HERE BE SPOILERS!

Batman: Hush first appeared in Batman issues #608 to #619 between 2002 and 2003. Written by Jeph Loeb and brought to life through the dynamic artwork of legendary DC artist Jim Lee, this story arc stands as one of the most celebrated entries in the Batman anthology. It weaves an intricate tale about Bruce Wayne's past and present, blurring the lines between heroism and villainy. The story does more than just pit Batman against the usual suspects — it challenges the very foundations of Bruce's life and morality.

The story begins with Bruce as Batman pursuing Catwoman (Selena Kyle) after she steals the ransom money meant to free a kidnapped boy. Going up against Catwoman, his on-again-off-again nemesis/love interest/person he just can't quit, is perhaps representative of the overarching theme of Batman: Hush. The story is a landscape of trust and betrayal, depicting Batman's allies and adversaries in shades of gray until even The Dark Knight is unsure who he can trust and who he cannot. During the chase, Batman fractures his skull when his grappling line is mysteriously cut. To treat this life-threatening injury, Alfred Pennyworth follows Bruce's instructions and calls upon the expertise of Dr. Thomas "Tommy" Elliot, a childhood friend. 

Both Bruce and Tommy have similar privileged backgrounds, and both inherited their vast family fortunes at a young age after the tragic deaths of their parents. While Bruce cultivated a public image as an aging playboy to hide his secret identity, Tommy rose to public prominence as a gifted neurosurgeon. Tommy's expertise saves Bruce's life, but their unexpected reunion conjures memories of a complex past filled with unresolved issues and hidden resentments.

It is ultimately revealed that it was Riddler who used the Lazarus Pit to cure himself of a deadly disease when Tommy Elliot was unable to help him. But immersion in the Pit's magical waters had an unexpected side-effect: it provided The Riddler with an epiphany about Batman's true identity. Sharing the revelation with Tommy, the two villains plotted together to bring down their common enemy by manipulating friends and foes alike. 

In many ways, Tommy Elliott represents the antithesis of Bruce Wayne — personifying a path Bruce might have taken had he grown up in an abusive and manipulative environment and been afforded the same wealth and resources. Where Bruce channels his resources and trauma to fight for justice, Tommy capitalizes on his intelligence and wealth to enact revenge. 

(And if you're wondering about the inclusion of Jason Todd, well, his subplot in Batman: Hush was later retconned  in the "Under the Red Hood" by Paul Dini and Dustin Nguyen. See Jason Todd's Empty Grave for more on this.)

​In a nutshell, Batman: Hush is a masterclass in storytelling, blending action, mystery, and character depth. It's a must-read for capturing the essence of Batman's enduring appeal—his resilience, his humanity, and the never-ending battle against the darkness, both external and internal. If there’s one deficit, it’s simply that the plot is often over-complex with too many characters plays a role. Frankly, a simpler plot would’ve move along better. That being said, I give major kudos to Jeph Loeb for really embracing the “Batman as detective” concept. The book does play out like a master whodunit, complete with red herrings and enough clues that the reader can probably figure it out on their own if they’re paying attention. It’s no wonder why Batman: Hush remains one of the most iconic comic series of all time.

OTHER EDITIONS OF HUSH, PART 1: Batman: Hush (New Edition, 2019) , Batman: Hush: DC Compact Comics Edition, Batman: Hush 20th Anniversary Edition, Absolute Batman: Use (New Edition), Batman: The Hush Saga Omnibus

Dick Grayson, the former Boy Wonder is unstoppable as Nightwing — one of DC Comic's most beloved characters! And Nightwing fans can look forward to plenty of new book releases between now and 2026! Available titles in order of release:

The Gentleman's Guide to Vice and Virtue by Mackenzi Lee is a historical novel which appeals on many levels. At times, it is a throwback to the sentimental romantic literature of the 18th century (during which it is set), a peep show into the seamier side of the British aristocracy, an institution well practiced at hiding scandal, corruption and basic human compulsions behind wealth, power and rigid class structure. (If you’ve read anything by Jane Austen you will have some sense of how this highly stratified society works.) At times, it has elements of a modern romantic comedy, with three young protagonists trying to navigate family drama while finding their places in society. Finally, it is an awkward coming-out tale for its aristocratic narrator, Henry “Monty” Montague — although the concept of “coming out” would have been unimaginable during his era.

