My Top Ten Comics of 2016

Hello!  It’s that time of year again… already!  It’s time for my 7th annual countdown of my favourite comics of the year.  And what a year it’s been.  If we look past the flaming trash fire much of 2016 has been in general, we have got some great comics out of it.  DC has found much success this year with its Rebirth relaunch, and I found myself jumping on a whole bunch of titles.  Though none of those biweekly books made this year’s Top 10, there are some standouts which I’ve been enjoying a great deal: Batman, Detective Comics, Aquaman, Wonder Woman.  On the flipside, I feel like my Marvel reading has almost entirely tapered off.  Most of the Marvel books I was reading, I either dropped or they ended.  I tested out a few of the new launches and relaunches but generally didn’t stick with them… but I’m hopeful about some of the promising creative teams lined up for upcoming books!  Several indie books continued to make a strong impression, though I seem to have jumped on less new Image titles this year than I have in past years, for the most part falling back on titles I was already reading.  However, I’ve heard great things about The Black Monday Murders and intend on catching up on that when the trade hits early next year.  The indie publisher that really jumped out for me this year was Dark Horse.  Negative Space and Harrow County continued to excel, and new creator-owned projects that launched this year also managed to grab my attention.  Between all the books I read from various publishers, I could probably make a top 20 list quite easily if I had the time.  Doom Patrol, Wonder Woman: Earth One, Civil War: Kingpin, Rumble, Chum, Dark Night: A True Batman Story, Black Hammer, A.D.: After Death, as well as the titles mentioned above, all jump into my head as books that came close to making the list.  But I had to narrow it down to 10, and here’s my final list…

  1. KENNEL BLOCK BLUES

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Kennel Block Blues was a book that really took me by surprise this year.  Not with how good it was.  When you put a creative team like Ryan Ferrier and Daniel Bayliss on a comic of course you’re going to get quality.  But I was expecting a fun, quirky “musical” about talking animals in prison.  What I actually got was a harrowing exploration of loneliness and casual cruelty, and a deeply moving ode to unlikely friendships and triumph over adversity.  Few comics this year did such an effective job of making me care about the characters within than I came to care for those singing talking animals featured here.  I was genuinely devastated by the grim ends some characters meet, and this also served to create an oppressive atmosphere of no character being truly safe, which ramped up the tension and made your heart soar for those who were able to emerge in triumph.  I think many might forget to include Kennel Block Blues in their year-end rankings because it landed so early in the year, or perhaps because Ryan Ferrier’s other creator-owned book, D4VE (also fab), seems to be more widely acclaimed.  But if you want an emotional roller-coaster of a read, both funny and moving, Kennel Block Blues is certainly worth your consideration.

  1. CHEW

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Chew is a comic which has appeared on my top 10 lists in previous years, though not for a while.  But I had to include it this year, as the series reached the end of its 60-issue run.  While Chew has had its share of acclaim, part of me feels like it doesn’t get enough love as a crucial book in the ascension of Image.  Maybe I’m letting my own subjective perspective inform things a bit, as it was one of the first non Marvel/DC titles that I jumped onboard and bought monthly, but even beyond that Chew seemed like an early example of the “new Image” ongoing: not a superhero remix or a 90s revival, or a product of the Top Cow imprint, but an unusual, original concept from an exciting upstart creative team, the kind of series you might have expected from Vertigo in years past.  And while Chew is most famous as a comedy series, it had its share of heart-rending emotional gut punches.  And here, in its final year, those gut-punches came thick and fast as the world inched ever closer to its chicken-related apocalypse.  While even I was guilty of letting the book fly under my radar – always reading, but maybe not rushing to grab it first on my read pile – it was once Chew was approaching its end and I had to start saying goodbye to this rich cast of oddball characters that I realised just how fond I had grown of them over the years, and how nuanced and lived-in John Layman and Rob Guillory had made them.  Farewell, Chew, you will be missed!

  1. DC UNIVERSE REBIRTH

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As I mentioned above, DC have been on a real upward swing this year with their Rebirth initiative.  All their titles relaunching, most with fresh creative teams, many of them as biweekly books, it’s been an ambitious undertaking which has proven largely successful.  And DC Universe Rebirth, by Geoff Johns and an array of talented artists, was the oversized oneshot that started it all.  But in reading the comic, which I’ve done several times now, in a lot of ways it reads less like a beginning than an ending.  It’s Geoff Johns’ goodbye to comics.  At the very least, goodbye to actively writing monthly comics, for the time being at least, as he moves up the ladder to focus on overseeing DC’s adaptations in the world of film and television as their Chief Creative Officer.  And in that context, DC Universe Rebirth takes on an added poignant quality of Johns checking in on various characters he’s had a hand in shaping over the years, giving us one last look at where he’s leaving them before giving them a fond farewell.  And the character viewed most fondly of all is Wally West, the protagonist of the run on The Flash where Johns first made his reputation.  Viewed for years as one of the great casualties of the New 52, not just as a popular character in himself but in the DC legacy tradition he  personified, seeing him roam this new world, struggling to find a tether in it feels metatextual.  And when Barry reaches through the fabric of reality and embraces him, sobbing, “How could I ever forget you?”, it’s like they’re grabbing a hold of us, the readers.  It’s a moment that brought me close to tears when I first read.  But beyond nostalgia and resolution, so much for the future is set up here.  Setting up Dr. Manhattan of Watchmen as the DC Universe’s biggest Big Bad was a controversial move, to be sure, and yet the Watchmen are surely the perfect antithesis of the light and hope and classic heroism this issue establishes the DCU as being all about.  A bold mission statement on the DC Universe going forward, and a hugely rewarding, cathartic read in itself.

