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Logan heads to Miami in Wolverine: Paradise #1. We look at Dan Panosian’s new series, Dazzler’s role and the Phil Noto foil variant.
This Wolverine: Paradise #1 comic review looks at Marvel’s new 2026 Wolverine series from writer and artist Dan Panosian. Logan steps away from the X-Men and heads to Miami, where the city’s glitz and glamour hide a dangerous criminal underworld waiting to drag Wolverine back into trouble.
This copy features the Phil Noto Cover D Foil Variant, with Logan dressed for Miami nightlife while Dazzler dominates the background in a stylish retro composition.
Phil Noto’s foil cover gives Wolverine a completely different look from the usual battlefield or wilderness imagery associated with the character. Logan stands in a white jacket and sunglasses with his claws extended, while Dazzler and a disco-inspired background reinforce the Miami setting.
The foil treatment fits the nightlife theme particularly well, giving the cover a polished, almost poster-like appearance that stands apart from the more traditional Wolverine variants.
Wolverine: Paradise #1 takes Logan somewhere considerably different from his usual surroundings.
After stepping away from the X-Men, Wolverine heads to Miami looking for a change of pace. What he finds instead is a city where glamour, nightlife, and wealth sit directly above a dangerous criminal underworld.
That setup gives writer and artist Dan Panosian an opportunity to pull Wolverine out of familiar territory. Rather than placing Logan in another wilderness survival story or mutant conflict, the series drops him into a stylish urban environment where the danger is hidden beneath the surface.
The premise works because Logan is never particularly good at staying out of trouble. Even when he attempts to distance himself from the X-Men and the larger superhero world, violence has a way of finding him.
The addition of Dazzler also makes sense for the Miami setting. Her celebrity background and connection to music and nightlife give the story a character who naturally fits the environment while providing a strong contrast to Logan’s rougher personality.
Because Dan Panosian handles both the writing and artwork, Wolverine: Paradise has a strong unified visual identity.
Miami gives Panosian an opportunity to work with a very different palette and atmosphere than readers might normally associate with Wolverine. Bright lights, nightlife, tropical scenery, and upscale environments create a sharp contrast with Logan himself.
That contrast helps sell the central idea of the book: Wolverine may have traveled to paradise, but he does not necessarily belong there.
For this particular version, Phil Noto’s foil variant leans heavily into the stylish side of the concept. Logan’s white jacket, sunglasses, and exposed claws give him a sleek Miami look while still making it immediately clear that Wolverine is never far from violence.
Dazzler’s oversized portrait in the background ties the cover directly to the issue’s setting and supporting cast, while the foil finish adds another layer to the disco-inspired presentation.
Wolverine: Paradise #1 begins with Logan attempting to separate himself from the X-Men and find something resembling a break from his usual life.
That idea alone gives the story room to explore Wolverine outside of the team dynamic.
Logan has always struggled with the idea of peace. Even when he wants a quieter life, his instincts, reputation, and history tend to pull him back toward violence.
Placing him in Miami creates an interesting contradiction. The setting promises sunshine, glamour, and escape, while Logan remains someone constantly prepared for the next fight.
Dazzler offers another contrast. She is comfortable in the world of entertainment and nightlife, while Wolverine approaches that environment as an outsider. Their different personalities give the series an opportunity to explore Logan from a different angle than the usual mutant-team setting.
Wolverine: Paradise #1 has several things working in its favor as a collectible.
It is the first issue of a new Wolverine series, features Dan Panosian as both writer and artist, introduces a new Miami-based direction for Logan, and includes Dazzler as a prominent supporting character.
Marvel released the issue with several different covers, including standard variants and higher-ratio incentives. The Phil Noto Cover D Foil Variant carries a higher original cover price of $7.99, compared with $4.99 for the standard covers. Midtown Comics
This is not a ratio incentive variant, so scarcity should not automatically be assumed. Its appeal comes primarily from Phil Noto’s artwork, the foil treatment, Wolverine, and Dazzler.
That combination gives it strong display appeal for collectors who follow Wolverine, Dazzler, Phil Noto, or modern Marvel foil variants.