Monty is the eldest son of a rich British nobleman and heir apparent to the old man’s vast wealth, lofty reputation and stifling social duties. By Monty’s own admission, he’s a constant disappointment to his unloving and highly traditional father. As the story opens, Monty is about to depart on an expected rite of passage for a young gentleman living in Georgian era England: a grand tour of the European continent. This traveling holiday will serve as his indoctrination into high culture and politics before returning to his family’s estate to assume his inherited duties. While Monty’s future promises splendid wealth and privilege, it is very much a gilded cage. Every aspect of his manhood will be dictated for him — and he knows it. The only problem is that Monty’s as anti establishment as a person could be, starting with the fact that he’s an unapologetic “buggerer,” a contemporary term meaning he likes boys as well as girls. Despite homosexuality being outlawed in England during this era, Monty doesn’t seem to mind who knows about his preferences, perhaps feeling immune to any legal consequences thanks to his title and position. For his father however, it is a source of recurring humiliation.

In order to keep Monty’s wild side under control, his father decides he will be accompanied to Europe by a strict chaperone named Mr. Lockwood; his younger sister Felicity, whom he barely tolerates; and his best friend Percy, with whom he’s secretly in love but who’s mixed-race heritage has made him a social pariah. While Mr. Lockwood intends to keep the young lord away from drink, gambling and debauchery, Henry manages to steal away from a banquet held at the French palace of Versailles with a royal courtesan. Their sexual encounter is interrupted by the woman’s lover — the former French prime minister — with whom Monty had a previous unpleasant encounter. To spite the man, Monty steals a small box from his desk, the contents of which inadvertently launches he, Percy and Felicity on a cross-continent treasure hunt with French assassins close on their heels. 

While The Gentleman's Guide to Vice and Virtue perhaps relies too much on Murphy’s Law — whatever can go wrong, will go wrong — it is an enjoyable and often moving romp. Monty is a hedonistic rogue, but also a fascinating narrator who reveals himself to be unexpectedly kind, passionate and damaged. His begrudging love for his traveling companions — he’s a man who outwardly eschews just sentimentality — is also his redemption. In the end, all three main characters buck the norms of their society: Monty due to his sexuality; Felicity due to her gender; and Percy due to his racial background. The ending of the book, while probably unlikely for real people of the 18th century, will certainly appeal to the more egalitarian audiences of the 21st century and is thus quite satisfying.

Mackenzi Lee’s The Lady's Guide to Petticoats and Piracy is the lively sequel to her best selling young adult novel, The Gentleman’s Guide to Vice and Virtue. The story is told from the perspective of Penelope Montague, the intellectual daughter of an abusive English Lord and sister to Henry “Monty” Montague, an aristocratic drunkard, fop and buggerer (to use the 18th century terms). Penelope and her party-boy brother couldn’t be any different if they tried, and the first book did an excellent job of showing both of their strengths and weaknesses as they became reluctant allies on a cross-continent adventure. Although Penelope played a supporting role in The Gentleman’s Guide, The Lady's Guide to Petticoats and Piracy is entirely her story.

When last we saw Penelope, Monty, and Monty’s lover, Percy, they were sailing with pirates in the Greek Isles, runways from their privileged but stifling places in English society. The Lady's Guide to Petticoats and Piracy picks up several years later. Penelope’s working for a kindly Scottish baker and has ambitions to become a physician at a time when being a midwife was the closest a woman could come to a medical career. After suffering numerous rejections from universities, a sympathetic physician encourages Penelope to reach out to Alexander Platt, a brilliant but unconventional doctor. This is a thrilling prospect for Penelope who has followed Platt’s career for years. In an unbelievable coincidence, Platt also happens to be engaged to Penelope’s former best friend, Johanna Hoffman. Penelope leaves for Austria in the company of a female pirate / bodyguard called Sim, who wants access to the Hoffman estate for reasons unknown. 

