After a few re-reads I'm very excited to say I have absolutely fallen for this charming, exciting, empowering little book!
I'm a big fan of literature that shows real diversity in its characters or encourages children to explore big questions, and this ticks all of those boxes multiple times over for me.
It covers all the classic childhood topics such as roleplay and imagination, making friends (or finding it difficult to do so), bullying, summer holidays/going back to school, and dealing with or looking after younger siblings.
But what I love most about Carboard Kingdom's storytelling, is that is reaches further to intertwine these with more modern and maybe more complex issues using a format that is much more accessible to children. The mix of graphic, superhero comic-style presentation, some with and some without words/speech, makes for a perfect balance of access levels, whilst also representing how the children within the stories communicate also.
There is a character for every child to relate to in someway - which I often have trouble finding books to fill.

I tried to go through and add tabs to my favourite stories, but by the end I'd put a tab on almost every one, so here's just three: (mild spoilers ahead)
> The Sorceress / The Army of Evil - these stories focused on two siblings from the same household.
I doubt anyone is surprised that I adore these ones. Jack is a super sweet kid who plays as The Sorceress, the infamous villain of the block, along with her evil sidekick-henchmen (Jack's younger sister and co). I love the way gender, expression, and identity is discussed in an unapologetic, unpatronising way; it is clear enough that children will independently pick up the cues and ask questions if they wish, but it is also written in a way that says 'it is what it is'. It's not something that has to be overbearingly spelled out, it just is.
When Jack is asked 'Wait, are you a boy?' he replies 'I'm the Sorceress' to which there is no need for extended explanations besides a 'Cool' before the story continues.
Between the children, it is an accepted fact - Jack is the Sorceress, and the Sorceress is Jack, and pronouns are just no big deal, she/her mostly being used.
This innocence is maintained even when the more serious story carrying adults enter the fray. Jack's mother clearly hints that he is safe to tell her if The Sorceress is more than just a character: she asks 'Is it really just dress-up and make-believe? Who is the sorceress?' to which Jack replies 'She's who I want to be...Magical. And powerful. And amazing.'
My heart breaks every time okay!

> The Big Banshee
This one got me good. The link created between a hulk-esque character, and the trope of the 'angry black girl' who needs to just calm down to be taken seriously...
I loved how the story discussed generational differences, how family isn't always right, and can both be supportive and harmful, and how you shouldn't have to change yourself to make other people happy.
The story is quite a complex one, but it is shown in such a simple yet emotive way. The body language is beautifully depicted, and the character design will resonate with exactly the right children who most likely need to hear this story. (Also see The Mad Scientist for a similar feel which I adored!)

> Professor Everything
I've touched on gender, and I've touched or race, but what truly surprised me was to find characters who represented a story of neurodivergency.
Professor Everything is a child who struggles with the spontaneous imagination of the neighbourhood, especially when the spells they're creating just aren't physically impossible. Making friends is hard for a lot of children, but especially when the social cues and expectations don't make sense. I saw my own autistic childhood reflected in this story. Reading a 'how to make friends book', trying so hard to do what it says, still failing and even being taken advantage of by unknowing children in the process.

The other stories of this book cover subjects such as LGBT+ friendships and relationships (I definitely see a childhood crush or two - i'm looking at you The Prince), problems in the home (The Gargoyle), and show an incredibly diverse range family dynamics.

The only thing I would have appreciated additionally would have been to see some confirmed use of language that would give children words to match the experiences of the children with implied specifics, and maybe the inclusion of a physically disabled child (whose disability isn't magically fixed in their imaginary super-form please thank you).