All June, Bookshop.org is celebrating Pride Month by offering 15% off on select titles. I have curated my own selections for Laughing Boy Books, concentrating on LGBTQ titles that intersect with nerd genres such as science fiction, fantasy, horror, dystopian, myth and legend and select young adult. 

The 15% discount applies to any of the titles shown below and is valid through June 30, 2026. Use code Pride26 at checkout. Discount off list price. Excludes ebooks.

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​I grew up loving giant monster movies. I'd tune into them every Saturday afternoon by middle school I was making my own versions using an old 8mm camera. Later, I relived the fun as Elvira's Movie Macabre and Mystery Science Theater 3000 hilariously riffed on them.

I’ve wanted to create a list of the best comics and graphic novels featuring giant monsters (also referred to as kaiju) for a while now, but I thought I’d start with some background on this cultural phenomenon, at least as it relates to pop culture. 

King Kong (1933) is generally considered the foundational giant monster in popular culture. (There are some earlier examples, of course, but Kong started giant monsters down a path to popularity, which continues to this day.) Even as I'm writing this, it occurs to me that just last night I was watching the big monkey punch out Titan X on Monarch: The Legacy of Monsters. Time creeps along, but big monsters persist, I guess.

At the time of its release, Kong was probably viewed as a kind of Beauty and the Beast tale... the savage animal is tamed by his inexplicable love for a tiny blond woman (Fay Wray). More modern sensibilities probably see it differently, with Kong and his imitators — like Mighty Joe Young — symbolizing human exploitation of nature. But after World War II and with the onset of the nuclear age, giant monsters took on new and more sinister significance.

The best known of this new breed of monster was Godzilla, introduced in 1954 by Toho Studios and a direct metaphor for the nuclear age. Japanese giant monsters (also known as kaiju) were no longer oddities of nature captured from remote and exotic lands to be displayed in a sideshow. Now they were heartless killing machines created by human meddling in the natural world. The message was clear — humanity is fucked, and we did it to ourselves. Godzilla may be stamping Tokyo into oblivion, but he wouldn’t be doing any of that if we hadn’t set off nuclear warheads in Bikini Atoll. 

During the same era and across the Pacific Ocean, giant animals terrorized American communities. In most cases, American monsters weren't as fanciful as their Japanese counterparts, but rather existing species mutated to immense size by radioactivity or other human technology gone awry. Massive spiders, Gila monsters, ants, and grasshoppers ran rampant through small towns and big cities alike. They too warned of the horrors of radioactivity and nuclear testing, but bringing it home to small towns and middle class neighborhoods.

Ultimately, maybe even paradoxically, these behemoths were brought down by the might of the modern military, while some humbled scientists waxed philosophical about humanity's persistent habit of “meddling in God’s domain.”

From the 1960s through the 1980s, giant monsters stepped out of the horror realm and became superheroes marketed as family entertainment. Big monsters might still be threatening humanity and destroying cities, but now we could count on friendlier kaiju to chase them off. In 1965, Daiei Film introduced a flying, fire-breathing turtle called Gamera, who was intended to compete directly with Toho’s Godzilla. Billed as “the protector of humanity,” the Gamera films prominently featured child characters who both empathized and could communicate with Gamera. 

By the early 90s, misguided science again burdened us with giant monsters of dark purpose. Jurassic Park led the way by reanimating extinct dinosaurs, which its sequels exaggerated to absurd lengths. Giant monsters became something we both feared and mocked. Parodies and near-parodies like Leviathan, Arachnophobia, Deepstar Six, Tremors, and the ongoing Godzilla and Gamera series mixed horror with humor, and often downplayed moralizing in favor of a more dystopian tone. This trend continues today, giving us some very watchable films like Pacific Rim, Cloverfield, Pitch Black, The Host, Cabin in the Woods, Kong: Skull Island, and Trollhunter.

