Marvel’s Spider-Man/Superman #1 is the kind of massive event that reminds you why you fell in love with comics in the first place. It’s a celebratory festival disguised as a single issue, and it dropped just a short time after the previous DC’s Superman/Spider-Man #1 crossover we reviewed. Sure, the book has its share of flaws, and some pacing hiccups hit the back half hard, but it’s a total blast for long-time fans that shows just what fun a modern crossover can achieve. It also helps that a legendary lineup of creators, including Brad Meltzer, Dan Slott, Geoff Johns, Brian Michael Bendis, among others, is here to explore the deep history and weird dynamics of this iconic pairing.
- Title: Spider-Man/Superman #1 (2026)
- Creatives: Brad Meltzer, Dan Slott, Geoff Johns, Brian Michael Bendis (Writers), Pepe Larraz, Marcos Martin, Gary Frank, Sara Pichelli (Artists)
- Characters: Spider-Man (Peter Parker & Miles Morales), Superman (Clark Kent), Gwen Stacy, Aunt May, Ma Kent, Supergirl, Jane Foster
- Villain: Lex Luthor, Green Goblin, Mysterio, Saturn Queen, Livewire, Hobgoblin
- Format: One-Shot Anthology
- Our Rating: 7.6/10 Stars
The Emotional Core in Our Kryptonite
The lead story, “Our Kryptonite,” serves as the emotional heartbeat of this collection, and it’s a good one. Brad Meltzer, Pepe Larraz, Matthew Wilson, and Clayton Cowles kick things off with a classic nightmare scenario where Spider-Man and Superman are trapped in a radiation-soaked prison dreamed up by Lex Luthor and the Green Goblin. The villains have a machine cranking Kryptonite levels toward a lethal 99 percent, which slowly drains the life out of our heroes, but Meltzer stands out by bypassing the usual “punch-everything” tropes. Instead of a mindless brawl, he focuses on the actual people behind the masks.
With Clark sidelined by the green radiation, Peter is left doing the heavy lifting by literally holding up a collapsing ceiling on his own. That physical strain leads to a raw, honest conversation where Peter admits his “truth” is that he is fueled entirely by crushing guilt. In a beautiful moment of clarity, Superman shuts that down. He argues that Peter does not fight because he is haunted, but rather because of the fundamental kindness Ben Parker instilled in him. It all wraps up with a surprisingly tender scene where Peter and Aunt May join the Kents at their farm for dinner and some legendary apple cobbler. It is exactly the kind of quiet crossover moment fans live for.
The art team absolutely nails the atmosphere as the story progresses. Pepe Larraz’s work is incredibly dynamic, and he captures both the high-stakes tension and the quiet emotional beats perfectly. Matthew Wilson’s colors shift seamlessly alongside the mood, moving from the sickly, oppressive greens of the prison to the warm, golden-hour glow of the finale.
If there is a speed bump, it is the non-linear structure. The story bounces around quite a bit, jumping from the prison to the villains’ plotting phase, then to a park, and finally the farm. This can feel a little jarring and messy at times. However, the ending is so genuinely heartwarming that it is easy to forgive a few pacing issues. 8/10.
Retro Aesthetics and Golden Age Reimagining
Dan Slott, Marcos Martin, Muntsa Vicente, and VC’s Joe Caramagna take a different approach by transporting readers back to 1938 in “Metropolis Marvels.” It’s a gorgeous noir-styled tale. In this story, Spider-Man Noir goes head-to-head with a new player who’s literally “faster than a speeding bullet.” Dan Slott pulls off a great twist by having J. Jonah Jameson accused of being the “Big Man” of crime, all while Lex Luthor plays the respected businessman trying to set him up. A major highlight of “Metropolis Marvels” is Marcos Martin’s retro art: he perfectly captures the Golden Age vibe while giving it a sharp, modern edge. The story breezes by quickly, but the 1930s superhero era is always a treat to revisit. If you enjoyed The Bat-Man: First Knight, this will be right up your alley. 7/10.
Next up is “Sweethearts,” brought to life by the creative team of Joe Kelly, Humberto Ramos, Edgar Delgado, and VC’s Joe Caramagna. This short story is a total breath of fresh air. It follows Gwen Stacy and Lana Lang, just navigating the usual chaos of university life, mostly spent venting and gushing about their respective love interests. It’s a charming, grounded bit of character work that feels incredibly human. Plus, Ramos’s art still has that signature high-energy “pop” to it: it’s the perfect aesthetic for these younger versions of the characters. 7.5/10.
Philosophies of Conflict and Identity
In “Identity War,” Geoff Johns, Gary Frank, Brad Anderson, and VC’s Joe Caramagna give us a fresh perspective by letting Ben Grimm tell the story. The world is falling apart because of a “rage bug” (actually a Red Lantern courtesy of Mysterio and Saturn Queen), but the action isn’t the main draw here.