  1. ALL STAR BATMAN

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I have mentioned already that it has been a stellar year for Batman comics.  Both Batman and Detective Comics are on fire right now, and with each running on an alternate bi-weekly schedule that means we have a quality new Batman comic just about every week.  We even got Dark Night: A True Batman Story, an autobiographical comic from Paul Dini and Eduardo Risso that is set in the real world of Dini’s life story but still manages to totally be about Batman.  But still, Scott Snyder has once again shown himself to be the current king of Batman comics with his new series.  While his long-running art partner Greg Capullo is off working with Mark Millar, Snyder has taken to working with a rotating cast of different artists for this series, with the stated intention of showcasing Batman’s iconic rogues gallery.  In 2016, we got the first of these villain spotlights in the form of a 5-part saga focused on Two-Face, one of my absolute all-time favourite villains.  And it really is a hell of a Two-Face story, Snyder revealing whole new dimensions to the character both in his personal connection to Bruce Wayne and in just how formidable a threat he can be.  That is paired with art from John Romita Jr which is some of the legendary artist’s best in many years, perhaps his best since Daredevil: The Man Without Fear.  The pacing and staging of action here is just breathtaking.  And as bonus content we’ve also been treated to backup stories illustrated by Declan Shalvey.  Each issue is a densely-packed, immensely enjoyable read, top of the pile even at a time when we’re spoiled with top-tier Batman tales.

  1. EAST OF WEST

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I’m sure I’ve said similar things about East of West before that I’m going to say now.  Because the book has been running a few years now, it doesn’t always get its due.  People are always looking ahead to the next Image #1 to start buzzing about.  But though it might not get the acknowledgement it deserves, and it even flies under my radar from time to time, whenever I read the latest issue of East of West, its masterpiece status is reaffirmed in my mind.  While the sprawling ensemble and dizzying scope continue to grow and grow, this apocalyptic sci-fi pseudo-Western has been patiently moving forward, aligning the players on the board for some epic conflicts and bringing long-separated characters together.  As Year Two drew to a close it felt like all the extensive groundwork and world-building is starting to pay off.  Nick Dragotta and Frank Martin do astounding, superstar work on art and colours every issue, and it might just be Jonathan Hickman’s finest work, too.  There might be other comics I rush to read quicker on new comics day, but of all the comics titles currently running, East of West may be the one that, when it’s all said and done, is best primed to join the canon of the all-time comics classics.

  1. SOUTHERN BASTARDS

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What!?!?!  After a couple of successive years at the top of the list, Southern Bastards slips off the #1 spot in 2016!  That’s not to say there’s been any decline in quality.  If anything, the issues we’ve had this year have been among the best the series has ever put out, as now Roberta Tubb has finally arrived in Craw County and a reckoning seems set to be underway.  Southern Bastards remains the best comic on the shelves, whenever it comes out.  The problem is more that whenever it comes out isn’t as often as I’d like.  Don’t get me wrong, I know you can’t rush greatness, and I’m willing to wait for issues when what we get when they do arrive is such quality.  But it’s just a simple fact that the more sporadic release schedule allowed for other, more regularly-released titles to slip in and take more prominent standing in my consciousness this particular year.  Still, Southern Bastards remains as gripping as ever, with Jason Aaron and Jason Latour bringing us a masterfully realised, believably wretched world with a bruised, twisted heart pumping under all the ugliness.  It has every chance of climbing back up to #1 in future years.  I can only hope that in 2017 I get a larger dose of Southern Bastards to enjoy.

  1. HOUSE OF PENANCE

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In a year that boasted a fair share of quality horror, House of Penance stood out as a horror not quite like any other.  Eschewing the usual creature feature or body horror fare, or (for the most part) any real exterior menace, this was almost entirely a horror of the interior, its dread built up from am unbearably oppressive sense of “ill feeling.”  While credit must also be given to the astute characterisation of Pete Tomasi in portraying the loneliness, grief and mania of Sarah Winchester as she obsesses over endlessly building her ghost-trap house, it is through the feverish artwork of Ian Bertram that this sense of grinding dread is hammered home.  This is achieved through the blood-soaked tendrils depicted weaving through the house, growing in density as scenes reach emotional high-points.  But beyond that, it is portrayed in near every frame, with the uneasy close-ups on gaunt, wild-eyed faces, pitching everything at just a degree or two shy of hysteria, ready to bubble over at any moment.  It was a superstar showcase for Bertram, elevating him from an artist I was already aware of and a fan of into making him one of my favourite artists working today.  But everyone on the creative team excels, this whole comic is a triumph, and a shining example of how much untapped potential for horror still lies within the comics medium.

