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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.
This Sonic the Hedgehog #90 comic review looks at the latest chapter in IDW Publishing’s Road to #100, with Silver the Hedgehog and Blaze the Cat caught in the increasingly suspicious hospitality of Blackwood the Ermine. Released September 30, 2026, issue #90 continues the gothic mystery surrounding Blackwood Castle while pushing Silver and Blaze deeper into a situation where almost nothing is as pleasant as it first appears. Grand Comics Database
Title: Sonic the Hedgehog
Issue: #90
Series: Sonic the Hedgehog (IDW, 2018 Series)
Publisher: IDW Publishing
Release Date: September 30, 2026
Cover Price: $4.99
Writer: Evan Stanley
Pencils: Alex Forrest
Inks: Rik Mack
Colors: Iasmin Omar Ata
Letters: Ed Dukeshire
Cover Variant: Cover B
Cover Artist: Abby Bulmer
UPC: 82771401521809021 Grand Comics Database
The Abby Bulmer Cover B gives collectors an alternate presentation of issue #90 separate from Natalie Haines’ regular Cover A and Nathalie Fourdraine’s retailer-incentive cover. Cover B is a standard $4.99 variant rather than the 1:15 incentive edition, making it an accessible choice for Sonic fans who enjoy collecting alternate artwork. Grand Comics Database
Sonic the Hedgehog #90 continues the Blackwood Castle storyline with Blaze and Silver separated by very different approaches to their unusual host. Blackwood focuses his attention on Blaze, treating the princess to an elaborate tour of his estate while presenting himself as the perfect gentleman. Blaze remains outwardly diplomatic, but it becomes increasingly clear that she does not entirely trust either Blackwood or the carefully maintained world around him. Sonic City
Silver takes the more investigative route. The strangely cheerful castle staff and unusual behavior he witnessed previously give him good reason to start looking beneath the polished surface. That creates a nice balance between Blaze dealing with Blackwood directly and Silver quietly trying to determine what is actually happening inside the castle. Sonic City
The gothic setting works particularly well here. Rather than relying entirely on action, the story builds tension through suspicious behavior, political maneuvering, strange technology, and Blackwood himself. The mystery becomes increasingly uncomfortable as the issue progresses, eventually pushing Blaze and Silver toward a much more dangerous confrontation. Sonic City
Alex Forrest’s pencils and Rik Mack’s inks give Blackwood Castle the grand appearance the story needs. The enormous architecture, formal interiors, snowy surroundings, and carefully presented servants make the castle look impressive while still creating the feeling that something is very wrong underneath the surface. Sonic City
Iasmin Omar Ata’s colors help separate the colder castle environment from Blaze’s fire and Silver’s cyan psychokinetic powers. When the story moves from mystery into action, those contrasting visual effects make the characters and movement easy to follow. Sonic City
The strongest character work in Sonic the Hedgehog #90 comes from Blaze and Silver. Both realize something is wrong, but their personalities lead them toward completely different ways of dealing with it.
Blaze relies on patience, diplomacy, and her experience as a princess while dealing directly with Blackwood. Silver is more willing to follow his instincts and investigate the strange behavior around him. Their different methods occasionally create friction, but the story makes it clear that both characters are ultimately trying to protect each other and uncover the truth. Sonic City
Blackwood also continues to develop into more than a simple villain. His exaggerated politeness, obsession with his family history, and theatrical personality make him entertaining while keeping readers unsure of exactly how dangerous he may become.
Issue #90 is notable as part of IDW’s Road to #100, putting the series only ten issues away from its hundredth numbered issue. For collectors, the Abby Bulmer Cover B provides an affordable alternate cover without requiring the premium usually associated with a ratio incentive. Comicade
This is also a particularly good issue for fans of Silver and Blaze, since the story places both characters at the center rather than treating them as supporting characters.
Sonic the Hedgehog #90 delivers a strong combination of mystery, humor, character development, and action. The Blackwood Castle storyline gives Silver and Blaze plenty to do individually while continuing to develop their relationship as a team.