Wolverine: Paradise #1 gives Logan a refreshing change of scenery without abandoning the qualities that make Wolverine work.
Dan Panosian’s Miami setting provides a strong contrast to Logan’s personality, while the criminal-underworld premise ensures that the idea of “paradise” probably will not last very long.
The inclusion of Dazzler gives the series another character who naturally fits the setting and helps distinguish it from a standard Wolverine solo story.
For collectors, the Phil Noto Foil Variant is one of the more visually distinctive versions of the issue. Its retro Miami styling, Wolverine-and-Dazzler composition, and foil finish make it especially attractive as a display copy.
Recommended for Wolverine fans, Dazzler collectors, Phil Noto collectors, and readers looking for a different kind of Wolverine story.
Wolverine: Paradise #1 Phil Noto Foil Variant is available from Razmataz Comics & Hobbies at razmatazcomics.com while supplies last.
Eddie Brock and Venom reunite in Venom #1. We look at Charles Soule’s new series, Tommaso Bianchi’s art and the Adi Granov variant cover.
This Venom #1 comic review looks at Marvel’s 2026 relaunch of the symbiote series from writer Charles Soule and artist Tommaso Bianchi. After years apart, Eddie Brock and the Venom symbiote are finally reunited, giving one of Marvel’s most famous partnerships another chance to prove that together they can still be something more than a monster.
This copy features the Cover E Adi Granov Variant, with Spider-Man caught in a dark, striking composition as the Venom symbiote closes in around him.
Adi Granov’s variant immediately stands apart from many traditional Venom covers. Spider-Man occupies the center of the image while the Venom symbiote appears to engulf him from above and behind, creating an unsettling combination of two characters whose histories have been connected since the symbiote first entered Peter Parker’s life.
Granov’s darker approach, heavy shadows, and muted blue background make the red of Spider-Man’s costume particularly striking. Rather than relying on a straightforward Venom portrait, the cover plays with the long history between Spider-Man and the symbiote.
Venom #1 brings Eddie Brock and the Venom symbiote back together after years apart.
That reunion is the foundation of the new series. Eddie is determined not to waste another opportunity with the symbiote and wants to prove that he can once again be Venom’s ultimate host.
More importantly, Eddie wants their renewed partnership to mean something.
Venom has spent decades moving between villain, antihero, reluctant protector, and outright hero. Reuniting Eddie with the symbiote gives writer Charles Soule an opportunity to revisit the relationship at the center of the character while moving both of them into another chapter.
The premise is especially interesting because Eddie’s confidence is clearly part of the conflict. He does not simply want to bond with Venom again—he wants to prove that the two of them belong together and that they can be heroes regardless of what anyone else thinks.
That gives the new series a straightforward starting point while leaving plenty of room for conflict with the larger Marvel Universe.
Artist Tommaso Bianchi takes on the interior artwork for the new Venom series.
Venom is a character who depends heavily on visual presence. The symbiote needs to feel powerful, unpredictable, and physically different from the heroes surrounding it, while Eddie Brock still needs to remain recognizable beneath everything Venom brings to the page.
The reunion of Eddie and the symbiote also creates an opportunity to visually emphasize the idea of two characters becoming one again.
For this particular edition, however, the immediate attraction is Adi Granov’s variant cover.
Granov’s realistic, heavily rendered style works especially well with characters such as Venom. Instead of presenting Spider-Man and the symbiote in a brightly colored superhero pose, the image feels darker and almost horror-inspired.
The result is a cover that emphasizes the uncomfortable connection between Spider-Man and Venom rather than simply treating them as opponents.
The most important relationship in Venom #1 is the relationship between Eddie Brock and the Venom symbiote itself.
The two characters have been separated, reunited, changed, and pushed in dramatically different directions throughout Marvel history. Bringing them together again allows the series to ask whether Eddie and Venom can actually return to what they once were—or whether both have changed too much.
Eddie’s determination to become the symbiote’s ultimate host also reveals something important about him.
This is not simply a partnership of convenience. Eddie views Venom as a fundamental part of his identity, and losing that connection has consequences.