  1. THE VISION

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Easily Marvel’s best comic over the past year, and a solid contender for the best ongoing title anyone put out in 2016, The Vision was actually a comic I wasn’t initially interested in, reading the concept.  “The Vision makes a family for himself and goes to live in suburbia?”  Seemed to me like a poor way to capitalise on renewed interest in the android superhero following his Avengers: Age of Ultron appearance.  How wrong I was.  Right from the opening pages of the first issue, a foreboding sense of impending doom is built up to such a fever pitch it’s almost like reading a psychological horror.  Tom King and Gabriel Walta managed to give us a take on  The Vision that felt utterly true to the core spirit of the character while at the same time taking us on shocking, unpredictable new directions.  In an era of short-run volumes and relaunches where story arcs can feel expendable, that format here is used to the book’s advantage, giving us a story which, while set in the wider Marvel Universe and its history for sure, nonetheless feels like an almost self-contained parable of what it is to be human as told from the perspective of those who aren’t, one which will have an enduring life in collected form many years from now, long after the next few crossover events have run their course.  A modern masterpiece.

  1. CLEAN ROOM

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Speaking of masterpieces, it’s a rare joy to get to experience an all-time benchmark work unfolding in real time.  But that’s just the sense I get from Clean Room, a title which in future years and generations I’m sure will be held up as part of the all-time canon of essential comics horror.  It started promisingly enough last year, with a Going Clear style premise of an investigation into a sinister, Scientology-style cult and the spate of deaths surrounding it.  But from there the series took a sharp left turn into blood-curdling cosmic/demonic flesh-mangling horror, a Lovecraft meets Cronenberg assault of wickedness.  It’s Gail Simone at the nastiest she’s ever been, and in the process probably the best she’s been since at least her epic Secret Six run.  Kudos also to Jon Davis-Hunt for crafting some truly nightmarish, viscerally disgusting imagery which left me wary of turning each page in public.  And beyond the scares, over its run of slightly over a year, Clean Room has been building up a rich, enigmatic mythology which it feels we’ve only thus far scratched the surface of, and populated it with both likeable and despicable characters.  I’m sad to see Davis-Hunt depart as artist, but this is a series which could be poised to just get better and better as the plot thickens.

  1. THE SHERIFF OF BABYLON

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At this time last year, while writing my 2015 Top 10 list, I’m sure that I remarked on the astounding first issue of The Sheriff of Babylon.  At the time, I remember thinking that if the series kept up anywhere near that standard, it would surely be in serious contention for the top spot in 2016.  And here we are.  The Sheriff of Babylon is a searing, angry comic.  Mitch Gerads may bring a subtle, understated quality in his visualisation of the US occupation of Iraq in the early 2000s, but this plain, detached approach veils tumultuous emotions bubbling under the surface, and makes the outrages and tragedies contained within the story all the more harrowing in contrast.  As a narrative on its own merits, The Sheriff of Babylon works extremely well.  In the first issue, immediately, we are introduced to three immediately compelling characters, each with their secrets and demons, and watch as their paths are set on a course that will bring them all together, looking into the appearance of a dead Iraqi soldier.  Any one of these figures would make for a readable protagonist, but watching all three play off one another against such an evocative backdrop makes for compulsive reading.  But on a level beyond the core narrative, The Sheriff of Babylon is a condemnation of the Iraq War.  A recurring theme throughout is the denial of responsibility, how decisions are made by disinterested people, and they get fed down the chain through winding degrees of separation until they cause devastation to lives on the ground.  It’s a damning indictment on the ways we can have our humanity taken from us, or (knowingly or otherwise) take that humanity from ourselves.  And the big payoffs of the series come when that winding chain is severed and characters are forced to make decisions which will have immediate, violent consequences.  Not just the definitive Iraq War story of any piece of fiction I’ve seen, in any medium, but one of the best war stories in recent years too.  An absolutely essential read.

And that’s the 2016 list!  Here’s the annual standings as they now read:

  • 2010: Scalped
  • 2011: Scalped
  • 2012: The Underwater Welder
  • 2013: The Manhattan Projects
  • 2014: Southern Bastards
  • 2015: Southern Bastards                                                                                               
  • 2016: The Sheriff of Babylon

Sorry it was late this year, but I hope you still enjoyed reading it.  I already have stuff I’m looking forward to in 2017, from seeing the DC Rebirth titles continue their progress, to seeing perennial favourites that had quiet years hopefully make big comebacks, to comics which have just started at year’s end (this year’s top 2 – both Vertigo comics, funnily enough – were both books which were brand new with not enough issues to allow for inclusion when I was compiling last year’s list), to enticing new creator-owned titles on the way.  Come back next December to see what makes the cut as best of the best!

