 I grew up with Superman and Spider-man. They were literally my first great comic book loves. As a child, I obsessively watched the black-and-white repeats of The Adventures of Superman (1952-1958) starring George Reeves or got up early every Saturday morning to thrill to Super Friends (1973-1985), where the Man of Steel was indisputably the lead character. Afternoons were Spider-Man time. The 1967 animated series ran in syndication after school — and yes, like so many nerds of my generation, I can still sing the iconic theme song in its entirety. But the afternoons also meant I could look forward to Stan Lee's Spider-Man comic strips, which ran daily in the Tucson Citizen newspaper starting in 1977. In my youth, I don't know if I ever imagined Superman and Spider-Man teaming up. But thanks to Marvel and DC Comics continuing their tradition of superhero cross-overs, we have a new Superman / Spider-Man comic book. Like previous versions, it contains various stories, this time spearheaded by powerhouse creators like Mark Waid, Jorge Jimenez and Jim Lee. Thanks to decades of variants and multiverses, the book features different team ups — sometimes of Superman and Spider-Man, but also of their friends, family members and tangential characters. My two favorites were titled "Truth, Justice and Great Responsibility" and "Tapping In." The first features the iconic versions of the main characters going up again Doctor Octopus who's under control of Brainiac. The artwork by Jorge Jimenez is fantastic!   The second finds Peter Parker discovering Superboy-Prime in his apartment... apparently trying to steal his spider suit. But why? Superboy-Prime is a really interesting and complex character who kind of lives outside the multiverse and sees it all for what it is — pages in a comic book. The intricate artwork by Daniel Sampere is gorgeous, even if the storyline is a little hard to follow.   Other stories include: "The World's Finest" finds Lois Lane and Mary Jane Watson in a friendly and humorous conversation about careers and navigating relationships with super-powered men with secret identities. Plus, they crush hard on Gambit. "The Bridge" offers some "dad to dad" bonding as Jonathan Kent and Ben Parker encounter each other during a torrential storm — and prove that their son/nephew aren't the only heroes in their families. "Beyond the Cobwebs of Tomorrow" features Superboy and Spider-Man 2099, with Batman. In this story, the superheroes realize that they're on parallel paths as they slip through time to stop the brutal reigns of Dr. Doom and Lex Luthor. "Jimmy con Carnage" is an amusing short where Jimmy Olsen leaves Metropolis and goes to work with Peter Parker at the Daily Bugle, where he must endure the ultimate boss-from-hell — J. Jonah Jameson. In is quest to please J. Jonah with photos of Spider-Man ("who's Spider-Man??"), Jimmy mistakes Carnage for the web-slinger.  "Bias" takes a page from our modern talk news with Lois Lane and J. Jonah Jameson having a fiery debate about media and how it covers the likes of Superman and Spider-Man. And also Wonder Woman, Captain America and the Fantastic Four.
Continue to watch this website as I will be debuting a curated Spider-Man book list in the near future. You can find my Superman Collection here. RELATED FEATURES: When Jason Todd Helped Save Superman | Review: Superman: The Harvest of Youth | It's Jason Todd vs. The Joker in DC's KO Series | Batman / Deadpool Crossover is Out |  Godzilla rampages across the United States in IDW’s "Godzilla vs. America" series, with each comic unleashing chaos on a different city. The latest installment, "Godzilla vs. Portland," released in March 2026, invites readers to experience this unique blend of local culture and monster mayhem. I couldn’t resist picking up a copy when I stumbled upon it during a visit to Portland this past weekend. One of the standout features of this miniseries is its commitment to authenticity, which engages local writers and artists to capture the essence of each city. "Godzilla vs. Portland" is no exception, and it’s clear that the contributors have a genuine love for the City of Roses. The comic contains four short stories, each offering a different slice of life from Portland, albeit with a giant lizard stomping through town. The stories within "Godzilla vs. Portland" vary in quality, with two particular tales standing out above the rest. Dog Day Afternoon by Cat Farris was my favorite. This story captures Portland’s quirky culture by focusing on two locals engrossed in a heated debate over the city’s official hot dog recipe. Amidst debate, they remain blissfully unaware of Godzilla’s destruction all around them. Farris nails the Portland vibe, from therapy llamas to the gag-inducing mention of kale sauerkraut, making it a delightful parody that resonates beyond the monster chaos.    High Score by Caitlin Yarsky, set in 1981, connects Portland’s Polybius urban legend to Godzilla’s arrival. A local news reporter makes a startling discovery — achieving a certain score on the mythical arcade game summons the monster from the Willamette River. It's pure classic monster movie melodrama with a modern day twist.    While I enjoyed these stories, I wonder if the anthology’s highly local-centric approach might limit its appeal, especially for readers unfamiliar with Portland. Many in-jokes and cultural references may not resonate or could be misunderstood by outsiders. The risk with such a concept is that it can lean too heavily on stereotypes or niche humor, which is primarily appreciated by residents, making it less engaging for a broader audience.