Their reunion therefore carries more emotional weight than simply putting a familiar costume back on a familiar character.
The question going forward is whether Eddie’s belief that they belong together will ultimately make both characters stronger—or create another problem neither of them is prepared to handle.
Venom #1 has several elements that make it worth watching from a collector standpoint.
It launches a new volume of Venom, reunites Eddie Brock with the symbiote, and features a creative team of Charles Soule and Tommaso Bianchi.
Marvel also released the first issue with several variant covers from major artists.
The Adi Granov Cover E Variant is a regular open-order variant rather than a ratio incentive. Collectors should therefore not assume that the book is scarce simply because it is a variant edition.
Its appeal comes instead from the artist and subject matter.
Adi Granov remains a popular Marvel cover artist, while the combination of Venom and Spider-Man imagery gives this cover an immediate connection to the symbiote’s history.
There is also a separate Adi Granov virgin incentive version of the artwork, making this regular Cover E the more affordable way for collectors to own Granov’s image without paying the premium associated with the incentive edition.
Venom #1 brings the character back to the partnership that helped define him.
Reuniting Eddie Brock and the Venom symbiote gives Charles Soule a strong foundation for the new series while opening the door to questions about how much both characters have changed during their time apart.
Tommaso Bianchi’s artwork takes on the challenge of presenting that renewed partnership, while Marvel’s selection of variant covers gives collectors several distinctly different interpretations of Venom.
For this edition, Adi Granov’s Cover E Variant is the major attraction. The dark Spider-Man-and-symbiote composition draws directly from the complicated history between the characters and gives the issue a cover that feels appropriately sinister.
Recommended for Venom fans, Eddie Brock collectors, Spider-Man readers, Adi Granov collectors, and anyone interested in the beginning of Marvel’s newest Venom series.
Venom #1 Adi Granov Variant is available from Razmataz Comics & Hobbies at razmatazcomics.com while supplies last.
Doctor Doom battles through Hell in Doom All-On-One #1. We look at Al Ewing’s story, Alessandro Cappuccio’s art and the Puppeteer Lee foil variant.
This Doom All-On-One #1 comic review looks at Marvel’s oversized Doctor Doom one-shot from writer Al Ewing and artist Alessandro Cappuccio. Doom once again faces one of the most personal conflicts in his history, descending into Hell and confronting forces powerful enough to challenge even Victor Von Doom’s legendary confidence.
This copy features the Puppeteer Lee Foil Variant, an atmospheric Doctor Doom and Thor cover with an original cover price of $10.99.
Puppeteer Lee’s foil variant presents Doctor Doom and Thor surrounded by an infernal landscape of fire and shadow. Doom dominates the background while Thor charges forward with Mjolnir, giving the cover a sense of movement and confrontation even before the story begins.
The painted appearance and muted colors contrast sharply with the flames surrounding the characters, while the foil treatment gives the image additional depth and makes this version stand apart from the standard covers.
Doom All-On-One #1 returns to one of the most important elements of Victor Von Doom’s history: his obsession with freeing the soul of his mother from Mephisto.
For Doom, however, even a journey into Hell cannot remain a simple rescue mission. The conflict grows into something much larger, forcing him into an enormous confrontation involving some of the most powerful characters in the Marvel Universe.
Writer Al Ewing has a character perfectly suited to this type of story. Doctor Doom does not approach impossible odds like a normal hero or villain. When the universe appears to stand against him, Doom simply assumes the universe has made a serious mistake.
That attitude provides the foundation for an oversized story built around spectacle, power, and Victor’s absolute refusal to accept defeat.
The book also uses an unusual storytelling format. Much of the action is presented through large, widescreen compositions rather than conventional comic-book panel layouts. That approach makes the issue feel closer to a sequence of enormous cinematic moments than a traditional monthly comic.
Alessandro Cappuccio’s artwork plays a major role in making the unusual format work.
Because the story relies heavily on large compositions, every image needs to communicate movement, scale, and conflict without depending on a dense sequence of smaller panels.
That gives the battles a sense of size appropriate for Doctor Doom. Characters, environments, and supernatural threats are allowed to dominate the page rather than being confined to smaller boxes.