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My Top Twenty Comics of 2013

Welcome back once again to my annual countdown of my favourite comics from the year that was.  You might have noticed that while on the previous three occasions I’ve ran this countdown on my blog the list has been a Top 10, this time round it’s been expanded to a Top 20.  And that is testament to how much of a truly spectacular year 2013 has been for comics.  There has been a wealth of fantastic new titles launched over the past 12 months, while established books have gone from strength to strength, and we’ve even seen a few comics that had been on the decline finding a new lease of life to blast them back onto the radar.  There were so many quality comics that it didn’t feel fair to just put a spotlight on the best 10 this year.  Indeed, it proved to be a struggle narrowing the list down to a top 20, even!  2013 has been a banner year for comics.  At this point I tend to talk a little about how my own reading habits have shifted in the intervening year.  Last year I talked about Image being on the rise, and that trend has continued in 2013, with Marvel and DC all but dropping off the map in my weekly comics haul while more and more Image titles get added to the point where they now utterly dominate my monthly reading.  A reminder of my rules for eligibility: the comic has to either be a graphic novel/oneshot released in 2013, or an ongoing/miniseries that has had 3 or more issues released in 2013 at the time of writing.  This means that while the likes of Velvet, Pretty Deadly, Drumhellar and The Sandman: Overture had stellar first issues, none of them have had enough issues for them to qualify.  Perhaps they’ll show up on next year’s list!  Finally, I should point out this is the first year I’ve done the list that Scalped wasn’t in contention, having finished last year, so that top spot is WIDE OPEN!  Who’ll be #1 of 2013?  Read on and see…

 

20. SWAMP THING

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Swamp Thing is a title that suffered from something of a steep fall from grace.  I remember way back when issue #1 hit as part of DC’s New 52 launch, written by Scott Snyder and drawn by Yanick Paquette, I declared it the best of all DC’s new #1s.  But going into the “Rotworld” storyline I felt the quality slip a little, and so I had resigned myself to likely dropping the title after Snyder’s departure, only deciding to give incoming writer Charles Soule a go for an issue to confirm my decision.  Boy was I wrong!  Charles Soule, working mostly with artists Kano and Jesus Saiz on rotation, has knocked this title out of the park since coming onboard, utterly reinvigorating the series and giving it a bold new direction and sense of forward momentum.  Rather than trying to ape Snyder’s style, Soule is doing his own thing here, returning Swamp Thing to more of a pulpy superhero aesthetic, and letting Swamp Thing make some cool, inventive uses of his plant powers.  Every month, Soule does something new to impress me.  First, he’s gifting Alec Holland with a natural, relatable voice through his narration.  Then, he’s finding fresh wrinkles in the history of The Green to expand and enrichen Swamp Thing’s mythology.  Then he utterly leaves the rest of the Villain’s Month oneshots in the dust with a tale that succeeds in making Anton Arcane skin-crawlingly scary again.  Now, with this current story featuring Swamp Thing battling Jason Woodrue over The Green’s avatar mantle, he’s hitting us with some of the most nail-biting cliffhangers and shock reversals of Big Two comics.  Meanwhile, Kano and Saiz carry on the tradition of Wrightson, Bissette, Veitch and Paquette with their flair for visual innovation, crafting awe-inspiring page compositions.  I’ve said it before, and I’m not the only one to make the comparison, but for me, Swamp Thing has become DC’s answer to Mark Waid and Chris Samnee’s Daredevil, in the way it can feel both like an homage to all that’s come before and a fresh new start unburdened by the darkness of past storylines, and is just pure, exhilarating fun.  Those who did drop the comic after Scott Snyder left are missing out!

 

19. CHEW

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Chew continues to see-saw in and out of my top 10.  As I said last year, it’s not really a reflection on the quality of the title, which has remained consistently entertaining and laugh-out-loud funny, but more on the emergence of hot new titles vying for attention.  It’s interesting, because I can remember when Chew was the new kid on the block, arguably the first in that new wave of white-hot Image issue #1 buzz-books, and now it has reached the point where it is a most venerable stalwart of the Image lineup, several years and nearly 40 issues into its run.  I think one factor in its slip down the rankings this year is that it feels like there have been a lot of occasions where the wait between issues has been a good bit longer than a month.  I seem to be going through this pattern lately of getting the new issue of Chew when it comes out, and not being able to really recall what happened in the previous issue, and taking a while to getting round to read this latest one.  But then when I finally do sit down to read the new issue, I immensely enjoy it and feel keen to get to the next chapter.  And then the cycle repeats itself.  So, Chew might be in need of a little extra spark to reassert itself up amongst the best of the best in Image’s ever-growing lineup, but it’s definitely not in any danger of being dropped, as John Layman and Rob Guillory continue to deliver a comic packed with delicious goodness. 

18. STRANGE ATTRACTORS

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Charles Soule again, this time paired up with Greg Scott in this delightfully smart and inventive comic from Archaia.  This was one of my best purchases from New York Comic Con, with Archaia’s typically superb production values making it a beautiful hardcover graphic novel package.  Strange Attractors tells the story of bright academic Heller Wilson becoming the protégé of aging genius/eccentric Dr. Spencer Brownfield, who may or may not have spent the past 30 years secretly keeping New York City running through the power of super-maths.  It’s a masterfully-structured tale, the various narrative threads weaving together like strands of a complex equation.  There’s an ominous air of impending doom hanging over much of the story as it steadily moves forward, quietly immersing you, but the end result is surprisingly inspirational and upbeat.  A highly potent love letter to New York City, and one that certainly made me miss it, having read this shortly after returning home to Scotland.  This year has really seen Charles Soule mark himself out as a real writer of note, and I for one am keen to see what he has lined up for 2014. 