However, even with these potential hurdles, the anthology remains an entertaining concept. The juxtaposition of a global icon like Godzilla with the idiosyncrasies of various American cities makes for a fun read. RELATED: Black Lagoon Legacy | The Legend of the Dark Pyramid | A Tale of a Desert Phantom | Encino Man and the History of Teenaged Monsters | For the Love of Giant Monsters  Nightwing #136 by Dan Watters picks up the pieces from the chaotic end of the "Cirque du Sin" storyline in which Blüdhaven is nothing but rubble and ruin. (Read this storyline in Nightwing Vol. 1: On with the Show and Nightwing Vol. 2: Death Traps. And Dick Grayson / Nightwing is in mourning — not for a person, but for the Blüdhaven he once knew. A Blüdhaven he’d invested so much of his own energy and wealth to make better. What’s more, Dick has been betrayed by his half-sister and the city’s former mayor, Melinda Grayson-Lin, who’s now been replaced by the even more corrupt Bernard Bisogni. Mayor Bisogni has some megalomaniacal plans for Blüdhaven — and they look a lot like turning the city into a mini-Gotham! As Blüdhaven begins its grim transformation, whispers of missing people, ghostly sightings, and murder weave through the streets. From the first page, Nightwing #136 has a real urban-horror vibe, and it’s delightful.
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.
The encounter with the witchy woman directly ties into the “Vanishing Hitchhiker” tales, a legend that dates back hundreds of years — and as a fan of urban legends, I love seeing it here! The woman's tales of witchcraft trials and mass executions provide more context to Blüdhaven's strange past. (Remember the secret pirate society from previous storylines!) Indeed, I suspect “The Crossroads” story arc will be a chance to explore Blüdhaven's history in an unprecedented way!
This issue also highlights how Dick Grayson is so different from his adoptive father, Bruce Wayne / Batman. While Bruce might have approached the situation on the superhighway with skepticism and extreme caution, Dick's instinct is to empathize and help, even when a knife was at his throat. We’re reminded in a very tangible way of Nightwing’s goal to be a better version of Batman. The artwork by Denys Cowan, Norm Rapmund, and Francesco Segala is spot-on — dark, moody, and fitting for the eerie storyline. Mostly primary colors (reds, blues, and yellows) are used to capture the sullen atmosphere, where you can almost feel the weight of Blüdhaven’s dark future (and past) pressing down on Nightwing. I can't wait to see where Dan Watters and his team take us next! RELATED FEATURES: Nightwing Collection | Nightwing Annual 2024 Revisits an Old Love |DC Releases a Vintage Batman Halloween Story | Batman Collection  I first read Lord of the Flies, by British author William Golding, in the late 1980s and quickly became obsessed. Having just graduated from high school, I knew the joys and ugliness of teenage tribalism well. A film adaptation starring Balthazar Getty was released soon after, and since I managed a video rental store, I watched it and the 1963 version multiple times, increasing my admiration for the book. (FYI, the ‘63 film is far superior if you need to choose one.) Flies may have been Golding’s debut novel, but its themes were something he understood very well. During World War II, he served in the Royal Navy and took part in the bloody D-Day landings in Normandy. The reality of war deeply influenced his writing, and when he started working on Flies, he, like the rest of humanity, was living under the specter of nuclear annihilation at the dawn of the Cold War. The book’s brilliance lies in distilling these existential threats into a deceptively simple survival story on a South Pacific island. The story begins with a wartime evacuation during what we assume is some kind of nuclear exchange. A plane crashes on a deserted island and a group of British preadolescent schoolboys are the only survivors. Ralph, by virtue of age and physicality, becomes the leader. He befriends Piggy and uses his glasses to start a signal fire. Ralph’s leadership seems very wise for his