The highlight is watching Superman face down a raging Hulk and simply refusing to swing back. He stays patient, talking the beast down until Bruce Banner returns. It’s a powerful reminder of Clark’s belief that listening is a superpower in its own right. Plus, seeing Geoff Johns and Gary Frank on a Superman/Hulk crossover feels like a total love letter to fans and a call back to the finale of the duo’s seminal Doomsday Clock. 8.5/10.
Technical Team-Ups and Modern Voices
Louise Simonson, Todd Nauck, Rachelle Rosenberg, and VC’s Joe Caramagna deliver “Ghosting,” a fast-paced scrap between Steel and the Hobgoblin. The villain tries to steal Steel tech, unaware that it disrupts his own glider while having no effect on the magic of Thor’s hammer, Mjolnir. It’s a fun, traditional superhero team-up that showcases the technical side of both universes. It’s a quick read, but the charm definitely lies in seeing characters interact who would normally never cross paths. 7/10.
In “Remarkable,” the creative team of Stephanie Phillips, Phil Noto, and VC’s Joe Caramagna brings Ghost-Spider and Supergirl together at the Daily Planet for a total blast of a story. It’s genuinely hilarious to see them clash over their hero styles right out of the gate. I loved Supergirl’s “one of five million” dig at Gwen: it felt like a cheeky meta-nod to how many Spider-folks are running around lately. Watching them eventually put aside the salt to take down Livewire was great, and Phil Noto’s clean, expressive art keeps everything feeling grounded and modern. Overall, it’s just a super cute, charming package. 8/10.
There is something inherently special about seeing the Miles Morales dream team of Brian Michael Bendis, Sara Pichelli, and Federico Blee reunite for “The One Thing.” This time, however, the stakes are multiversal, with Miles rescuing a poisoned Superman from the combined might of Brainiac and Dormammu. While the action is great, the emotional core is Clark’s mentorship. He tells Miles that the secret to being a hero isn’t agonizing over every decision but simply showing up. It’s a classic Bendis Superman moment; poignant and grounded, even if the pacing felt a bit rushed. I would have loved a few more pages to let that dynamic really settle. 8/10.
Mythology, Grief, and the Final Verdict
In “The Wondrous and The Worthy,” the creative powerhouse of Jason Aaron, Russell Dauterman, Matthew Wilson, and VC’s Joe Caramagna delivers a high-fantasy epic set in “New Armagetto,” which is essentially a rechristened Metropolis. The story follows Jane Foster as she holds the line against Darkseid’s forces with Mjolnir in hand, leading to a fantastic meeting with Wonder Woman.
Their encounter is grounded in a deep sense of mutual respect. I loved that Diana recognizes her and refuses to even touch the hammer, confirming that Mjolnir belongs with Jane. While I really appreciated seeing Jane get the spotlight here, I have to admit I was still holding out for an appearance from Thor Odinson. That’s the classic matchup fans have been dying to see for years, so it felt like a bit of a missed opportunity. That said, the book is gorgeous. Russell Dauterman’s art is flawless as usual, and when you pair him with Wilson’s colors, the whole thing just pops off the page. 7/10.
To wrap things up, Jeph Loeb, Jim Cheung, Jay Davis Ramos, and VC’s Joe Caramagna give us “One of Those Days,” a beautifully quiet and reflective piece. The story finds Peter Parker and Clark Kent sitting on a rooftop in the pre-dawn stillness, just talking through the weight of losing Gwen Stacy. Superman steps in with some much-needed perspective, gently reminding Peter that there’s “no gold medal for best grief.” He centers the conversation on the idea that what really counts isn’t the tragedy itself, but what you choose to do with the time you have between being born and passing on. It’s a somber moment for sure, but it provides a really hopeful, grounded conclusion to such a monumental issue. 7.5/10.
SPIDER-MAN/SUPERMAN #1 variant cover by PEPE LARRAZ
Verdict: Should you buy Spider-Man/Superman #1?
Ultimately, Spider-Man/Superman #1 is a must-read for anyone who wants more than just two icons trading punches. It isn’t perfect: meeting the sky-high expectations for a meeting like this is a tall order, and I could have done with fewer Spider-Verse/Superman Family stories in exchange for more variety among the heroes. That said, the story really sticks the landing when it comes to bridging the gap between Marvel’s grounded, human flaws and DC’s soaring ideals. It’s a great reminder that these characters still have something meaningful to say about putting a little more good into the world.
‘Spider-Man/Superman’ #1 Review: Rating Every Story in the New 2026 Crossover
Spider-Man/Superman #1 is a must-read for anyone who wants more than just two icons trading punches. It isn’t perfect: meeting the sky-high expectations for a meeting like this is a tall order, and I could have done with fewer Spider-Verse/Superman Family stories in exchange for more variety among the heroes. That said, the story really sticks the landing when it comes to bridging the gap between Marvel’s grounded, human flaws and DC’s soaring ideals. It’s a great reminder that these characters still have something meaningful to say about putting a little more good into the world.