 

17. SHELTERED

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If you’d told me that Lazarus wouldn’t make my top 20 list back when I read issue #1, I’d have laughed you out of the room.  I remember being hugely impressed back when I read the first issue of that new series, thinking this was sure to be one of the standout debuts of the year… then a week later Sheltered came along and trumped it.  Sheltered #1 was just a textbook example of how to grab readers by the proverbial baw-hairs and DEMAND their attention and continued reading, with Ed Brisson evocatively building up a well-realised status quo and ruthlessly tearing it down all in the space of a single comic book.  Out of the ashes of that devastation has risen a tense, haunting tale about children forced to become adults and largely failing at the task, and a harsh study of survival and evil.  And the art of Johnnie Christmas and colours of Shari Chankhamma give the whole thing an ethereal, dreamlike aesthetic, a work of strange, glacial beauty that creates an interesting contrast with some of the horrific things that happen within these pages.  There are many ways Sheltered could go from here, but at this point it has all the makings of a 21st Century Lord of the Flies. 

 

16. GHOSTED

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I’m sure I’ll be writing similar notes throughout this list, but it says something about the incredibly high standard of comics output in 2013 that Ghosted places where it does.  Earlier drafts of this list had both this and Sheltered secure in the top 10.  But rest assured, this is more a reflection on the superlative quality of the year’s books than any slight on Ghosted, a delightfully inventive genre mash-up.  Joshua Williamson’s irresistible “I wish I’d done it first” concept is to mix the classic heist story with the haunted house genre, with our protagonist Jackson T. Winters assembling a crack team of criminal experts for a daring robbery, not to steal money or diamonds, but to steal a ghost from a notorious murder house.  It seemed like a delicious hook for a miniseries, so pure and self-contained.  But the latest issue wonderfully opened up the idea into a bigger world and set the stage for how Williamson’s high-concept could sustain an ongoing.  Though I worry for how the next arc will fare without the indelible contribution of artist Goran Sudzuka, who in 5 issues has excelled in crafting a slick, cool signature style for the book.  Still, the series is off to a strong start, and I’m keen to see what happens next.

 

15. INFINITY

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I had largely sworn off the big Marvel/DC event crossovers.  I gave up on Fear Itself, disregarded Brightest Day, skipped Flashpoint, passed on Avengers VS X-Men, ignored Age of Ultron, dismissed Trinity War.  Not since 2010’s Siege had I read an event in its entirety.  But this year has proven to be something of a vintage year for events.  DC’s offering, Forever Evil, has thus far proved pretty enjoyable, though it didn’t quite make the cut for this list.  Marvel, meanwhile, gave us Infinity, a comic I almost never read due to all the talk about how it was impossible to read without a detailed knowledge of Jonathan Hickman’s entire Avengers and New Avengers runs or without buying the tie-ins in those respective books: as a rule of thumb I never buy tie-ins outwith the core event title that I supposedly “have” to read.  But on a whim one day I bought and read the first 5 issues of Infinity and was utterly engrossed, and more recently the 6th and final chapter brought it all home nicely.  You can absolutely enjoy this story without the tie-ins, though I’m sure they make it richer.  This is an event story that actually feels like an event, with Hickman generating an epic, sweeping tone and a grandiose scale.  The combined threat of the Builders to the galaxy as a whole and Thanos to Earth in particular creates a sense of seemingly insurmountable adversity, making it all the more awesome when The Avengers triumph in the face of it.  Thor gets one of his most badass moments ever.  An ultimate underdog fight between Black Bolt and Thanos is set up so powerfully that I was made into a fan of the Inhumans.  Various characters I’d never heard of before were presented as major players who I’m now invested in learning more about.  And the finale managed to both provide a satisfying resolution and set the seeds for numerous storylines that will likely be picked up on down the line in Hickman’s various Avengers titles, as opposed to just being an advertisement for the next event.  Easily the best crossover event from either company in years, and a shining example of how it should be done. 

 

14. THE WALKING DEAD

WalkingDeadNeganWhat a decline The Walking Dead has suffered in my estimations over the years!  After ranking near the top of my list in 2010, it dropped off the top ten in 2011, and by early 2012 I was beginning to question if I was just buying the book out of habit and whether or not I should just drop it.  But issue #100 marked a major turning point for the series, reinvigorating Image’s most famous series and giving it a compelling new direction that saw the title on an upward curve throughout the rest of 2012.  That trend has continued into 2013, with Robert Kirkman and Charlie Adlard’s zombie opus now the best it’s been in years.  And a big part of that is down to the new Big Bad, Negan.  A lot of people argue the series was at its absolute best during the Governor/Woodbury saga (I disagree, personally identifying the period immediately after the departure from the prison, up to and including the “Fear the Hunters” arc as the best, though the Governor stuff comes close), and that the loss of momentum has been due to the lack of a similarly formidable villain.  Well, now Negan has truly filled that void.  He’s a suitably different beast to The Governor too, with a twisted code of ethics and dark sense of humour that has at times even made him weirdly likeable: who thought I’d go from instantly wanting him dead in issue #100 to ranking him as one of my favourite characters?  I still want him to get his comeuppance, though.  The series is going from strength to strength with the way it has built up this new, wider world for Rick, Carl, Michonne and co to exist in, and with the 10th Anniversary “All Out War” storyline already proving explosive, it seems things are set to get even better!