The rivalry between Penelope and Johanna is one of the best things about this book. As girls, they used the Montague’s sprawling estate as a backdrop for games about world exploration, becoming famous scientists and raiding lost temples. Then they grew up. Penelope remained serious and nebbish while Johanna became a “proper lady,” complete with frilly dresses, elaborate hairdos and an utter dependence on men. Although Penelope and Johanna manage to forgive each other for past transgressions, they still disapprove of each other’s life choices. Penelope considers Johanna silly and pretentious, and Johanna finds Penelope elitist and mean-spirited. 

Penelope‘s introduction to Dr. Platt is also a wake up call. The rogue physician is not only a drug addict, but not nearly as open minded as Penelope fantasized. Not only is he using Johanna for her wealth and social position, but to gain access to the scientific journals of her late mother, a woman who successfully bucked convention and became that world explorer Penelope and Johanna once fantasized about. Sim also has an interest in the journals, but it’s not until Johanna disappears just before her wedding that the importance of these writings becomes clear.

In many ways, The Lady's Guide to Petticoats and Piracy is superior to its predecessor with a more lively pace and a roster of interesting characters. McKenzi Lee does it skillful job making this Penelope‘s book, using Monty and Percy sparingly, and authentically depicting the roles and frustrations of European women of the Georgian Era. The hardest thing for Penelope to accept is just how stacked the system is against women — even women of privilege. Denied the freedom of education, movement, economics, and even marriage, the only thing Penelope has under her control is her intellect. And she uses it as often and as effectively as she can. 

Lee reminds the reader that women come in different forms and that they can be just as sexist towards each other as men. Whether it’s Penelope the bookish intellectual; Johanna the disgraced heiress; or Sim the roughhewn daughter of a pirate king; they all have skills and values they come to appreciate in each other... but not right away. On the downside, The Lady's Guide to Petticoats and Piracy suffers from too much coincidental happenstance, such as the aforementioned engagement between Johanna and Dr. Platt. (This was a problem with The Gentleman's Guide, too.) The ending also relies on a deus ex machina plot device which is never a satisfactory way to end any book. Regardless, there’s a lot to like here. Add this one to your reading list.

RELATED: Review of The Gentleman's Guide to Vice and Virtue | Historical Young Adult Collection

Damian's resentment towards Dick, whom he perceives as both a usurper and the "favored son," increases the tension. But despite their differences, the duo manages to work effectively, with only Comissioner Gordon and a few top members of the Gotham City Police Department suspecting that the man behind the mask may not be the original. Their initial mission involves capturing Mister Toad, a drug dealer who ominously promises revenge as they haul him off to jail. Soon after, there's an attack on the GCP headquarters by the Circus of the Strange, a group of criminals with grotesque deformities, led by Professor Pyg. Many officers are killed, due partly to Damian's rash behavior.

Although Morrison's book often feels muddled by numerous subplots and too many minor characters, it shines when Dick attempts to mentor a defiant Damian, with Alfred playing the role as confidante and counselor. This is reminiscent of Alfred's relationship with Bruce, and it's enjoyable to watch Dick struggle on how to get through to Damian — especially since most things come very easily to Dick. The story certainly contributes to the evolving Batman Family dynamics, but the introduction of Jason Todd feels like a missed opportunity. When Dick reaches out to the former Robin and encourages him to give up his murderous ways, he's rebuffed. 

"I tried really hard to be what Batman wants me to be... which was you," he tells Dick. "But his world... this dirty, twisted, cruel and ugly dungheap had... other plans for me." 

Honestly, I wanted more from Jason when he goes up against two other Robins for the first time — certainly more than just self-pity. 
​
As for Damian, his recklessness results in a high body count, but it may also serve as a catalyst for growth. Damian doesn't like or trust Jason, but they do have one thing in common: a philosophical disagreement with Batman's no-kill rule. But when Damian gets the extreme violence he seems to crave, he's the one lying on the ground bleeding. Will the injury be enough to temper his hubris? 

​Overall, Batman & Robin: Batman Reborn, Volume 1, offers engaging insights into the Batman Family dynamic, though it may not be the most cohesive story in the Batman universe. Volume 2 was released in September 2025 and details on it can be found in the call out box below. 