Though giant monsters found fame in film, they’ve also starred in many books. Below, I’ve selected titles reflecting these trends, and though the vast majority of books are about Godzilla, and I've tried to throw in a few surprises as well. Most, but not all, are comics or graphic novels. 

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Nightwing's decision to patrol the streets rather than the rooftops shows he's committed to seeing the city from the perspective of its inhabitants — literally experiencing it at Ground Zero. As Dick himself reflects, “To understand how my home is changing... I have to see it from the same angles as everyone else who lives here.”

While cruising a newly built superhighway, Nightwing encounters a bedraggled woman wandering in and out of traffic. In true Dick Grayson fashion, he offers her a ride, thinking she might need medical care. (Can you imagine Batman picking up a hitchhiker?) But Nightwing’s act of kindness takes a bizarre turn when the woman pulls a knife on him, claiming to be a witch. Naturally, Nightwing is inclined to think she's having a mental breakdown or is under the influence of something.

The situation escalates when the woman starts bleeding from the eyes. Nightwing is anxious to get her to the hospital, but she insists they stay on the highway to reach "the crossroads." It's all very cryptic and supernatural. Their resulting struggle for control of the car concludes in a massive pileup. The woman vanishes, leaving behind countless casualties, including an injured Nightwing is left to question if she was even real. And if she wasn't, he's directly responsible for the disaster.

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!

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The world has ended, thanks to a particularly effective strain of avian flu. All That’s Left in the World, a post-apocalyptic, queer YA adventure by Erik Brown, starts sometime after the flu has decimated Earth. Not only has the world fallen silent without any birds left to sing — but 90% of humanity has been eradicated as well. 

Enter Andrew, a seventeen-year-old survivor who has decided to hike from Connecticut to Washington, D.C., based partly on a rumor that rescue teams from the European Union will be arriving at Ronald Reagan International Airport in the summer. However, Andrew’s journey is cut short when he steps into a bear trap. Critically injured, he stumbles upon an isolated cabin occupied by another teen boy named Jamie as infection ravaged his body.

While post-apocalyptic novels are a dime a dozen these days, author Erik Brown structures the plot of All That’s Left in the World so that the reader’s expectations are subverted. Here, our two survivors aren’t searching for a sanctuary, a haven, or people they can trust… they already have them. Though naturally mistrustful at first, the boys grow close as Jamie nurse’s Andrew back to health, due largely to his deceased doctor-mother having outfitted their rural Pennsylvania home for the end of the world. The house has solar powered electricity and even hot water showers. And Jamie’s mother has even left him a stash of pain medications, antibiotics and a detailed notebook on how to treat injuries and illnesses of all kinds.

Yet Andrew and Jamie’s fragile existence in their secluded cabin is shattered when nearby survivors raid them for dwindling supplies. Fearing a more violent confrontation will follow, the boys traverse the desolate mid-Atlantic landscape towards Washington, D.C. When the rumor for rescue teams prove cruelly proves, Andrew reveals his second reason for making the long walk: to find the family of two individuals he accidentally killed on the road before meeting Jamie. Although the family he seeks has also succumbed to the flu, he and Jamie find solace and an unexpected ally in Henri, an elderly woman living in a barricaded house amidst some perilous wildlife which has escaped from the Smithsonian National Zoo. Henri’s tales of her daughter in Florida sets the boys southward again, where they face new trials at a settlement called Fort Caroline run by white supremacists. Their escape from Fort Caroline is aided by a young woman named Cara, who has a remarkable memory, a keen sense of direction and a broken spirit. They narrowly escape, but not unscathed — Jamie is shot and gravely injured. Desperation fuels their final push to Florida, where the sanctuary of Henri’s daughter offers a flicker of hope.

The book’s narration switches between Jamie and Andrew every other chapter and this allows the reader insight into their very different personalities. Andrew is goofy, sarcastic, a fan of popular culture and openly gay. Jamie is serious-minded, responsible, kind-hearted and straight. Yet they share the tragedy of being the last survivors in their families — and a growing affection for each other. This part of their relationship unravels gently as the boys shed the social constraints of a bygone society. Rather than making the novel into a teen romance — which would probably be unrealistic when every moment is about staying alive — Brown keeps the story centered on survival and trust. Jamie and Andrew’s love for each other grows naturally from shared dependence and experiences. 