 

13. FATALE

Fatale4Another comic to go from strength to strength this year, Fatale was always an interesting series, but one that very much went for the slow-boil approach.  But with its past couple of arcs, Ed Brubaker and Sean Phillips’ blend of noir and Lovecraftian horror has really started to turn up the heat.  First, a collection of standalone issues from various periods in history served to expand the mythos of the series in fascinating ways.  And now, Fatale has soared to new heights with this current storyline, with the timeline jumping forward to the indie music scene of the early 90s, and a disquieting moral fable that has served to crystallize the haunted tragedy, the irresistible allure and the poisonous influence of our mysterious protagonist Josephine more compellingly than any other storyline in the title up until now.  Up until now we’ve been told how all men fall for her and find themselves obsessing over her, but this story has truly immersed us in this happening and made us believe it.  With the way Brubaker and Phillips has introduced this poignantly human cast of characters and systematically destroyed them reminds me of the classic “24 Hour Diner” issue of The Sandman with Dr. Destiny.  Fatale as a series continues to evolve and improve, while this arc in particular stands as the best single thing Brubaker and Phillips have done since Criminal: Last of the Innocent. 

 

12. ZERO

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Zero is an interesting comic, in that it seemed to be under the radar for quite a while, then all of a sudden it picked up a lot of buzz as the release of the first issue drew near.  Much was made of the innovative approach to the series, which would see writer Ales Kot tell ostensibly done-in-one standalone tales with the eponymous hero, super-spy Edward Zero, with a different artist illustrating each story.  It’s a great concept, one that made me give the series a try, but I was thrilled to discover that the execution was even better.  In the three issues released thus far, artists Michael Walsh, Tradd Moore and Mateus Santalouco have all delivered some stunning imagery, their disparate styles unified by the majestic colours of Jordie Bellaire.  Ales Kot, who has shown creative promise with the likes of Wild Children and Change, here delivers his most accomplished work to date, taking that supposedly episodic framework and in fact crafting an intricately connected narrative tapestry, which we’re uncovering out of chronological order, but which I feel is going to take shape into an immensely compelling whole, once the series has been given more time to unfold.  If Zero continues to build momentum the way it has this early in its run, look at it as a serious contender to leap into the top 10 on next year’s list.

 

11. DUNGEON FUN

DungeonFun2Okay, this one is a bit of a cheat.  As I mentioned in my intro at the top, the usual perimeters for eligibility on this list include either being a graphic novel/oneshot, or in the cases of ongoings/miniseries’, that 3 or more issues were released in the contended year.  Dungeon Fun only had one issue released.  And given that I usually enforce this rule so rigorously, even cutting out MonkeyBrain’s Bandette from inclusion of an earlier draft of my list once I realised only two issues had been released this year, a book has to be pretty special to supersede it.  With Dungeon Fun, there are a couple of mitigating factors.  For one, small press titles work on a very different schedule than something released monthly or bi-monthly through Diamond, and in many cases it’s unreasonable for such books to have more than three issues within a year.  But more pressingly, it’s just too damn good to ignore.  A delightful fantasy romp that has rode a veritable tidal wave of critical adulation here in the UK, drawing comparisons to such diverse inspirations as Monty Python, Adventure Time, The Princess Bride and the Legend of Zelda games, Dungeon Fun is truly “all ages” not in the patronising, ghettoised “Y’know, for kids!” way some interpret it, but in the sense that it can capture the imaginations of audiences of all ages.  The wonderful artwork of Neil Slorance is brimming with energy and imagination, projecting this sense of fun and accessibility, and I was able to see first-hand on the convention floor how kids gravitated towards this book and eagerly grabbed a copy.  And the grown-ups can appreciate the razor-sharp wit of Colin Bell’s script, packing laugh-out-loud gags with a density approaching Airplane levels.  This is a book that lives up to its title, as in terms of pure FUN there’s not a single comic released this year that was able to leave a smile on my face as big as Dungeon Fun #1 did.  I know that last year, quite a few people picked up Iain Laurie’s Horror Mountain on the basis of my recommendation in my year-end list, so I can only say that this book comes just as heartily recommended.  Get your copy here: https://sellfy.com/p/3EZi/.

 

10. THOR: GOD OF THUNDER

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And while we’re talking about “books that would have ranked if only 3 issues had been released in the year” scenarios, in last year’s 2012 top ten, Thor: God of Thunder #3 came out about a week after I posted up my list.  And that’s a shame, as if that issue had come out sooner (or the list had gone up later), based on the immense quality of those first three issues, Thor: God of Thunder would very likely have broken my top 5.  Fast forward a year, and again I find myself talking about the intense competition and insanely high quality of 2013’s output having some great titles ranking lower than I expected.  But this shouldn’t be read as any decline in quality from Scalped writer (and perennial favourite of this annual year-end countdown) Jason Aaron’s take on Thor: this remains, in my opinion, Marvel’s best title.  The epic 11-chapter “God Butcher” saga that dominated the first year of the series was Thor’s answer to Batman’s “Court of Owls” epic, in how it used the introduction of a deadly new enemy to dig into its iconic hero’s history, push them to the brink of defeat and despair, and ultimately have them kick mega ass.  And Esad Ribic further demonstrated why he’s one of my absolute favourite artists with breathtaking visuals and a magnificent design for villain Gorr.  We then got a pensive, poignant oneshot exploring Thor’s place as a hero, a god and a man in the modern world, before Ron Garney stepped in on art duties for the currently-ongoing storyline, “Accursed”, which has presented a Malekith far more formidable than his cinematic counterpart, and presented a tale by turns funny, dramatic, and strangely relevant as a parable of the nature of war and military intervention in the real world.  With next year promising the return of Esad Ribic, Thor: God of Thunder should continue to be Marvel’s MVP well into 2014.