age as he encourages the group to stay positive, gather resources, and maintain the fire for rescue. However, the boys’ resolve fades as they grow distracted. Fear of a fearsome jungle "beast" takes hold, and a rival boy named Jack gains influence by promising to hunt the monsters down. During one hunt, the signal fire dies out, and a rescue ship passes by without stopping. The boys’ tribalism worsens when a fighter pilot’s corpse lands by parachute onto the island and is mistaken for the “beast.” Jack creates his own tribe, offers a pig's head to the monster, and comes to represent authoritarianism and primal power, while Ralph symbolizes intellect and empathy. Although Ralph is initially baffled and repulsed by how easily the boys follow Jack’s fear-mongering, even he is not immune to mob rule. But his reluctance and regret for his own violent actions appear weak to Jack's tribe, who, now frenzied, hunt Ralph with tragic consequences. RELATED: Dystopian Collection | Young Adult Books | About The Lord of the Flies Graphic NovelLord of the Flies is a stunningly impactful novel... but also one we probably read because it was forced upon us in a high school English class. I get that most young readers will probably bypass the book, so I was heartened to learn it had been turned into a graphic novel. While I would certainly encourage you to read Golding’s original novel, the graphic novel adaptation is a suitable second choice. The hardcover, full-color book is beautiful, and the artwork captures the young characters' initial playfulness as it morphs into fear and violence. The artwork also does a good job of illustrating the book’s dense symbolism, which is probably one of the more challenging aspects for younger readers.
 Batman & Robin: Year One by Mark Waid, Chris Samnee, and Matheus Lopes is a captivating blend of action, humor, drama, and retro-styled art that pulls you into the tumultuous early days of Batman (Bruce_Wayne) and his newly acquired sidekick, Robin (Richard "Dick" Grayson). This story doesn’t just delve into the crime-fighting escapades you expect from Gotham’s finest; it also offers an honest look at the developing relationship between Bruce and his young ward. The story kicks off in the aftermath of the tragic murder of Dick Grayson’s parents at Haly's Circus. It’s a heartbreaking start that parallels Bruce’s own history and sets the stage for his dual struggles as Dick’s foster father and crime-fighting partner. Right away, Dick is full of enthusiasm but still raw and impulsive. His first foray alongside Batman is a baptism by fire when Two-Face (Harvey Dent) attempts to blow them up by demolishing an entire building.  But Two-Face isn’t the only threat to the Dynamic Duo. General Anthony Grimaldi, a new crime boss with murderous ambitions, has just arrived in Gotham. Meanwhile, Laura Lyn, a concerned social worker, questions Bruce’s suitability as a guardian and knows it came about by the billionaire playboy pulling some political strings. Laura is eager to unmask Bruce and place Dick in a more suitable home. This subplot adds a layer of tension as Bruce must convince both the social worker and the boy that he’s a responsible parent — when both of them know exactly what good parenting does (and does not) look like! Alfred Pennyworth, Bruce’s loyal butler, emerges as the true parental figure, recognizing that Dick's impulsive behavior as Robin stems from his unresolved grief. Alfred’s wisdom and empathy offer a counterbalance to Bruce’s stern and sometimes bumbling demeanor. It also lays the foundation for Alfred and Dick’s lifelong relationship.  As Bruce and Dick attempt to maintain a semblance of normalcy for Child Protective Services, the city erupts in chaos. Grimaldi employs the shapeshifting villain Clayface to infiltrate and incite war among Gotham’s crime families. Meanwhile, Two-Face has recovered a secret Gotham City Police Department file listing potential identities of Batman, with Bruce Wayne’s name among them. Using this file to ingratiate himself with Grimaldi, he convinces Clayface to betray his employer for an even more sinister reason than a gang war.