​All That’s Left in the World offers a gentler vision of dystopia. The environment, although ravaged and devoid of many modern conveniences, is surprisingly agreeable and without the typical threats one might expect. There are no Mad Max-style marauders or flesh-hungry zombies, for example. The lack of hoards of malevolent human antagonists is notable. Instead, the duo encounter survivors who are, for the most part, welcoming or at least uninterested in them — Fort Caroline being the obvious exception. The novel exudes a sense of hope and humanity that is rare in the genre. It's a tale that celebrates human connection in its purest form, which might not satisfy those readers seeking passionate romance or blood-drenched violence. But if you’re looking for a unique take on dystopian storytelling, this novel is a commendable and a very worthwhile read.

If you're in search of an enthralling graphic novel that seamlessly blends mystery, romance, and the supernatural, look no further than Summer Shadows, published by Dark Horse Comics. The story revolves around Nick Landry, a young gay man from the UK, who embarks on a journey to the fictional Greek island of Avraxos in search of his ex-boyfriend, Anthony. Their unexpected breakup has left Nick in a whirlwind of emotions, unable to move on. Driven by a cryptic letter from Anthony, Nick is convinced that his ex is in dire trouble, setting the stage for a gripping adventure on the sun-drenched beaches of the Mediterranean. 

As the plot thickens, we meet Alekos Kourkoulos, a Greek coast guard officer with his own agenda—finding a missing vacationer. When their paths intersect, Nick and Alekos realize that both missing person cases are linked to a mysterious black yacht anchored offshore. Rumored to belong to someone with immense wealth, the yacht holds a status akin to diplomatic immunity, leaving Alekos's law enforcement contacts puzzled and unable to act. This twist of fate pulls Nick further into a web of intrigue and danger.

The island locals add another layer to the narrative, warning Nick to leave before it’s too late, hinting at an unnamed terror. Meanwhile, others seem to be in the thrall of the yacht's enigmatic owner, Hylas—a impossibly handsome and strangely charismatic figure. Hylas's minions procure young men for extravagant parties aboard the yacht, filled with drugs, alcohol, and hedonistic pleasures. Despite forming a physical relationship with Alekos, Nick remains emotionally tethered to Anthony. Things take a darker turn when Nick becomes convinced he spots Anthony at one of these infamous parties, adding urgency to his quest.

The story reaches its crescendo when Nick receives an invitation to Hylas's infamous "Festival of the Blood Moon" on a secluded, private island. Veronica, Hylas's personal assistant, reveals to Nick the unimaginable truth: they are vampires, Anthony is one of them, and the festival is a trap. Despite her allegiance to Hylas, Veronica shows compassion for Nick’s heartbreak, urging him to leave. Undeterred, Nick devises a plan with Alekos and supportive locals to escape the island with Anthony. The Festival of the Blood Moon turns into a nightmare, with human guests falling victim to the vampires. Thanks to Veronica's aid, Nick escapes, but not before a chilling confrontation with the undead Anthony. 

Summer Shadows is a well-crafted comic book series with rich characterizations and engaging dialogue that draw readers into its world. The interconnected subplots and backstories add depth and intrigue, while the readers' sympathy for Nick’s broken heart is palpable, even as they wish he’d see the truth sooner. Set against the enchanting backdrop of the Greek Isles, the novel weaves together the romance of ancient myth with the stark realities of the super-rich and powerful. Ricardo Cabral's pen and ink drawings, coupled with bold color schemes, provide a stylish aesthetic perfect for a vampire tale. While the book concludes with a satisfying ending, future encounters with Hylas and his coven are upcoming as Summer Shadows is part of an ongoing series.

