HERE BE SPOILERS.
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If I had to choose two DC characters to battle it out in a no-holds-barred contest, my choices would be Jason Todd / Red Hood versus the psychopath who murdered him — The Joker. Talk about a grudge match! Fortunately, the DC KO series just provided this. 

So what is the DC KO series? Following the events of the "DC All In" saga, Darkseid created a new reality called the "Absolute Universe," and plans to conquer the main DC universe. The only way for the DC heroes to stop him is through gladiatorial "death tournaments" held across a five-level arena. DC Comic fans can participate in an online challenge to predict the winner of each tournament for a chance to win prizes, including being drawn into a future comic.

The Joker officially killed Jason Todd in Batman #428, released in 1988. I won’t rehash the complicated developments that saw Jason rise from the grave and recast himself as Red Hood, but you can read about it in-depth here: Jason Todd's Empty Grave. Suffice to say, that Joker’s actions have haunted Jason ever since. As Jason describes in the opening panels of the comic: 

This comic book was released in late December 2025. See your local comic book store about obtaining a copy. ​

RELATED FEATURES: Red Hood Collection | Jason Todd's Empty Grave | When Jason Todd Helped Save Superman | Batman Collection

OTHER REVIEWS IN THIS SERIES: Red Hood: Outlaws Vol 1 | Red Hood: Outlaws Vol 2 | Red Hood: Outlaws Vol 3-5
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​I’ve been behind on writing book reviews, but I’m finally diving into a combined review of Red Hood: Outlaws, Volumes 3, 4, and 5. These are the last three compendiums of the popular Webtoon series, in which the characters are forced to answer tough questions about what redemption truly means as they try to prove themselves to the Justice League.

​Volume 4 kicks off with the Outlaws caught in a simulation crafted by the Justice League itself. (Mostly Bruce Wayne, because let’s face it, Bruce has a penchant for concocting tests that border on cruelty.) As part of these trials by fire, Jason Todd, Artemis, and Bizarro face off against alternate versions of themselves. Each encounter in the simulation is more than just a battle; it’s a deep dive into past traumas, fears, and failures. For Jason Todd, this means confronting his short stint as the second Robin and his struggle to leave his assassin past behind. His agreement with Bruce to stop killing is not only key to being considered for the Justice League, but also vital if Jason wants to be welcomed back into the Bat Family.

Amidst all this introspection, President Lex Luthor throws a wrench into their simulated journey. His corrupt schemes eerily mirror the chaos of our current political landscape, and when Jason decides to take Luthor’s life, the simulation crumbles and The Outlaws fail. The Justice League withdraws its support, leaving the team vulnerable as intergalactic bounty hunters converge on Earth to claim the substantial rewards on all their heads. During the ensuing battle, Artemis makes a confession that surprises even her — she’s in love with Jason. 

While the feelings between Jason and Artemis are not new, they have remained unexpressed until now. But as the couple celebrates, they pay little notice to how much Bizarro is struggling with the loss of the simulated wife and child he became attached to inside the Justice League’s mind-fuckery. He seeks the help of Dr. Chase Meridian, a psychologist who advises him that the best way to get over his grief is to leave his comfort zone and start forming meaningful attachments to people outside The Outlaws. 

Jason reaches out to his older brother Dick Grayson for help confronting his past and addressing his long-held grudge with Bruce, the adoptive father he’s always felt rejected by. His journey ends with a compromise: he doesn’t have to be an assassin, but he also isn’t built to be a Justice League-style hero. 

Artemis puzzles out what it’s like to be in a romantic relationship and to be a “fallen” Amazon — both topics she’s worked hard to avoid. To do this, she visits a kind of all-female spa in Valhalla, described as a place “for women warriors who are tired of fighting.” Okay, it’s a little goofy if you think Artemis would ever be okay spending her days baking cookies and learning how to knit, but she is anxious to at least not wake up every morning looking for her next fight. However, there’s a darker purpose to the “spa” which has nothing to do with helping female warriors get in touch with themselves, but rather stripping the world’s warriors of their weapons. 

When Artemis fails to show up for a scheduled reunion, Jason and Bizarro realize something is wrong. But infiltrating the “spa” — which has a ban on men — is not going to be easy and requires the assistance of various reluctant allies, including White Cat and Martian Mindhunter. This results in many action sequences, particularly in Volume 5. Artist Nico Bascunan does a good job of rendering these, often in a sequential action-flow that reminded me a lot of Bruno Redondo’s work in Nightwing. 

The series ends on an unexpected high note: with a wedding. But since I don’t want to spoil too much, I won’t say whose. Volume 5 also leaves some dangling threads — so we’ll have to wait and see how and when those are resolved. 

​Confronting their pasts, presents, and where they ultimately want their futures to lie makes Volumes 4 and 5, in particular, some of the best-written and most engaging in the series. Three anti-heroes, who were originally content to distract themselves from their troubles by fighting other people’s battles, finally become multifaceted. And centered. If you think of Volumes 3-5 as the second and third acts of The Outlaws play, then this makes sense and is handled well. While I don’t necessarily think Red Hood: Outlaws was the best storytelling for these characters, it does scratch an itch or two and is bound to put a smile on the reader’s face. 

