Superman/Spider-Man #1 - DC Comics/Marvel Worldwide [Part One]

SUPERMAN/SPIDER-MAN No. 1, May 2026

It’s probably a tough task to open up a publication specifically touted as celebrating fifty years of DC/Marvel crossovers. But Mark Waid’s “Truth, Justice And Great Responsibility” arguably does it rather well, thanks largely to its American author wasting absolutely no time in explaining how the two leading comic book franchises somehow share a merged existence together, and instead simply throwing his audience knee-deep into an enthralling adventure which sees Doctor Octopus and Brainiac joining forces to ensure that “world upon world will bow before the genius of Otto Octavius.”

Furthermore, the notion of the Daily Bugle’s photographer and Daily Planet’s reporter sharing an assignment together makes perfect sense, and logically allows the story’s protagonists to soon get into combat with their deadly adversaries. Splendidly sketched by Jorge Jimenez, these face-offs even contain a few surprises for fans of such team-ups, most notable of which is Superman encountering Doc Ock wielding a set of arms powered by synthetic Kryptonite; “I read about you… before the accident that turned you..! It’s not too late… to reform..!”

Similarly as scintillating has to be this anthology’s second yarn “The World’s Finest”, which rather cleverly follows the exploits of Lois Lane and Mary Jane as their beloveds battle a giant Sentinel-248. Penned by Tom King and dynamically drawn by Jim Lee, this nine-pager provides a genuinely intriguing insight into the lives of two of the central protagonist’s most beloved secondary cast members. Indeed, the sheer number of coincidences between the two characters is sincerely surprising as the women swap numerous notes with one another as to how dangerous their lives are.

In addition, the tale features a rather impressive cameo by Gambit, as the X-Man comes to both Spider-Man and Superman’s aid as they tackle their huge indestructible foe. However, this short-lived appearance by the smooth-talking Cajan mutant is also particularly welcome as it subsequently provides Lois with a wonderful moment in the spotlight as she scrambles around in her handbag for the set of playing cards she uses to gain detainee access with a guard at Stryker’s Island - a deck which is immediately put to good use by Chris Claremont’s co-creation, and brings the pulse-pounding punch-up to a suitably satisfying end.

Writers: Mark Waid & Tom King, and Artists: Jorge Jimenez & Jim Lee

DC Vs. Vampires: World War V #12 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 12, November 2025

Considering just how merciless Darkseid’s final assault is upon the combined human and vampire survivors, it should come as no surprise to this mini-series’ audience that Matthew Rosenberg’s narrative for Issue Twelve of “DC Vs Vampires: World War V” races along a truly ferocious pace. Yet whilst some bibliophiles may well be merrily carried along with the likes of Swamp Thing nobly sacrificing himself to help feed Cyborg’s so-called miracle weapon, others may well start scratching their head in wonder as to why Kara Zor-El didn’t just pull the Earth closer to the Sun in the first place.

Indeed, this simple solution, admittedly ably aided by Alfred Pennyworth’s Green Lantern ring and some enormous chains, appears so conveniently sudden that it surely would have occurred to some of DC Universe’s bigger brains well before a treacherous Wonder Woman decides to once again murder every single surviving super-hero on the planet..? “Very clever, Supergirl. The sunrise. It is the one thing I missed, Ollie. We’re both warriors. Did you ever think about what you’d do when your war ended?”

Disappointingly however, the American author also decides to blast his readers with a bucket full of bemusing gobbledygook which luckily spurs “the tyrannical ruler of the planet Apokolips” to foolishly take matters into his own hands. Just how Harley Quinn’s Flash-powered robot works is never actually explained, nor why Alec Holland’s massively mutated alter-ego needs to physically possess Mammoth before nonchalantly walking into the automaton's razor-sharp blender. Instead, any onlookers are just told to trust the memories of the former molecular botanist, and accept that by attaching “billions of microscopic biodegradable shells” to “billions of deadly protein strands”, Swamp Thing will somehow kill the New God’s entire invasion force.