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I read Brahms Stoker‘s Dracula when I was in college, but only recently found out that this 1903 novel was the basis for Boris Karloff’s The Mummy (1932). Because I love that movie so much, I had to sit down and read this novel right away. 

Like Dracula (1897), The Jewel of the Seven Stars is a horror novel which combines mythology, history, science, and the Victorian belief in spiritualism. The main character is a barrister (lawyer) named Malcolm Ross who is summoned to the estate of a rich nobleman fascinated with ancient Egypt. The nobleman, Abel Trelawny, has been overcome by a seemingly magical sleep. While in this impenetrable slumber, he’s attacked several times by forces unknown which seem intent on procuring a key fastened to his wrist by an unbreakable steel bracelet. Despite the horrific nature of the assaults, no suspect can be identified despite concurrent investigations from Malcolm, the local doctor, and Scotland Yard. Mr. Trelawny’s daughter, Margaret, with whom Malcolm is smitten, can shed no light on the experiences even though she’s the first to arrive on the scene after each attack. As Malcolm continues his investigation, it becomes clear that Mr. Trelawny’s interest in the Egyptian occult, and in particular a female pharaoh called Tera, may have something to do with his troubles. 

Like so many people of the Victorian era, Stoker was fascinated with ancient Egypt and clearly did a tremendous amount of research in preparation for this story. While his attention to detail is amazing, the overly mannered writing style, which often strays into minutia, can make for a difficult read. Told in first person, the reader sees very little of the actual events leading up to the book. Instead, secondary characters provide endless exposition to create the backstory. In this sense, Stoker violates a cardinal rule of a modern author: show, don’t tell. In fact, you might have to drink some coffee or go for a walk if you’re trying to get through some of the ponderous foreshadowing and long monologues.

Stoker was very much a man of his time, and his characters certainly embody his Victorian sensibilities. All the gentlemen are exceedingly proper, honorable and intelligent. They are all keenly interested in understanding the ancient Egyptian mysteries laid before them, while simultaneously considering such things the works of heathens dabbling in realms better left untouched. The central female character of Margaret (who’s almost the only female character), is everything a young Victorian gentleman would want. She’s intelligent (but not more intelligent than the men), exceedingly kind, inquisitive, and in constant and persistent need of rescue. Later in the book, when her mood changes for reasons I won’t go into, and she becomes more withdrawn and haughty, Malcolm acknowledges that he doesn’t find her as attractive as before. To the reader, there’s a clear message here: the woman’s more valuable and relevant when she’s appealing to men.

If you’re reading The Jewel of the Seven Stars as an example of Victorian horror fiction, then you will probably find it interesting, even at times fascinating. If not, you’re going to find it a slog.  In the end, I don’t know that the payoff is worth it. I found the conclusion very anti-climactic. It had a much darker ending when it was originally published, but Stoker went back and changed it a few years later. Perhaps a happy ending was more in keeping with Victorian sensibilities where “civilized” men triumph and “civilized” women get married?

In the end, Dracula's still a better book.

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Vampires and sex have always gone hand in hand. From Bram Stoker to the modern day horror authors, vampirism is as much about seduction as it is about manipulation, fear and death. After all, the vampire can hunt by using many techniques — and getting their human prey to willingly fall into their arms appears to be one of the most enjoyable.

And where better to seduce and feed than on the sun-drenched Greek Isles?

Nick Landry is searching for his ex on the unspoiled island of Avraxos. Anthony was the love of his life, and without knowing why he left, Nick can't move on. But Anthony isn't the only one to disappear on Avraxos. Coast guard officer Alekos Kourkoulos is on the trail of another young man who disappeared there. Both men had fallen in with the glamorous set onboard a jet-black superyacht moored offshore before vanishing. As the mystery deepens, Nick and Alekos discover that the brighter the sunshine, the darker the shadows...

Acclaimed writer John Harris Dunning (Tumult. Wiper, Salem Brownstone) and talented artist Ricardo Cabral (Wiper) team up again to bring you this darkly seductive horror, described as "The Talented Mr. Ripley meets Dracula."