The Hell setting also gives Cappuccio plenty of room to experiment with darkness, fire, supernatural imagery, and massive confrontations.
For this particular version, Puppeteer Lee’s foil cover takes a more painterly approach. Doctor Doom looms over the composition while Thor occupies the foreground with Mjolnir ready, creating an image that feels almost like a fantasy illustration rather than a traditional superhero cover.
The foil finish adds another layer to the presentation and makes the fire, shadows, and metallic elements particularly effective when viewed under changing light.
Doctor Doom remains one of Marvel’s most interesting villains because his motivations are often far more personal than his reputation for conquest suggests.
His mother, Cynthia Von Doom, has always been one of Victor’s greatest emotional weaknesses. Doom’s attempts to rescue her soul from Mephisto reveal a side of the character that exists beneath the armor, ego, and constant claims of superiority.
At the same time, Doom never stops being Doom.
Even when his motivation is deeply personal, he approaches every obstacle with complete certainty that he is the smartest, strongest, and most capable person involved.
That combination of genuine devotion and almost unbelievable arrogance is a major reason Victor Von Doom has remained one of Marvel’s most compelling characters for decades.
Doom All-On-One #1 has several elements that could make it appealing to collectors.
It is an oversized Doctor Doom one-shot, written by Al Ewing, illustrated by Alessandro Cappuccio, and presented using an unusual widescreen visual format.
The issue was also released with a variety of variant covers, including foil and incentive editions.
The Puppeteer Lee Foil Variant carries a higher original cover price of $10.99 and offers a dramatically different visual interpretation from many of the other covers available for the issue.
Puppeteer Lee’s painted style, the presence of both Doctor Doom and Thor, and the foil treatment give this edition strong display appeal.
As with most newly released variants, however, long-term value will ultimately depend on collector demand rather than the word “variant” alone.
Doom All-On-One #1 is built around exactly the kind of excessive premise Doctor Doom deserves.
Al Ewing takes one of Victor’s most personal motivations and expands it into a large-scale Marvel confrontation, while Alessandro Cappuccio’s widescreen presentation gives the story a visual identity different from the average one-shot.
The unusual page design and oversized format make the book interesting even before considering the character involved.
For collectors, the Puppeteer Lee Foil Variant is one of the more visually distinctive versions of the issue. The painted Doom-and-Thor composition combined with the foil finish makes it particularly attractive as a display copy.
Recommended for Doctor Doom fans, Thor collectors, Al Ewing readers, Puppeteer Lee collectors, and anyone looking for an unusual Marvel one-shot with a strong visual presentation.
Doom All-On-One #1 Puppeteer Lee Foil Variant is available from Razmataz Comics & Hobbies at razmatazcomics.com while supplies last.
Doctor Doom takes on the Marvel Universe in Doom All-On-One #1. We look at the story, artwork, unique format and InHyuk Lee variant cover.
This Doom All-On-One #1 comic review looks at Marvel’s oversized 2026 Doctor Doom one-shot from writer Al Ewing and artist Alessandro Cappuccio. The story sends Doom into Hell for one of his greatest challenges yet, forcing him to battle his way through the Marvel Universe in an attempt to free his mother’s soul.
This copy features the striking InHyuk Lee Variant Cover, presenting Doctor Doom surrounded by blue energy in a dramatic full-body portrait.
InHyuk Lee’s variant gives Doctor Doom a powerful, almost supernatural presence. Doom stands surrounded by blue energy and smoke, his armor partially disappearing into the dark background while the Fantastic Four emblem on his chest provides an immediate connection to Marvel’s First Family.
The restrained color palette makes the glowing blue effects stand out, while Doom’s imposing stance gives the cover the kind of commanding presence collectors have come to expect from InHyuk Lee’s work.
Doom All-On-One #1 centers on one of the defining parts of Victor Von Doom’s history: his repeated attempts to challenge Mephisto and free the soul of his mother.
This time, however, the challenge becomes considerably larger. Doom finds himself battling across Hell while facing the Marvel Universe itself.