RELATED: Batman Collection | Damian Wayne Collection | Nightwing Collection | Red Hood Collection | Jason Todd's Empty Grave | Nightwing, Batman and Adoption Problems | 

On the verge of Halloween, let’s dive into the shadowy, mysterious world of Carmilla, a novella by Joseph Sheridan Le Fanu, a 19th century author known for his works of gothic horror and mystery. Written as a newspaper serial between 1871 and 1872, Carmilla is one of the earliest known works of vampire literature, predating Bram Stoker's Dracula by a good 25 years. So, let's sink our fangs into this lesser-known yet profoundly influential novella.

Carmilla embodies the quintessential elements of Gothic fiction: supernatural figures, old castles, dark and rambling forests, and superstitious townsfolk. The story unfolds in an Austrian castle, where a young woman named Laura lives a lonely, isolated life with her wealthy and widowed father. But everything changes when a carriage accident outside their home introduces them to Carmilla, a girl of Laura's age. Mysteriously, Carmilla bears a striking resemblance to a girl Laura dreamt about in her childhood. From the get-go, there's a magnetic pull between the two, hinting at the exploration of sexuality that makes Carmilla so groundbreaking.

Carmilla isn't just any vampire—she's the prototypical example of the lesbian vampire. Her relationship with Laura is emotionally intense and, theoretically, sexually charged. (It was the Victorian era, so don’t expect any overt sexuality within the text!) Unlike the male vampires of the era, Carmilla is deeply involved with her victims, establishing a mutual connection that defies the negative stereotypes of lesbianism prevalent in the 19th century. Le Fanu's portrayal of women challenges the Victorian view of women as mere possessions.
​
As the story unfolds, Laura begins to notice Carmilla's eccentricities. She never joins in household prayers, sleeps much of the day, and seems to sleepwalk outside at night. Meanwhile, young women in nearby towns begin dying from a mysterious malady. Laura herself suffers from nightmares featuring a large, cat-like creature leaping onto her bed, and her health starts to decline. 

In a quest for answers, Laura and her father journey to a nearby town to seek medical help. En route, they uncover an old tale of a girl who suffered in a similar way as Laura after a mysterious girl named Millarca came to stay with the family. The chilling revelation comes to light that Carmilla and Millarca are anagrams of the same name—and a vampire in disguise.

The tale reaches its climax with the intervention of a legendary vampire hunter who locates Carmilla's tomb and destroys her while she sleeps, immersed in blood. Laura's father takes her on a year-long Italian tour to help her recover, but the trauma lingers. Carmilla leaves an indelible mark on vampire lore, influencing countless adaptations over the years.

In 2023, Dark Horse Comics released Carmilla: The First Vampire, a fresh take set in 1990s New York City. Written by Amy Chu with artwork by Soo Lee, this graphic novel integrates snippets from the original story as the main character investigates a series of murders. The graphic novel went on to win the Bram Stoker Award for Superior Achievement in a Graphic Novel..

​So, if you haven't yet ventured into the eerie, seductive world of Carmilla, now's the time. It's a tale that not only entertains but also challenges societal norms and explores the complexities of human relationships. Happy reading!

RELATED FEATURES: Horror Book Collection | Supernatural Book Collection | Review: Summer Shadows Book 1 | The Bram Stoker Novel That Inspired The Mummy

It doesn't seem like thirty years is very long, and in the greater scheme of time, it is barely a hashmark on the cosmic calendar. But a different sense of time seems to apply to pop culture, which by definition is one of humankind's more transitory constructions. Whether it's a book, a song, movie or television show, pop culture has a tendency to age quickly and, for those who follow such things, become the focus for sentimentality almost immediately. Into this strange void in time and space falls the relatively new phenomenon of "science fiction archeology."

Okay, that's a term I totally invented so don't go to your local community college looking to major in this field, you geeks. Let me explain... To me, "science fiction archaeology" is something beyond the fanboy obsession with acquiring irrelevant and moldy movie props often at the cost of tens of thousands of dollars — you know, like almost anything you might find on icollector.com. It now involves an element of tourism, and yes, finding artifacts left behind by production companies decades ago because the prop handlers had no conception that some discarded rubber would mean anything to anyone ever. I first became familiar with the idea of "science fiction archeology" about two decades ago when I read an article in a fan magazine about the props and movie locations left behind in the Tunisian desert after the filming of Star Wars Episode IV. It turned out that remnants from the Lars homestead, Ben Kenobi's home and even those curious dinosaur-like bones C-3PO wandered passed were all still lying there in the hot desert sun... and some adventuring uber-fan had the wherewithal to photograph, document and write about them. This fascination with aging artifacts from a galaxy far, far away eventually culminated into a thriving tourist industry for Tunisia, a country few Americans could even locate on a map.

