10 Current DC Comics Titles You Should Be Reading

When Wonder Woman relaunched, then-writer Greg Rucka had the daunting task of trying to iron out some of the wrinkles in Diana’s muddled history. Using alternating timelines as a storytelling device, Rucka retconned several elements of the previous Wonder Woman run under the guise that it was all an illusion, while also revisiting her origin growing up on Themyscira. Since then, we’ve sadly parted ways with Rucka and artists Nicola Scott, Bilquis Evely, and Liam Sharp, but Shea Fontana’s “Heart of the Amazon” storyline was an excellent spiritual successor to the previous creative team’s ambitious and successful overhaul of the Amazon Princess’ somewhat confusing backstory. Now, we have “Children of the Gods” and “Times Past” to look forward to, which will see the DC Comics-return of the immensely talented James Robinson, with alternating art teams consisting of Carlo Pagulayan and Emanuela Lupacchino.

What began as a political thriller that expertly blended the theme of post-9/11 paranoia with elements reflecting the current geopolitical climate has since become a Game of Thrones-esque tale of corruption, betrayal, and a power struggle that threatens to drive Atlantis to an all-out war. Even after switching from biweekly to monthly shipping, Dan Abnett hasn’t allowed the momentum of this series to slow down, and one can even argue that the schedule change has led to an increase in overall quality. Of course, the addition of artist Stjepan Sejic is certainly a contributing factor, as well, as his painterly, photo-realistic style pairs beautifully with Aquaman’s new, darker tonal shift. 

Everything about Joshua Williamson’s Flash run thus far has been an absolute blast. Each and every issue is appropriately fast-paced (this is a speedster book, after all), but these easy-to-digest chapters never come at the expense of leaving the reader feeling shortchanged. Quite the opposite – or “reverse” – in fact, as Williamson strikes a brilliant balancing act that results in stories that read quick while still giving you plenty of bang for your buck, particularly when it comes to the characterization of Barry, his complex relationship with both Iris and Wally, and his attempt to cope with his new Negative-Flash powers. Plus, what other book has the distinction of boasting a rotating roster of three amazing artists such as Carmine Di Giandomenico, Neil Googe, and Howard Porter? Well, it’s funny you should ask that…

Much like Superman, the depiction of Oliver Queen/Green Arrow during the New 52 left somewhat of a bad taste in the mouths of readers, largely due to the absence of his romantic history with Black Canary, his friendship with Hal Jordan, and worst of all, his quintessential Van Dyke beard. Thankfully, with the advent of Rebirth, Benjamin Percy immediately restored the first two omissions, and Ollie and Hal were finally reunited in the pages of Green Arrow #30. Perhaps the biggest return to form for the character, though, is his portrayal as a socially and politically conscious figure, which is a crucial aspect of his long and storied history. In terms of visuals, Green Arrow is perhaps one of the best-looking books on the stands thanks to the three alternating artists: Otto Schmidt, Juan Ferreyra, and Stephen Byrne. Each man brings something unique to the title, such as Schmidt’s sharp, rigid linework, Ferreyra's detailed, painterly style, and Byrne’s lively, animated aesthetics. Still, despite this, their styles complement each other enough where it doesn’t feel too jarring when switching from one artist to the next as it sometimes does in other books. 

In the eyes of many readers, Detective Comics was the other Batman book; the “B” title, if you will. However, since James Tynion IV took the reins, Detective Comics has not only continuously been able to compete with Tom King’s Batman as the number one Bat-book, but it’s also become one of, if not the best team book in the entire line. The decision to turn this series into a Bat-family title was brilliant, and Tynion’s ability to juggle the title’s diverse and dynamic ensemble cast and ensure that each of their voices is heard is impressive, to say the least. What’s even more impressive is that he’s managed to do this so successfully throughout his entire run while still allowing time to shine the spotlight on individual team members in each arc. In fact, Tynion has probably done more with Basil Karlo/Clayface this past year than any other writer. Admittedly, the art teams haven’t been as consistent as the core Batman title and it’s not too uncommon to see fill-in or guest artists from time to time, but regardless of who’s providing the imagery, whether it be Alvaro Martinez, Eddy Barrows, or anyone else on DC’s roster, they always pull their weight. And speaking of Barrows, he – along with Tim Drake – will be returning to the series in the highly anticipated upcoming arc, “A Lonely Place of Living.”