Chris Samnee’s artwork is striking, placing him alongside other favorite artists like Bruno Redondo and Juni Ba. His use of hard outlines, heavy pen and brush strokes, and a limited color palette evokes the classic feel of 1930s comics, reminiscent of Chester Gould’s Dick Tracy. This retro aesthetic is mirrored in the characters’ clothing, hairstyles, vehicles, and architecture, grounding the story in an era that feels both nostalgic and timeless. Batman & Robin: Year One is more than a simple reimagining of a well-known story; it’s a heartfelt exploration of the early days of Batman and Robin’s partnership. The book is funny, clever, and at times, brutally honest. It sheds light on how Bruce Wayne became Dick Grayson’s guardian and how both characters struggled to adapt to their new roles. Whether you’re a longtime fan or new to the world of Batman, this graphic novel offers a fresh perspective that is both entertaining and enlightening. RELATED FEATURES: Batman Collection | Nightwing Collection | Nightwing, Batman and Adoption Problems | Dick Grayson Takes Up the Cowl  Breaks is a beautifully drawn and written graphic novel series by Emma Vieceli and Malin Ryden. While ostensibly an LGBTQ story about a damaged teen living in the UK who's trying to get by in high school, it's actually much more about bullying — and the regret of bullying. It's a thoughtful and well-executed story with engaging characters and a more mature tone. I read the first two volumes of the series in 2020 during the height of the pandemic (amazing how much reading I got done that year!) but the books actually date back to 2017. Now they're being reissued with a release date in March — and I'm delighted to learn that there's a Volume 3 which was published in 2024! I'll review that in the near future. Because I love these books so much, I wanted to give them a special shout out here. Each book is summarized below with ordering links. Enjoy! Read my interview with Emma Vieceli here >>  BREAKS, VOLUME 1: Cortland Hunt has made some dangerous mistakes. Now he's waiting quietly for those mistakes to catch up with him. Ian Tanner coasts through life denying the spark of anger beneath his laid back exterior. When school politics and personal lives become a battleground, the pair find that what they share may just be their only safe haven. Breaks is the story of two young men discovering who they were, who they are, and who they will become. It's a love story . . . but a bit broken.  BREAKS, VOLUME 2: Ian and Cortland are all too aware that the bubble they've made for themselves can't last. Shifting relationships and tested friendships may be the least of their worries, though, as they learn more about each other and the pasts they'd rather leave behind. Familial legacy, fragile ambition and potentially devastating secrets; their budding relationship is going to need a stronger foundation than secrecy if they want to face what life has in store for them together.  BREAKS, VOLUME 3: School is over, adult life beckons, and new beginnings lie before Ian and Cortland as their relationship deepens. But when Ian's father is released from prison, questions of trust and deceit threaten to tear them apart. The boys will walk a dark path together as the shadows of the past try to claim the present. The answers to all their questions will be revealed in this final volume, and some may prove dangerous beyond their wildest imaginings...
 HERE BE SPOILERS. 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:  The contestants battle for three rounds. The Joker wins the first round when he lures Jason into a facsimile of the Ace Chemical factory and succeeds in dunking the young man in a vat of the same chemical compound that mutated him. The chemical kills Jason, but in Round Two, he chooses to reform as Robin, the Boy Wonder. But The Joker gets to choose the arena, and he chooses the warehouse where he originally killed Jason in the 1988 comic. The circumstances are identical as well... There’s a bomb set to go off in thirty seconds, giving Jason precious little time to defeat his opponent in the space where he suffered his greatest defeat. As a further homage to the 1988 comics, artist Giuseppe Camuncoli recreates images originally drawn by Jim Aparo, George Perez, and Tom Grummett for the warehouse sequence. In an immensely satisfying moment, Jason wrestles the infamous crowbar from The Joker’s hands and beats him unconscious. The bomb explodes, but this time it’s Jason who survives and carries out the dead body of the supervillain.  But there’s still Round 3... In this round, Jason and The Joker both take the form of the Red Hood. You have to remember that Red Hood was The Joker’s identity before he became the Clown Prince of Crime. As Jason explains: “Sure, Joker was Red Hood once. But there were so many others. There were older gangs that used the name. Because “The Red Hood” has always been a Gotham phrase. Slang in the bad parts of town where kids like me grew up... Red Hood was the guy who did the thing... the bad guy in the shadows.” In a sense, this means that Round 3 has Jason and Joker playing the role of each other’s bogeyman, fighting it out in the open grave that Jason escaped during his resurrection. Jason wins again, but not so much based on physical strength as on the realization that he is not defined by what Joker once did to him.  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 |
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