For the fourth time in the past year, the shared universes of Marvel and DC collide in Spider-Man/Superman #1. Most of the stories focus on the differences and parallels between the two flagship characters of these comic publishers, but there are plenty of sidetracks focusing on love interests, underrated supporting characters and multiversal variants, and even friends and allies like Thor, Wonder Woman, and the ever loving blue eyed Thing to name just a few.

Decades removed from his edgelord days penning Identity Crisis, writer Brad Meltzer keeps things wholesome with Spider-Man/Superman #1’s lead story “Our Kryptonite”. Pepe Larraz and Matthew Wilson handle the art duties and bring the character acting and rock ’em, sock ’em action befitting of the Marvel and DC universe’s most upstanding superheroes. Meltzer and Larraz aren’t afraid of a good homage like Spider-Man holding up a very large amount of what turns out to be Venom goo while Superman struggles with Kryptonite poisoning. (Kudos to Wilson for using some intense greens!) But “Our Kryptonite” isn’t content to play the greatest hits of Supes and Spidey ; it’s concerned with why someone risks their life to be a hero. The combined pressure of Green Goblin, Lex Luthor, a Venom symbiote, and kryptonite allow for vulnerability and eventually triumphant poses captured by Pepe Larraz. But the real best part of this story is the interactions between Aunt May and the Kents in the epilogue as they find common ground because they raised two uncommon men and share a love of apple cobbler. Cheesy banter and all, “Our Kryptonite” is the kind of story that reminds me of why I loved superheroes in the first place, and the final panel dedication to Jerry Siegel, Joe Shuster, Stan Lee, and Steve Ditko is well-earned.

In Spider-Man/Superman #1’s second story, “Metropolis Marvels”, Dan Slott, Marcos Martin, and Muntsa Vicente turn back the clock almost a century for a two-fisted tale of Spider-Man Noir and Golden Age Superman. Martin’s visual storytelling is uncanny from the Will Eisner-esque title panel to his ability to slow down the flight of a speeding bullet across the course of a page. Plus there’s a couple Superman doing Spider-Man things and vice versa for good measure. I was also really impressed with how Slott writes 1930s Superman as a rough and tumble social crusader that still has a moral code and is extremely straight-laced in his civilian identity as Clark Kent. He has a feel for the moralizing staccato of those ancient comics, and I would honestly be into him writing a Superman comic set in this era.

After the Golden Age heights of “Metropolis Marvels”, Spider-Man/Superman plummets straight back to Earth in Joe Kelly, Humberto Ramos, and Edgar Delgado’s “Sweethearts”, which is just Gwen Stacy and Lana Lang monologuing at each other about Peter Parker and Clark Kent. I understand wanting to include the current Amazing Spider-Man writer, who also wrote one of the best 21st-century Superman stories, as well as an iconic Spider-Man and teen hero artist. However, two middle-aged men writing teenage girls is a poor fit, especially with hackneyed dialogue about feminism and mud wrestling. The rest of the story is firmly out of the gutter, but it’s just blocks of dialogue over splash pages of Superboy and Spider-Man fighting each other’s villains. It’s a sermon, not a fun comic, until some cute, awkward banter offers a glimpse of what this story could have been.

People who put “Moderate” as their political views on dating apps will love Geoff Johns, Gary Frank, and Brad Anderson’s “Identity War”. It’s Johns’ abbreviated take on a Marvel/DC crossover featuring some cool Hulk art from Frank and his usual favorites like Stargirl, Green Lantern, the Legion of the Superheroes, and I guess, Superman. The story uses a genre predicated around people punching each other to talk about the importance to listening to other perspectives, which is totally valid, but look out the window in 2026, and you’re realize we’re far beyond that naive early Barack Obama-era optimism when Geoff Johns was the hottest writer in the game. So, yeah, we’ve got ourselves another sermon, but it’s cool to see Gary Frank and Anderson draw all those heroes and villains punching each other.