Action Comics is to Superman what Detective Comics is to Batman in the sense that it generally rivals the main character’s core title in terms of quality, despite not having one definitive artist, per se (Patrick Zircher and Stephen Segovia are on the title often, though). However, while Detective is often heavier on emotional beats and character development than Batman, Action is where Superman fans can go for just that: Action. That’s not to say this book is nothing more than punch-‘em-up slugfests, but while Superman explores more of the Kent’s family dynamic, Dan Jurgens’ stories tend to bypass the Man of Steel’s home life in favor of what happens while he’s in costume. Nevertheless, Lois and Jon do still play a significant role in most issues, which complements Superman’s new post-Rebirth status quo as a husband and a father, but more so through introspection than exposition (Jurgens is unparalleled when it comes to Clark’s internal monologue). Currently, we’re in the midst of “The Oz Effect,” which is unraveling the mysteries surrounding Mr. Oz, and while we’re only one issue in at the time of this writing, it’s off to a solid start, with more outstanding art from Viktor Bogdanovic (plus an issue from Zircher) to look forward to in the coming weeks.

Christopher Priest’s Deathstroke run has been arguably one of DC’s wildest rides under the Rebirth banner. We’ve witnessed Slade at his most despicable, his most vulnerable, and even his most compassionate. He’s donned costumes old and new, he’s been blind, he’s been a father, he’s been an assassin, he’s been a symbol for gun control, and currently, he’s a mentor of sorts to a group of young superheroes in an attempt to redeem himself. At this point, nothing Slade does should feel surprising, and that’s because Priest has meticulously shaped the character into a man whose reserved sense of unpredictability is second only to the speed of his trigger finger. Aesthetically, the book has featured such talent as Larry Hama, Bill Sienkiewicz, and Carlo Pagulayan, but Diogenes Neves’ art in the current “Defiance” arc – with hyper-precise linework and outstanding attention to detail – has significantly raised the bar for Deathstroke moving forward.

Tom King’s Batman has proven to be one of DC’s more polarizing titles, but that’s not necessarily a bad thing. After all, how many readers criticized Scott Snyder for his year-long “Zero Year” storyline and then went on to say that he and Greg Capullo’s 51-issue run was the definitive modern take on Batman? The fact of the matter is, some readers might not be able to fully appreciate what King is building in his Batman run until they’re able to look at it as a whole, rather than in a serialized format. His manner of storytelling is akin to such industry greats as Frank Miller and Alan Moore in the sense that it’s very nuanced, very distinct, and yes, it does sometimes ask something of the reader. However, those who are willing and able to give what is asked are greatly rewarded for their efforts. As of right now, we’re being asked to take a pause from the present day, where Batman proposed to Catwoman, and instead journey back to the early part of the Dark Knight’s career in “The War of Jokes and Riddles,” which – coincidentally – takes place not long after the aforementioned “Zero Year.” It’s been great to see what King is capable of with two of the most iconic members of Batman’s rogues gallery, and the added bonus is artist Mikel Janin, whose photo-realistic characters, hyper-detailed settings, and avant-garde layouts tell an equally compelling story in their own right. 

As alluded to earlier, the brash young Superman of the New 52 was one of the elements of the post-“Flashpoint” DCU that felt most out of place for many readers. DC was cognizant of this, and although that version of the character died and was replaced by the pre-“Flashpoint” Man of Steel, their histories became intertwined thanks to the events of “Superman: Reborn,” thus staying true to Geoff Johns’ original Rebirth vision. However, even before the final nail was put into the New 52 coffin, so to speak, Peter J. Tomasi and Patrick Gleason had been gifting readers with some of the most memorable and heartfelt Superman stories in years (see Superman #7). Clark’s role as a father and husband is every bit as important as his role as a superhero, and his newfound depiction as a family man has managed to accentuate his status as the DCU’s Big Blue Boy Scout more so than ever before. After all, Clark became the altruistic symbol of hope readers know and love because of the values instilled in him by his own parents, and now we get to witness him pass that on to Jon while also protecting the world on a regular basis. It’s not rocket science – it’s Inspirational Superheroes 101, and Tomasi and Gleason are true masters of the craft. They aren’t alone in their endeavors, either, because when Gleason isn’t pulling double duty on both story and pencils, the team is joined by top-notch artists such as Doug Mahnke, Jorge Jimenez, Scott Godlewski, and Ian Churchill, just to name a few. Superman is very much the epitome of what Rebirth is about, and everyone at DC who’s had a hand in his stories over the past 16 months deserves praise for reinvigorating the publisher’s flagship character.