 

9. FIVE GHOSTS

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Over the past year or so, I’ve seen talk about how Image is too big now, how it’s become a playground for famous, established names in the comics field to bring their creator-owned properties to, and thus it’s lost its status as the publisher that gives a platform to exciting new creators.  But then something like Five Ghosts comes along and reaffirms Image’s status as a launching pad for the next generation of comics stars.  Though both do have credits to their name, writer Frank J Barbiere and artist Chris Mooneyham could still be considered newcomers to the wider comics stage, and yet they delivered one of the best Image series launches of a year filled with them.  An ode to pulp adventure spliced with a hearty dose of Gothic horror, Five Ghosts introduces us to Fabian Gray, an explorer whose encounter with an artefact known as the Dreamstone has left him with the ability to channel the abilities of five literary spirits.  Cue some relentlessly paced adventure courtesy of Barbiere’s brisk, action-packed scripts, while Chris Mooneyham has emerged as one of the breakout artists of 2013 with his luscious, evocative visuals that hark back to classic comics of the 70s and 80s.  Five Ghosts began life as a miniseries, but it’s no surprise it got promoted to ongoing status.  No one could have read those stellar first 5 issues and not wanted more of this character and this world.  After an enjoyable fill-in issue skilfully illustrated by Garry Brown, Barbiere and Mooneyham are back in the saddle for a second arc that seems set to draw in the swashbuckling pirate adventure into its melting pot of pulp homage.  And if all that wasn’t enough to cement its place in my top 10, each issue of Five Ghosts now comes with added Doc Unknown: the similarly pulp-infused comic from Fabian Rangel Jr and Ryan Cody almost made the top 20 in its own right, and is now a regular backup feature in Five Ghosts.  This title is a joy to read, and from pointing it out to people at my local comic shop to giving copies of the Haunting of Fabian Gray graphic novel out as Christmas gifts, I have and will continue to spread the word to those I know that Five Ghosts is worth your attention.

 

8. THE PRIVATE EYE

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The Private Eye caught a lot of people on the back-foot.  One day, sites began running teaser images of a mysterious new comic from writer Brian K Vaughan and artist Marcos Martin.  What could it be?  Who would be publishing it?  Many of us were preparing ourselves for months of tantalising teasers leading to a big release from someone like Image, but the very next day, The Private Eye launched online, self-published by Vaughan and Martin under their Panel Syndicate imprint, going under a “pay what you want” system, with downloading a digital copy of the comic for free an option.  I’ve bought each issue for $2.99, as it’s easily worth that.  There are few people in comics that do an issue #1 better than Vaughan, and The Private Eye continued that tradition, giving us a dystopian/utopian vision of a future where there is no internet, where in place of online identities people walk around with literal masks to craft their own personas, and the media has become the most powerful law enforcement entity on the planet.  Enter paparazzi/private investigator P.I., and we’re thrown into a futuristic take on a classic, pulpy gumshoe noir.  We’ve had 4 issues thus far, and equally recommended is the special “making of” comic released that delved into the process of creating this comic from the ground up.  Reading this gives you a strong idea of just how centrally involved artist Marcos Martin was in the building of this world and the telling of this story, his vision for the world so integral to the success of the story that his absence is unimaginable.  I’ve read quite a few quality digital comics this year, with MonkeyBrain’s output in particular proving consistently entertaining.  But The Private Eye stands as the cream of the crop. 

 

7. NOWHERE MEN

NowhereMen1Here’s an entry that threw a spanner in the works.  Before heading down to Thought Bubble last month, I thought I had my top 20 pretty much figured out.  I still needed to shuffle around the ordering here and there, but the actual content of the list seemed to be finalised.  But then I bought the first graphic novel collection of Nowhere Men at the show, and decided to read it on the train home to Glasgow… I ended up devouring the whole book in a single frenzied sitting during the journey.  I immediately wanted it in the top 20, popping it in at the bottom spot: this is what finally chopped Lazarus off the list, I’m afraid!  But upon going back to the book and rereading parts, I just fell in love with the craft of the thing more and more, and it steadily climbed up and up in my rankings until it reached the slot it’s at now, and even then I flirted with the notion of putting it higher.  The best comics don’t just tell a story, they create a world for the reader, and that’s what writer Eric Stephenson does with Nowhere Men.  The audacious level of ambition on display here is thrilling, as over the course of the first 6 issues he crafts a tale juggling multiple narrative threads, spanning across multiple generations, and a cast of over a dozen principal players.  It could easily have ended up a train wreck, but Stephenson orchestrates it all with panache, crafting a rich, nuanced alternate history of the world where science had the same kind of pop culture boom that rock-and-roll did in the 1960s, complete with its own answer to The Beatles in the form of the founding members of science dream team World Corp.  It’s a mythology made all the more immersive by the comic’s innovative use of posters and archival newspaper and magazine articles peppered within the comic narrative to flesh out the shape of the world between that pivotal era in the ‘60s and our vastly altered present.  The series as a whole really is a triumph of design, with the team of artist Nate Bellegarde and colorist Jordie Bellaire bringing superheroic flair to the world of cutting-edge science.  Read Nowhere Men, and you really will buy into its central notion that “science is the new rock ‘n’ roll.” 