Writer Al Ewing takes a premise perfectly suited to Doom’s legendary ego. Most heroes would look at an entire universe standing against them and recognize impossible odds. Doom looks at the same situation and assumes everyone else is outnumbered.
The format is also unusual. Rather than presenting the story through conventional comic layouts, the issue is constructed around 50 widescreen, landscape-oriented splash pages. The approach makes the book feel less like a traditional monthly comic and more like a sequence of enormous action set pieces.
That structure fits the character particularly well. Doctor Doom has never been known for subtlety, and a story built around Doom fighting essentially everyone gives the creative team an excuse to make every confrontation feel enormous.
Alessandro Cappuccio’s artwork is one of the biggest reasons Doom All-On-One stands out.
The landscape-oriented format forces the reader to approach the pages differently from a standard Marvel comic. Each spread emphasizes scale, movement, and spectacle rather than traditional panel-to-panel storytelling.
That makes the artwork especially important. Cappuccio has to communicate the progression of the battle while still making each widescreen composition work as an individual piece of art.
The Hell setting also provides plenty of opportunities for dramatic lighting, supernatural environments, and massive confrontations involving familiar Marvel characters.
For this particular variant, InHyuk Lee’s cover provides a very different interpretation of Doom. Rather than focusing on the enormous battle inside the issue, Lee concentrates entirely on Victor himself, presenting Doom as the dominant figure surrounded by cold blue energy.
Doctor Doom has always been one of Marvel’s most complicated villains because his arrogance exists alongside genuine loyalty, determination, and an obsessive desire to save his mother.
Doom All-On-One #1 builds directly around that contradiction.
His battle against Mephisto is not simply another attempt to conquer something. Doom’s motivation comes from one of the most personal elements of his history: Cynthia Von Doom and the fate of her soul.
At the same time, Doom remains Doom. Even when confronted with seemingly impossible opposition, surrender is never part of the equation.
That combination of personal motivation and overwhelming arrogance is precisely what makes Victor Von Doom such an enduring Marvel character.
Doom All-On-One #1 has several features that make it interesting from a collector standpoint.
It is a 64-page one-shot, features Doctor Doom as the central character, is written by Al Ewing, and uses an unusual landscape-oriented storytelling format built around 50 large splash pages.
The issue was also released with several variant covers, including incentive variants and a foil edition.
The InHyuk Lee Variant is a standard variant rather than a ratio incentive, so rarity should not automatically be assumed. Its appeal comes primarily from the artist and the strength of the Doctor Doom image itself.
InHyuk Lee has become a popular modern Marvel cover artist, and Doctor Doom remains one of Marvel’s most collectible villains. That combination gives this particular version strong appeal for both Doom collectors and fans who specifically follow Lee’s variant work.
As with most newly released variants, long-term value will depend on demand after the initial release rather than simply the existence of a variant cover.
Doom All-On-One #1 takes one of Doctor Doom’s most personal conflicts and turns it into a deliberately enormous Marvel spectacle.
Al Ewing’s premise plays directly into everything that makes Doom entertaining: impossible odds, absolute confidence, personal obsession, and the unwavering belief that Victor Von Doom is always the most dangerous person in the room.
The landscape-oriented presentation also gives Alessandro Cappuccio an opportunity to make the issue visually different from the average Marvel one-shot.
For collectors, the InHyuk Lee Variant provides an especially strong Doctor Doom cover without requiring the premium associated with a ratio incentive.
Recommended for Doctor Doom fans, Fantastic Four readers, InHyuk Lee collectors, and anyone looking for an unusual Marvel one-shot built around oversized action.
Doom All-On-One #1 InHyuk Lee Variant is available from Razmataz Comics & Hobbies at razmatazcomics.com while supplies last.
This Alien vs. X-Men #1 comic review looks at Marvel’s 2026 crossover bringing the X-Men face-to-face with the deadly Xenomorphs. Written by Kieron Gillen with additional material by legendary X-Men writer Chris Claremont, the first issue launches a science-fiction horror crossover that fits naturally into the X-Men universe.
This copy features the John Romita Jr. Cover E Foil Variant, with Wolverine caught in a brutal close encounter with a Xenomorph.