Into this atmosphere comes what may be the end-all-be-all archaeological (or at least archival) look at the first of these films: The Making of Star Wars: The Definitive Story Behind the Original Film, The Making of Star Wars: The Empire Strikes Back, The Making of Star Wars: Return of the Jedi. All three books were written by the late J.W. Rinzler, who was an executive at Lucasfilm Productions, a film historian and author who specialized in books about the behind the scenes of blockbuster movies . The latter title was just released this past October, and like its predecessor, has the fingerprints of George Lucas all over it. Lucas in a smart man in many, many respects. But when it comes to marketing, he may actually be some kind of crazy genius. He's certainly not oblivious to the fanaticism that surrounds his creation or how it can make true believers spend weeks traveling around the Tunisian wastelands just so they can take a photo of a hole in the ground where Mark Hamill once stood and stared into the sunset. He knew that thousands would pore over the pages of these books (as I did) in rapt awe of the anecdotes and never-before-seen photos of sets, costumes, effects and actors. And he knew that, while we did so, a strange aching dreaminess would sweep through us. In fact, I doubt if these books would have had quite the same appeal had they been released in 1980 when, by pop culture standards, Episode IV and V would have been young. Lucas understands that the passage of time, and with it the increase in sentimentality, gives even old Star Wars a new lease on life.

Considering the amount of detail in all the books, one might be tempted to refer to them as dissertations on the first three Star Wars films. But they are neither dry nor ponderous as you might expect from dissertations, nor are they solely about about how a costume was created or a makeup effect applied — the usual things that are written about science fiction. In fact, and much to my surprise, some of Rinzler's most intriguing parts are about doing business in 1970s Hollywood, where Lucas was often seen as an impetuous upstart by the establishment. Science fiction films that preceded Episode IV were typically slow-paced with heavy, cynical themes that often made them painful to watch. Lucas's concept, of creating a space opera that was heavily derivative of classical mythology, was expected to result in a "little summer movie." Pondering just how wrong the Hollywood execs were and how much they underestimated the human need for heroes and the vanquishing of evil is one of the most satisfying aspects of the books. And if you get tired of reading these 300+ page tomes, just wander through the voluminous photos, some so clear and sharp that you'd swear they had been taken yesterday. You will find your mind wandering, and maybe you will come away wondering what other bits of Star Wars legend are still lying undiscovered in some distant jungle, on an ice floe or in a dusty warehouse.

RELATED: Star Wars Book Collection | The Dark Side of Star Wars Toy Collecting | Five Things That Make The Mandalorian Great Star Wars | The Promise of Luke Skywalker in A Floppy Hat | Redemption for Star Wars | Welcome To The Jundland Wastes

The young man, though devoid of memory, is haunted by trauma and bears the physical scars of an explosion. DNA testing reveals the startling truth: this lost soul is none other than Jason Todd. Talia, defying her father's wishes, decides to rehabilitate Jason and immerses him in the Lazarus Pit, a mystical pool famed for its restorative powers. While the Pit revives Jason's memories, it also rekindles his trauma and resentment, particularly towards Bruce Wayne, who failed to avenge him by killing The Joker and has since replaced him with a new Robin, Tim Drake.

Driven by vengeance, Jason returns to Gotham, intending to blow up the Batmobile with his adoptive father inside. Yet, at the last moment, he cannot bring himself to kill Batman, opting instead for a more personal confrontation. He vows to Talia that he will face Batman and end his life with his own hands. Concerned by his growing instability, Talia fears she has unleashed a psychopath.