RELATED FEATURES: Red Hood Collection | Batman Collection | Nightwing Collection | Jason Todd's Empty Grave | When Jason Todd Helped Save Superman

The much anticipate Batman / Deadpool crossover comic is now available. Crossovers between these two historic powerhouse rivals have been rare and the last one was over twenty years ago. As the title suggests, the main feature this time has Batman teaming up with Deadpool to resolve a "metafictional threat" from Cassandra Nova, the Marvel Comics supervillain and dark psychic reflection (mummudrai) of Professor Charles Xavier. (You may recall that Cassandra was the primary baddie in the recent Deadpool & Wolverine film.)

There are smaller team ups as well. Dr. Strange partnering with John Constantine; Nightwing / Dick Grayson and Laura Kinney / Wolverine; Harley Quinn and the Hulk; and Static and Ms. Marvel. All of the storylines are very different in content and tone, varying from weird to whimsical, humorous to somber. The artwork employs the talents from both DC and Marvel and also varies greatly so the book will offer something for everyone — although I personally enjoyed some stories more than others. The Nightwing  / Wolverine team up was especially fun for me, as it reunited two of my favorite Nightwing creators: Tom Taylor and Bruno Redondo. 

The crossovers were published jointly by Marvel and DC and feature a variety of alternate covers. Check your local comic book stores for a copy as the DC version was released earlier this week. 

RELATED FEATURES: Batman Collection | Nightwing Collection | Comics Collections

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

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. 
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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 | 

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.
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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

The animated shows of the 1980s were memorable... but not always for the best reasons. Whether they were part of early morning Saturday television — a veritable "prime time" for viewing for millions of American children — or syndicated shows that aired after school, animated television was a pop culture staple throughout the decade.  

The animation was hand-produced, making it appear primitive by today’s standards, but also giving it a charmingly crude aesthetic. Often shows served as marketing tie-ins to toy lines, with Transformers and He-Man and the Masters of the Universe being prime examples. As such, storylines were as much about selling action figures as they were about entertaining young audiences and unfolded with simple, formulaic plots that were both familiar and comforting. And perhaps their simplicity was part of their appeal? After all, it didn't take much effort to follow your favorite shows each week — and there was never any ambiguity as to who was going to come out on top. No matter what dastardly scheme Mumm-ra came up with, we always knew Lion-O and the other ThunderCats were going to save the day. 

Invariably, the heroes of 80s animation were children, teenagers or very young adults and were usually pitted against adult villains. With a heavy emphasis on action, adventure, and fantasy, these shows left an indelible mark on an entire generation, shaping childhoods with their imaginative worlds and ultimately influencing movies, television, comics and books up to the present day. 

In fact, of all the ridiculousness that came out of the 80s, these franchises had remarkable staying power. (Consider the live-action Masters of the Universe movie currently under production and starring Nicholas Galitzine!) This is even more remarkable if you consider that most of these shows were only on the air for a few years! Yet today, I can't walk into a bookstore or comic book store without easily finding some rehash of a show I first watched 40+ years ago. As such, I thought it would be fun to collect some of the more current book and graphic novel titles together. 

RELATED FEATURES: Pop Culture Contributions of the 1990s  |  The Golden Age of Movie Novelizations  |  Writing the 1980s Arcade Experience  |  The Timelessness of Serial Storytelling | Gatchaman Returns... Again

I have always been fascinated by the creative process of making movies, video games and television shows. Whether they’re live-action or animated, I will spend hours watching videos and reading about concept and production design, especially for science fiction and fantasy projects. 

Some of this may be my interest in art. Still, just as much may stem from the era I grew up in — the 1970s and 80s — when science fiction and fantasy began to break out of the previous eras of low-budget productions with goofy costumes, poor special effects, and papier-mache sets. If there were any notable progenitors for all this, it was probably the original Star Trek (1966-1969) and Stanley Kubrick’s 1968 film 2001: A Space Odyssey. Both demonstrated that science fiction could be sophisticated, mature, and thought-provoking. Both explored themes dealing with social change, environmental concerns, and the complexities of human nature. And both took their art design and production values more seriously, striving to create (more) distinct and believable narratives about the human exploration of space. While Star Trek’s artistic design, in particular, may look dated to modern eyes, in 1966, it raised the bar for television production values despite the limited budget of a weekly series. The very design of the U.S.S. Enterprise — a dramatic and intentional departure from the cigars-with-fins spacecraft of the previous decades — made the vessel one of the most recognizable in popular culture.

From this point, there was no turning back. Audiences might still have to endure a bad script or poor acting, but they would not endure bad production design as patiently. For example, to this day, my son is more wildly critical of a science fiction show or movie that looks bad than one that is bad… This is perhaps why we’ve never seen eye-to-eye on which Star Wars movies are the superior product. 

If you also appreciate the art of production design, I have curated some of the best books that capture the process, from concept sketches to fabrication and everything in between. 

RELATED FEATURES: Did Moonraker Forecast Our Future in Space? | Welcome to the Jundland Wastes | Workshop of Wonders | Paradise on Middle Earth | Redemption for Star Wars (Redux) | My Most Forbidden Book |