The gothic atmosphere helps this arc feel different from a typical Sonic adventure, and the creative team makes Blackwood’s castle both impressive and increasingly unsettling.
For Sonic readers following the Road to #100, issue #90 is an easy recommendation and leaves plenty of reason to continue into issue #91.
Rating: 8/10
Sonic the Hedgehog #90 – Abby Bulmer Cover B Variant is currently available from Razmataz Comics & Hobbies.
This Vampirella #22 comic review examines Dynamite Entertainment’s stunning Variation C cover by Shannon Maer. Published in August 2021, this Vampirella (7th Series) #22/C Comic Review – Dynamite Entertainment
This review takes a look at Vampirella (7th Series) #22/C, published by Dynamite Entertainment in August 2021. Featuring a striking Shannon Maer retailer variant cover, this issue continues Christopher Priest’s intricate and psychological take on the Daughter of Drakulon while delivering dark supernatural themes, political manipulation, and layered storytelling.
Limited retailer virgin edition featuring a highly detailed painted-style cover by Shannon Maer showcasing Vampirella in a dark atmospheric composition.
Christopher Priest continues building one of the more complex and continuity-heavy runs in modern Vampirella history. Rather than focusing strictly on horror action, Priest leans heavily into layered timelines, political conspiracies, unreliable narration, and the psychological burden carried by Vampirella herself.
Issue #22 advances several ongoing plot threads while continuing the tension surrounding Vampirella’s role as both protector and potential destroyer. Priest’s writing style rewards longtime readers, with callbacks and subtle dialogue moments adding depth to the unfolding story. The pacing is deliberate, but the issue delivers enough intrigue and supernatural conflict to maintain momentum.
Vampirella herself remains one of the strongest aspects of the series. Priest portrays her not simply as a horror icon or vampire antihero, but as a conflicted immortal struggling with responsibility, identity, and manipulation from forces around her. The issue balances internal character drama with moments of supernatural suspense and political maneuvering.
The dialogue throughout the comic feels intelligent and mature, often demanding close attention from the reader. While newer readers may occasionally feel lost due to the continuity-heavy structure, longtime fans will appreciate the depth and ambition of the storytelling.
The interior artwork by Ergün Gündüz and Marc Borstel continues the dark gothic aesthetic that defines this Vampirella run. Character expressions are sharp and emotionally detailed, helping reinforce the tension and psychological weight carried throughout the story.
The use of shadows, dramatic lighting, and muted color palettes creates an atmosphere that feels simultaneously supernatural and noir-inspired. Mohan Sivakami’s coloring work especially stands out during darker sequences, adding richness and cinematic depth to many panels.
The Shannon Maer retailer virgin variant cover is easily one of the highlights of this release. Maer’s hyper-detailed painted style gives Vampirella an almost photorealistic appearance while maintaining the seductive gothic energy fans expect from the character. The composition, lighting, and color contrast make this one of the more collectible covers from the issue’s variant lineup.
Vampirella variant covers remain highly collectible, particularly retailer incentive and virgin variants featuring popular artists like Shannon Maer. This #22/C variant has maintained interest among collectors due to both the artwork and the continuing popularity of Priest’s run on the character.
Collectors who focus on:
will likely view this issue as a desirable addition to a Vampirella collection.
Condition-sensitive collectors should pay particular attention to spine ticks and edge wear due to the dark cover design, which tends to reveal flaws more easily under direct light.
Vampirella #22/C delivers another strong chapter in Christopher Priest’s ambitious reinvention of the iconic horror heroine. While the storytelling may feel dense for casual readers, fans invested in the ongoing narrative will appreciate the layered writing, atmospheric artwork, and strong character development.
Combined with Shannon Maer’s visually stunning retailer virgin variant cover, this issue stands out as both a compelling read and a collectible modern Vampirella release.
Overall Rating: 8.5/10