Far less manufactured, though just as frantic, is this publication’s secondary story “Heartland” by Andrew Klein. Featuring the Haunted Tank as its unlikely protagonist, this eight-page plot packs a surprising amount of adrenalin-fuelled action, and also provides an interesting insight into Sergeant Jeb Smith’s exploits during the initial Vampire uprising. Impressively drawn and coloured by French Carlomagno, the yarn has an almost animated cartoon look to it, and should certainly convince many who bought this comic to demand the Light M3 Stuart Tank's adventures continue in its own limited series.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #12 by Otto Schmidt

DC Vs. Vampires: World War V #11 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 11, September 2025

Featuring plenty of perilous partnerships and treacherous double-dealings, as well as some seriously hazardous treks across the Earth’s most inhospitable landscapes, many readers perusing Issue Eleven of “DC Vs Vampires: World War V” were probably exhausted once Matthew Rosenberg’s twenty-four page plot concluded. In fact, by the time a visibly emotional Alfred Pennyworth shockingly sacrifices the highly unreliable Robin to save Humanity’s last chance of a treaty with the surviving super-powered blood-drinkers, quite a few bibliophiles will doubtless genuinely feel as if they’ve been physically battling the New Gods and Darkseid themselves.

Much of this palpable fatigue is arguably created by the publication’s sheer pulse-pounding pace, which doesn’t seem to let up even after the likes of Lois Lane, Steel and the Atom have safely been brought to the Spectre’s secret hideout. Initially, this particular moment of respite appears to be about to get boringly bogged down in exposition as to just how the “tyrannical ruler of the planet Apokolips” can be defeated. However, due to the American author’s use of the utterly zany Harley Quinn, the actual explanation of Nightwing's "great alien-killing machine" is surprisingly delivered rather energetically; “What kind of doctor is she?”

Similarly as entertaining though is Wonder Woman’s escape from the New Gods’ clutches, after cold-bloodedly decapitating the unwisely over-confident Mistress Gilotina in a trial by combat. It’s crystal clear that this mini-series’ heroes would be very wise not to trust the demonic vampire who now claims the crown over all other Nosferatu. But dead Diana’s transformation from a badly beaten plaything of Darkseid back to an arrogant exterminator is quite wonderfully penned, and makes Black Canary’s agreement to work alongside her all the more dangerous for mankind.

Just as successful as this comic’s largely dialogue-driven writing is Otto Schmidt’s pencilling, which appears to go to great lengths to show the audience just how utterly exhausted (and emaciated) any person still alive is. Of particular note is the artist’s tremendous work sketching the sizeable cast’s myriad of faces – all of which show a vast range of emotions, feelings and reactions with just a few simple lines here and there. Furthermore, the Siberian illustrator does a cracking job in Wonder Woman’s aforementioned return to power, with just the Amazonian’s eye slits alone projecting the tremendous damage the mass-murderer could inflict upon any mortal if she was inclined to do so.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #11 by Otto Schmidt

DC Vs. Vampires: World War V #10 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 10, August 2025

Largely focused upon the exploits of Mister Miracle, as Jack Kirby’s creation ponders whether to surrender himself to Darkseid or not, there’s an almost palpable feeling to this twenty four-page periodical’s plot that Matthew Rosenberg’s mini-series is (finally) approaching its cataclysmic conclusion. Indeed, just the physical presence of Scott Free appears to be enough to bring several of the title’s overarching storylines together – including the up-until-now entirely separate sub-thread of Batman and Green Lantern banding together so as to summon the likes of Constantine and Doctor Fate back from beyond the grave.