To prepare for his revenge, Jason infiltrates an international terrorist group, not to join their ranks, but to learn and refine his skills. His moral compass, though twisted, remains intact as he annihilates the terrorists upon discovering their involvement in human trafficking. He spends the next few years dismantling criminal organizations worldwide unti he ultimately decides to confront The Joker, the architect of his death, now free from incarceration. Yet, as he stands on the precipice of revenge, ready to immolate The Joker, Jason steps back. He confides in Talia that the conflict transcends mere revenge; it's a complex web entangling him, The Joker, and Batman. The story culminates with Jason embracing his Red Hood persona, setting the stage for Under the Red Hood.

Red Hood: The Lost Days is a masterful exploration of Jason Todd's trauma and the psychological intricacies that define his character. Judd Winick delves into the depths of Jason's psyche, unearthing the turbulent emotions and moral dilemmas that were often overlooked in earlier tales. Jason's hesitance to kill Batman, alongside his eradication of mobsters and terrorists, reveals a deeply ingrained moral code, though warped by his suffering.

His anguish is a tapestry of PTSD, a troubled childhood, resentment towards his adoptive father, jealousy over Tim Drake, and Talia's manipulative influence. The decision to portray Jason and Talia's relationship as sexual was an odd choice on Winick's part, considering the age disparity between the two, Talia's previously "motherly" affection for Jason, and her recurring relationship with his father. It raises questions — was it a further way to manipulate Jason?  Was it an expression of sympathy for the troubled Jason — or some form of revenge against Bruce for whom she has very complicated feelings? Whatever the case, it felt unnecessary.

In the final analysis, this book stands as one of my favorite Jason Todd stories, as it provides a profound insight into his emotional and psychological landscape. The narrative primarily exists outside the traditional "Batman universe," making it distinctly Jason's story. Batman's presence, when it appears, is mostly through flashbacks, reinforcing focus on Jason's journey.
​
The dark and emotive artwork complements Jason's tumultuous path and his internal struggle. What's more, Red Hood: The Lost Days not only solidifies the Red Hood character but lays the groundwork for Jason's eventual redemption and reintegration into the Batman Family.

RELATED FEATURES: Red Hood Collection | Batman Collection | Nightwing, Batman and Adoption Problems | Tim Drake Collection | Jason Todd's Empty Grave | When Jason Todd Helped Save Superman | Nightwing Collection

What If It's Us is a LGBTQ teen novel about two boys who have a chance encounter on the streets of New York City and spend the rest of their summer obsessing over each other. It's also a bit of a cautionary tale about the pitfalls of dating your friends... as by the end of the book all the characters are hooking up more freely than Rachel, Ross, Joey, Phoebe, Chandler and Monica. And yes, this causes problems.

The main characters are Arthur and Ben. Arthur's just in the city for the summer, doing an internship at his mother's high-powered law firm. He does very little work as he's more interested in Instagram stalking his friends back home, trying to score tickets for the HAMILTON Broadway Show, and checking out cute guys. While making a coffee run for the law firm, he runs into Ben on the street. Slightly older and much more experienced, Ben's on his way to the post office to mail off a box of belongings to his ex-boyfriend, Hudson. Arthur strikes up a conversation, but before he can ask for the stranger's name and contact info, Ben vanishes. The only clue Arthur has to his identity is a crumpled up mailing label with Hudson's name on it.

Both guys regret not learning more about the other, but Arthur takes it upon himself to begin a 21st century style investigation via social networking and web-stalking. Against the odds, he manages to locate Ben. But their reunion is still fraught with difficulties. Ben's not quite over Hudson... and Arthur's insecure and jealous. Plus, the clock is running out and Arthur will soon have to return home to Georgia.

The book is co-written by Becky Albertalli and Adam Silvera. The writing style, with each author assuming the voice of one of the characters, reminded me of Will Grayson, Will Grayson. Frankly however, I think it was done more effectively in that book than this one. While the two voices are distinct and nicely rendered, there's a lot of repetition of plot which slows down the action. Also, Arthur's whininess and obsession with pop culture becomes tiresome after a while. The latter issue even seems like fan-pandering. While putting constant modern day references, tons of emojis, teen slang, etc. into a book might connect with youth reading it in 2018, it will definitely date the book in the years to come. 

