wanted, she was going to be seriously disappointed in the years ahead.

I never worry about having enough to do—I have had to turn down a lot of work because I simply couldn’t do it all. Maybe I will just shift what I’m working on from local papers to more comics-centric jobs. We’ll see.

What do you think? Has AI impacted your own life or job? Can you tell what is computer-generated and what isn’t? Do you avoid AI-generated content when you can? Whatever your opinion, share it on the Major Spoilers Discord server.

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