Furthermore, Issue Ten of “DC Vs Vampires: World War V” also impressively shows a genuine war weariness to all its considerable cast, both mortal and blood-drinker, with many a character now apparently willing to do just about anything to convince “the tyrannical ruler of the planet Apokolips” to leave the Earth once and for all. This utter exhaustion is particularly startling when seen in the behaviour of Supergirl and Lois Lane, who have both fought tooth and nail to see themselves and their compatriots survive. But are now shown unhappily ‘bending the knee’ in supplication before the super-villain; “I don’t want to either. But it’s a small price to pay, Lois. We can end this here.” 

By far this book’s best moment though actually comes completely left field with the New Gods shockingly switching sides and ambushing Gorilla Grodd’s combined army. Such treachery is as sudden as it is astounding, and should actually make many a reader rather cross at the hypocrisy of a gutless Orion – who infuriatingly even tries to justify his duplicity by claiming an alliance with his mass-murdering father is supposedly in the galaxy’s best interests.

Clearly revelling in all this disheartening deceit and fatigue is Otto Schmidt, whose prodigious pencilling does a first-rate job in depicting the lethargy slowly infecting the planet’s fast-dwindling population. Of particular note has to be the freelance illustrator’s magnificent portrayal of poor, physically depleted Black Alice, whose haunted eyes alone convey all sorts of terrifying tales in the mind’s eye. In addition, the sheer outrage splashed across Kara-El’s face when she realises her cause has been betrayed by her latest allies is absolutely palpable, and it’s easy to see why even the vampire’s most ferocious fighters fear the Kryptonian.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #10 by Otto Schmidt

Lois Lane #1 - DC Comics

LOIS LANE No. 1, September 2019

Whilst Greg Rucka may well have been right in his assertion that “Lois Lane is the best investigative reporter in the DC [Universe]”, his opening narrative for this “twelve-issue max-series” arguably demonstrates that this fact alone doesn’t necessarily mean a conversation-heavy yarn focusing upon the award-winning journalist is going to prove an enthralling experience. Indeed, if anything, the San Francisco-born writer’s script for “Enemy Of The People” simply demonstrates the dialogue-driven monotony of the news correspondent’s life, as she ensures her apartment continually has a well-stocked mini-bar, feverishly types an article packed full of spelling mistakes, dispatches a hireling to do the real ‘dirty work’ and is then finally ousted from Pennsylvania Avenue by the White House Spokesperson for implicating the administration have been “monetizing the separation of children from their families”…  

Such a relentless barrage of well-populated word balloons, political statements, and manifestations of the Freedom of the Press really does make it hard to wade through this periodical’s twenty-pages, especially when even the sudden appearance of the titular character’s husband, Clark Kent, disappointingly leads to nothing more than a somewhat steamy shower scene and an awkward breakfast tête-à-tête where Lane disconcertingly defends her stance that their ‘successful’ marriage is built upon her being able to keep dark secrets from her spouse; “We’ve got a good thing, Clark, and it’s not because we’re relentlessly honest with one another. You know if I’m keeping something from you, I’ve got a reason.”

Fortunately, the three-time Eisner Award winner does manager to capture the readers' attention momentarily, when his story’s viewpoint turns to Moscow and the Question’s brutal beating of three Russian ne'er-do-wells who were clearly responsible for the murder of Mariska Voronova. Staged whilst the criminal trio are struggling to locate their victim’s hidden stash of evidence, which has been buried amidst a diorama of statues, this action sequence finally imbues the publication with some semblance of energetic life, and debatably marks out the featureless “adherent of objectivism” as someone whose comic book exploits are far more interesting to follow than Lois’s.

Similarly as successful as the Pseudoderm-mask wearing vigilante’s all-too brief pulse-pounding appearance are Mike Perkins’ storyboards, which competently demonstrate the British artist’s mantra of always relishing “portraying that real world in the comics I illustrate as much as the super heroics.” Well-detailed, and vibrantly coloured by Paul Mounts, it is just a pity so many of his panels are crammed full of supercilious, fairly suffocating conversations.

Writer: Greg Rucka, Art & Cover: Mike Perkins, and Colors: Paul Mounts