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The first time Teen Titans Go! was used as a title on a DC Comics property was with the comic book spin-off of the 2003 Cartoon Network Teen Titans animated series created by Glen Murakami. The show went on for 5 seasons, officially ending in 2006 with a movie. 

A very popular show in its time, Teen Titans eventually spun off another animated TV show on Cartoon Network, this one titled Teen Titans Go!, and was developed by Aaron Horvath and Michael Jelenic. Still ongoing, it was launched in 2013 following the popularity of DC Nation’s New Teen Titans shorts. The series is only loosely connected to the original show, featuring occasional references and cameos but adopting a far more comedic and parodic tone.

Primarily aimed at a younger audience, Teen Titans Go! quickly became a cultural phenomenon, noted for its self-aware humour, fast-paced gags, and frequent pop culture references. Like its predecessor, this new series has also received its own comic book spin-off, expanding the franchise into print while maintaining the humour-driven style and broad appeal of the show.

Read More »Teen Titans Go! Comics Reading Order

If you have read American superhero comics or searched for unconventional indie titles over the past three decades, you will certainly have come across Grant Morrison’s work.

Born in 1960 in Glasgow, Scotland, Morrison emerged in the British comics scene during the late 1970s and early 1980s, gaining recognition with comics such as Zenith (1987-1992) for 2000 AD before following Alan Moore‘s steps and joining the “British Invasion” of writers recruited by DC Comics who reshaped American superhero comics during the 1980s and 1990s.

Morrison began in 1988 with Animal Man, which quickly earned acclaim for its postmodern take on the superhero genre, combining environmental themes with metafictional commentary. This was followed by Doom Patrol, where Morrison’s surreal and avant-garde storytelling redefined the series and solidified their reputation for revitalizing obscure characters. By the early 1990s, Morrison had become central to DC’s publishing strategy, contributing both to mainstream superhero titles and the emerging Vertigo imprint.

After a period at Marvel in the early 2000s, Morrison returned to DC to lead a new era of high-profile projects, ambitious narratives, and large-scale crossover events, consolidating their reputation as one of the publisher’s most innovative and influential writers. Today, Morrison’s work is regarded as essential to the modern DC canon, with their influence visible across the company’s most notable publications.

And now, let’s take a closer look at Morrison’s works at DC Comics!

Read More »A Guide to Grant Morrison comics at DC Comics

With the launch of the Batman: The Animated Series, a new and popular version of the DC Comics universe found its way to a new generation of fans. While not connected to the main line of comics, it borrowed a lot, adapted many comics into episodes, and also created new stories and characters that would eventually be later introduced in the canonical timeline of the post-Crisis DC Comics Universe.

With its easily recognizable art style and its own developing universe, Batman: TAS opened the way for what we know call the DC Animated Universe. Guided by producers Bruce Timm, Paul Dini, Alan Burnett, and others, it’s whole universe of animated shows that was created with Superman: The Animated Series (1996–2000), Batman Beyond (1999–2001), and Justice League (2001–2004) along with its follow-up Justice League Unlimited (2004–2006), but also a new line of comics was launched.

Although primarily aimed at younger readers, the comics were noted for their storytelling quality, which appealed to a broader audience. It often introduced original characters, bridged episode narratives, and explored side stories within the DCAU continuity. Serving both as accessible entry points for new readers and as canonical expansions of the animated franchise, the comics were typically written and illustrated by creators closely associated with the animated productions, including Kelley Puckett, Ty Templeton, and Rick Burchett, ensuring fidelity to the shows’ tone, characterizations, and art style.

Over time, the DCAU comics evolved into a cohesive publishing universe in their own right. The universe has been revisited through miniseries, specials, and digital-first projects well into the 2020s, establishing it as one of DC Comics’ most enduring multimedia spin-offs.

Read More »DCAU Comics Reading Order: The Extended DC Animated Universe

With a name like that, it’s no surprise that Big Barda is no ordinary warrior among the DC Comics superheroes. She’s one of the New Gods. Created by writer and artist Jack Kirby, Barda made her first appearance in Mister Miracle #4 (1971), as part of Kirby’s “Fourth World” saga.

A warrior raised on the planet Apokolips, Big Barda was trained to lead the Female Furies, an elite fighting force in the service of the tyrant Darkseid. After aiding Scott Free, also known as Mister Miracle, to escape from their world, she accompanied him to Earth, where the two built a life together outside of Darkseid’s control. Their marriage became one of the most enduring partnerships in the DC Comics universe.

Depicted as physically imposing (way more than her husband) and exceptionally skilled in combat, Barda quickly distinguished herself as one of the most powerful female characters in the DC Universe. On Earth, she has been a member of the Justice League and also joined the Birds of Prey. 

Read More »Big Barda Reading Order, The Fiercest of DC Comics Furies