ORDER SUMMER SHADOWS, BOOK 1 >>

READ MY REVIEW OF SUMMER SHADOWS, BOOK 1 >>

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DC Comics has kicked off the Halloween season by opening up its vault (or is it a crypt?) and reissuing Batman #237, which was originally printed in December 1971.  Over half a century later, it's always fun to look back at Bruce Wayne and Dick Grayson during their long-hair-and-bell-bottoms era.

This issue opens with Dick and some friends (one of whom appears to be stoned throughout) taking a break from their college studies to attend the Halloween Parade in Rutland, Vermont. The parade is a real event held in this small town every year since 1960. The festivities include a float featuring  citizens dressed as both Marvel and DC superheroes — a tongue-in-cheek gag that is repeated throughout the story as Halloween may be the only time of the year when you can dress in tights and capes and look normal.

However, Dick and company don't get to enjoy the parade for long when they stumble upon a group of men savagely beating Robin, The Teen Wonder. It's not really Robin of course, just a bewildered man in a store bought costume who can't understand why strangers would choose to attack him. 

Concerned, Dick changes into his Robin garb and takes off after the assailants, only to find another town resident (dressed as Batman) impaled to a tree with a large wooden stake. There's an obvious pattern here, but before Dick can investigate further he's attacked by scythe-wielding Grim Reaper. Batman rescues his injured partner and takes him to the home of Tom Fagan. (Fagan, who passed away in 2008, was a comic book enthusiast who was instrumental in developing the Rutland Halloween Parade.) At Fagan's house, Dick's injuries are treated by Dr. Benjamin Gruener, a Jewish German survivor of the Nazi holocaust.

Batman informs Dick that he's come to Rutland in search of an escaped Nazi war criminal named Colonel Kurt Schloss, whom Dr. Gruener has been tracking for years. Batman is convinced that Nazis are responsible for the attacks against both the Batman and Robin lookalikes, and are somehow using Fagan's costume party to locate a cache of gold stolen by Schloss. 

But the question remains — who or what is the Grim Reaper?

​I won't ruin the fun by giving away the ending. Suffice to say that this throwback is a lot of fun, if only to giggle at the ridiculous dialogue...

Dick's friend: "Why'd those cats jump you, fella?"

Dick: "You guys go ahead to the party! I'll search for our zonky pal!"

Dr. Gruener (with German accent): "Zur clerk in zur shop tells me he rented him pirate suit!"

...and a plot that starts out like a Scooby-Doo mystery but ends up being pretty grim. 

The reissue also includes an earlier story from 1940 entitled "Down Memory Lane with Batman" which is not Halloween themed. This edition is currently available in local comic book stores. 

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The terrifying tale of six internet celebrities who accompany a superstar survivalist on a one-week trip deep into the remote Canadian wilderness...

After their plane crashes, the influencers and their guide are stalked by a mountain man of local legend — Skinner. When the celebrities mount a desperate counterattack, they discover that there is much more to the skinner myth than any of them could have imagined. Will the celebrities survive, or be permanently canceled?

Be honest, if you've ever wished (even privately) for a gruesome end to annoying Instagram influencers or those "reality TV survivalists" who really aren't in any danger whatsoever, then Skinner maybe a blood-soaked dream come true.

The book blends elements of the "survival horror" genre popularized in video games like Resident Evil, with real life serials killers like Robert Hansen (a.k.a. "Butcher Baker" — who hunted his victims in the Alaskan wilderness), to the perils of internet influencers always looking for the next dangerous and shocking thing to put on their feeds. 

​This graphic novel from Dark Horse Comics was released in May and is written by horror aficionados Micky Neilson (World of Warcraft, Diablo lll: Morbed) and Samwise Didier (The Last Winter, Blizzard Entertainment). The intricate and atmospheric pen and ink illustrations are by Polish comic book artist Piotr Kowalski whose other titles include Bloodborne, Where Monsters Lie, and The Witcher.

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