Despite the trendy-ish slang name, “Ghosting” is an old-fashioned science and magic team-up as Steel tries out some new tech while fighting the Hobgoblin with the help of guest star, Thor. (Of course, they touch hammers.) Louise Simonson, Todd Nauck, and Rachelle Rosenberg infuse this story with plenty of fun banter, superpowers, and page-shattering action. There’s a lot of detail and power in Nauck’s art, giving it a nostalgic feel. Also, it’s nice to see Steel get a “W” by himself without the Man of Steel assisting. Stephanie Phillips and Phil Noto go more contemporary in Spider-Man/Superman‘s 6th story: a team-up between Ghost Spider and Supergirl against Livewire. The story is a meta-commentary on how more recently created or reinvented characters get sidelined and stay static. Ghost Spider and Supergirl have been drawn and written by iconic creators and even gotten some big screen time, but sometimes they feel like another Spider- or Super-person. However, in the space of a few action-packed pages, Phillips and Noto remind me of what badasses they are while being a little stubborn and plant the seeds of a friendship that I wouldn’t mind seeing develop. (Sophie Campbell would slay on the art!)

Next, “The One Thing…” reunites Miles Morales co-creators Brian Michael Bendis and Sara Pichelli for a conversation and team-up between Spider-Man and Superman. Seriously, this story genuinely has good advice set against a background of masks, capes, and a world-ending magic meets science crisis. (Shout out to the psychedelic color palette from Federico Blee). Bendis has a strong handle on both characters’ voices building a rapport between them before imparting wisdom that could apply to anyone. Too bad the comic cuts off before we get to see them punch out Brainiac and Dormammu.

If “The One Thing” was simple, beautiful character work, then “The Wondrous and Worthy” is epic moments, intricate world building, and yes, touching emotion from the iconic Thor team of Jason Aaron, Russell Dauterman, and Matthew Wilson. First, this story successfully combines the world of Asgard, the Fourth World, and a touch of the Venom symbiotes and Amazons to set up the ultimate fight. But it resonates because of the bond between Wonder Woman and Jane Foster Thor. With Odinson off being unworthy like in that part of the Aaron run, she is the defender of Earth against Darkseid and acquits herself nicely despite anxious thought bubbles and her cancer diagnosis. In a pivotal scene, Jane offers her hammer to Diana after a speech full of admiration, but then Diana plays an Uno reverse card and praises Jane’s heroism leading to a team up for the ages. This might be my favorite story in Spider-Man/Superman, but I kind of hate that they keep cutting off the story’s endings before the big battles. I’m definitely more of a fan of Jason Aaron’s vision of a Marvel/DC crossover than Geoff Johns’, especially since it flows out of such a great Thor run and bridges two of Jack Kirby’s finest creations: Marvel’s Asgard and the Fourth World.

Spider-Man/Superman wraps with a simple three page conversation between its two leads penned by Jeph Loeb with art by Jim Cheung and Jay David Ramos. It’s a solid little short that cements the mentor/young hero throughline of Superman and Spider-Man that has threaded its way through this one-shot. Superman gives Spider-Man great advice about dealing with grief, loss, and guilt, and there’s a little humorous fanboying at the end. It’s kind of a perfect way to end a pretty good series of crossover stories and put a smile on my face. It’s interesting that Marvel still sees Spider-Man as a youthful hero even though he’s been married and had children in the “Renew Your Vows” and Hickman Ultimate Spider-Man run. If Spider-Man represents my inner anxious, yet brave and sarcastic child, then Superman is the kind of person I would turn to when I need a “real adult” to talk to.

Spider-Man/Superman #1 has a couple of stinkers, but overall, it’s a decade-spanning homage to heroism from a diverse group of creators that explores what makes Spidey and the Man of Steel tick as well as their roles in their respective universes. My three favorites were the Dan Slott/Marcos Martin Spider-Man Noir/Golden Age Superman story, Jason Aaron/Russell Dauterman Thor/Wonder Woman crossover extravaganza, and the Brian Bendis/Sara Pichelli Miles Morales and Superman heart-to-heart, and I was also impressed by the main Brad Meltzer and Pepe Larraz story that balanced blockbuster action and heartfelt moments, which are why these characters are still so dear to me.

Story: Brad Meltzer, Dan Slott, Joe Kelly, Geoff Johns, Louise Simonson,
Stephanie Phillips, Brian Michael Bendis, Jason Aaron, Jeph Loeb
Art: Pepe Larraz, Marcos Martin, Humberto Ramos, Gary Frank,
Todd Nauck, Phil Noto, Sara Pichelli, Russell Dauterman, Jim Cheung 
Colors: Matthew Wilson, Muntsa Vicente, Edgar Delgado, Brad Anderson,
Rachelle Rosenberg, Federico Blee, Jay David Ramos
Letters: Clayton Cowles, Joe Caramagna
Story: 8.0 Art: 8.5 Overall: 8.3 Recommendation: Buy

Marvel Comics provided Graphic Policy with a FREE copy for review