John Romita Jr.’s foil variant puts Wolverine directly beneath a towering Xenomorph, with the Alien dominating the composition while Wolverine fights from a decidedly bad position. The red background, acidic green highlights, and massive black Xenomorph make the cover immediately recognizable even before the foil treatment catches the light.
It is exactly the kind of crossover image collectors expect from Alien vs. X-Men: Wolverine, claws, acid blood, and one very angry Xenomorph.
Alien vs. X-Men #1 wastes little time bringing the two properties together. The X-Men head into deep space searching for what they believe is a Phoenix egg, but their mission uncovers something considerably more dangerous. When they return to Earth carrying deadly cargo, the Xenomorph threat comes with them.
The concept works because the X-Men already have a long history with extraterrestrial threats, body horror, and creatures such as the Brood. Dropping Xenomorphs into that environment feels much more natural than the title might initially suggest.
Kieron Gillen’s lead story approaches the crossover as a large-scale action and horror story rather than burying the reader in continuity. That makes the first issue relatively easy to jump into even if you are primarily an Alien fan rather than a regular X-Men reader.
The issue also includes additional material by Chris Claremont involving Kitty Pryde, the Brood, and the Xenomorphs. Bringing Claremont back into an X-Men science-fiction horror setting gives the issue another strong connection to classic X-Men history.
Geraldo Borges handles the main story with artwork suited to both superhero action and the darker science-fiction atmosphere of Alien. The Xenomorphs need to feel physically dangerous even when placed opposite mutants with extraordinary powers, and the visual presentation helps maintain that threat.
Andrew Dalhouse’s colors reinforce the contrast between the traditional X-Men visual language and the darker environments associated with Alien.
David Messina provides artwork for the additional story material, giving that section its own visual identity.
For this particular copy, however, the immediate visual attraction is John Romita Jr.’s foil variant cover. Wolverine and a Xenomorph are natural subjects for Romita’s heavy lines and exaggerated action, and the foil treatment makes an already aggressive cover stand out even more.
Alien vs. X-Men #1 is primarily concerned with establishing the crossover threat, so character development takes a back seat to setup and action.
Wolverine is an obvious fit for this type of story. His aggressive fighting style, healing factor, and willingness to get dangerously close to an enemy make a Xenomorph encounter especially entertaining.
Kitty Pryde also receives additional attention through Chris Claremont’s material. Pairing Kitty with both the Brood and the Xenomorphs gives the issue another strong link to the horror and science-fiction side of X-Men history.
The first issue is less about changing these characters and more about seeing how familiar X-Men personalities react when placed against one of science fiction’s most recognizable monsters.
Alien vs. X-Men #1 has several things working in its favor as a collectible. It is the first issue of the crossover, combines two major franchises, features Chris Claremont contributing additional X-Men material, and was released with several distinct variant covers.
The John Romita Jr. Cover E is a foil variant with an original $8.99 cover price. Unlike the higher-ratio incentive variants released for the issue, this version was not an incentive-exclusive cover, so scarcity should not automatically be assumed.
Its long-term value will depend heavily on collector demand for the crossover and the individual cover. The combination of Wolverine, a Xenomorph, John Romita Jr. artwork, and foil presentation gives this version strong display appeal even without artificial scarcity.
Alien vs. X-Men #1 is exactly the kind of crossover that sounds unusual until you remember how much X-Men history already overlaps with science-fiction horror. Xenomorphs, the Brood, Wolverine, and Kitty Pryde make for a combination that feels considerably more natural than the title might initially suggest.
The first issue delivers the setup, action, and recognizable characters expected from a crossover while leaving room for the conflict to escalate over the remaining issues.
For collectors, the John Romita Jr. foil is one of the more visually distinctive standard variants for the issue. At an $8.99 original cover price, it is also a more accessible alternative to the higher-priced incentive covers.
Recommended for X-Men readers, Alien fans, Wolverine collectors, and anyone who enjoys unusual Marvel crossover events.
Alien vs. X-Men #1 John Romita Jr. Foil Variant is available from Razmataz Comics & Hobbies at razmatazcomics.com while supplies last.