Overall, I enjoyed the book but the love story was the least interesting part for me. The first third of the novel, before the boys know who the other person was, is actually more intriguing. We've all had those chance encounters with others that seem to have promise but are then cut short. And our ignorance about who the other person actually is allows us to build our own stories about them. Romantic Arthur fantasizes that Ben will be a knight in shining armor who will heroically rescue him from his lingering virginity. Ben wonders if Arthur will the be "true love" he's been looking for but seems to keep sabotaging. While the quest for each other isn't enough to maintain the drama for the entirety of the novel, finding each other just kind of reinforces how incompatible they actually are yet I don't feel the book really addressed this. Instead, we get a "everything's OK" ending that really does feel like a FRIENDS episode. 

I liked Abertalli's Simon vs. the Homo Sapien Agenda much more, and I liked Silvera's voice for Ben more than Albertalli's voice for Arthur. But, that being said, What If It's Us is still a fun rom-com-style ride. 

RELATED: LGBTQ Book Collection | LGBTQ YA Collection on Bookshop.org

For three superlative novels, author Maggie Stiefvater has entranced us with the story of a group of high school students searching for the lost tomb of Owen Glendower (or Owain ap Gruffydd or Owain Glyndŵr), the Welsh “raven king” who lead an uprising against the British in the early 15th century. The Raven King concludes their search.

Glendower was a real historical figure, a capable military leader whose revolt was initially successful but ultimately doomed to fail before superior British technology and naval power. When his rebellion collapsed in 1409, Glendower when into hiding and was never found by his enemies. Likewise, his final resting spot remains unknown and from this mystery has sprung legend. Like King Arthur, Glendower’s myth promises that he can be “awakened” from death under certain conditions, and this is the starting point for Stiefvater’s books.

The teens in Steifvater’s Raven Cycle books are searching for Glendower’s bones in rural Virginia where they believe the ancient Welsh hid them from the British. Each of the characters has certain attributes which assist in this quest. Richard “Dick” Gansy is the group’s leader and a gifted historian. Ronan Lynch is a troubled classmate who can pull objects from dreams and make them manifest in the real world. Blue Sargent may not be a psychic like her mother, but she can amplify supernatural phenomenon at will. Adam Parrish is the magician who has a special relationship with the local ley line, a naturally occurring geological feature tied to the paranormal. And Noah Churney is the ghostly classmate who was murdered years earlier by a teacher who was also looking for Glendower. 

Purported to be the last book in the series, The Raven King, brings this long and complex adventure to an end by pitting Gansy and his friends against a ruthless collector of supernatural items who's systematically destroying the magical realm they seek to protect. Having been stymied from finding Glendower in all the previous books, Gansy and the others are now working against the clock. Finding Glendower may be the only way to save not only their world, but Gansy’s life as it has long been foretold that he would die before year’s end.

Stiefvater is a gifted storyteller. She’s able to effortlessly create realistic dialogue, paint stunning imagery and evoke deep emotion. But sadly, I think The Raven King is the weakest book in this series for several reasons. First, I found Stiefvater’s prose to be overly-mannered compared to the other novels, as though she abandoned her more conversational tone for repetition and hyperbole. These devices became increasingly distracting as I progressed through its pages. In respect to plot, The Raven King offered neither the intimate character study of The Dream Thieves nor the colorful personalities and interactions depicted in The Raven Boys and Blue Lily, Lily Blue. At times, it felt like loose threads were quickly tied off rather than thoughtfully resolved. This was certainly the case with how the protagonists find Glendower’s tomb and how they deal with Gansy’s forecasted death. Though I can’t say Stiefvater cheats the reader by failing to resolve these storylines, their resolutions felt rushed and insufficient.

​While The Raven King was a disappointment in many ways, the world Stiefvater’s created in these novels is a place I would love to visit again. Fortunately, the last scene in the book leaves the door to future novels noticeably ajar. I, for one, hope we see these characters again.

RELATED: Reviews of The Raven Boys (novel and graphic novel) |Review of The Dream Thieves: The Raven Cycle Book 2  |  Review of Blue Lily, Lily Blue: The Raven Cycle Book 3 | Review of The Raven King: The Raven Cycle Book 4  |  Supernatural Book Collection | Paranormal Book Collection