 

6. SEX CRIMINALS

SexCriminals1aThere are certain times when you know you’ll love a comic as soon as you hear its name.  Such was the case with Sex Criminals.  And I was won over even more when I heard of the high concept behind the series: two people with the power to stop time with their orgasms go on a crime spree.  So, I went into this comic pretty giddy with anticipation, and still managed to be disarmed by how great it was.  I think what took me by surprise is that, though a book like this could have easily just coasted on that central concept and been a whole barrel of fun, it’s instead done something much more.  Over the course of the first three issues, it has managed to craft a genuinely sweet account first of the experience of growing up and discovering your sexuality as a girl, through the heightened prism of our narrator Suzie discovering her powers, then of a boy’s experience of sexual awakening through the story of Jon, then the joy and thrill of beginning a new relationship.  And save for the odd flash-forward, we haven’t even got to the “criminals” part of the title yet!  Reading the phenomenal letters page just confirms the chord these issues have struck with real life experiences of the readers.  And on top of all that, it’s genuinely hilarious, with artist Chip Zdarsky utterly cramming the comic full of brilliant sight gags.  Matt Fraction has been on a real roll lately, but Sex Criminals could very well be the best thing he’s ever written.  Perhaps the only thing preventing it from breaking the top 5 is that, three issues in, I need to read some more to see if the dizzyingly high pace can be sustained over the long term.  Next year’s list will tell the tale!

 

5. BATMAN

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With the ascension of Image Comics, and how (as can be seen by the quantity of their titles to make my list) the vast majority of my monthly reading now seems to be their output, I have considered the possibility of me at some point dropping Marvel and DC entirely.  Could I reach a point where all my favourite creators are doing by far their best work in Image or for other independents, to the point where I feel like I no longer need my superhero fix?  I may have mulled over this hypothetical future briefly, but in truth, so long as there are comics as excellent as Scott Snyder and Greg Capullo’s Batman out there, I will always remain a fan of superhero comics.  For me, saying “I refuse to read superhero comics” is as limiting as saying “I will only read superhero comics.”  I will read what entertain me the most, and what I feel are the best comics, period, and Batman is serialised comics storytelling at its finest, by any standard.  It had a slight wobble at the start of the year.  As much as I loved “Death of the Family”, the very last chapter didn’t quite stick the landing for me as much as I’d hoped.  Then we had a few more low-key issues that, while entertaining in their own right, didn’t live up to the title at its exhilterating best.  And, as I’ve mentioned before, I hated the concept of “Zero Year” when I first heard it.  But execution is everything, and with one of the finest creative pairings in comics today at the helm, I feel like a fool for ever doubting.  “Zero Year” has been utterly remarkable, with Greg Capullo crafting some of his best artwork yet; really pushing the boundaries and getting increasingly experimental with his layouts and innovations.  And Scott Snyder has skilfully found new wrinkles in the Batman mythos, and ways of making Batman’s well-worn early years feel fresh and dangerous.  One of the big secrets of this title’s continued to success is that, at its core, Snyder has made it a Bruce Wayne character study, with each major arc picking apart a different weakness, bringing out the vulnerability in a character all too often presented as invincible.  In this character-driven approach to its iconic hero, I think people are perhaps misguided in comparing “Zero Year” to Year One.  If anything, it’s Batman’s answer to Birthright.  For the third year running, Batman closes the year out as not only the biggest, but also the best superhero comic currently on the shelves.

 

4. SAGA

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Woe betide poor Saga!  Last year was the closest-fought battle for the #1 spot I’ve ever had in trying to decide between the top two entries in my year-end list.  In the end, Jeff Lemire’s instant classic The Underwater Welder only just squeezed past Saga to top my list of the best comics of 2012.  But I took heart in thinking that Saga was in for the long haul, and was all but guaranteed to top this year’s list.  I had it pencilled in for the #1 spot from January.  But over the course of this year, sadly, I feel like the mighty Saga lost a step.  Only a step, mind, but even that slight faltering, combined with the massive impression made on me by the three remaining entries on the list, were enough to have that prized #1 slot slip from Saga’s fingers once more.  I think its downfall was that a lack of forward motion or a sense of urgency in the plot, particularly in this current third arc.  I do feel like the ending of this most recent issue signals that the proverbial shit is about to hit the fan and things are really going to start moving, but up until now it feels like much of the narrative progression has ground to a halt in favour of just hanging out with the characters and getting inside their heads a bit more.  This would be a bigger problem for most books, but thankfully Saga happens to have some of the best characters in comics, and so hanging out with them is a joy in of itself.  Because while I may bring up the concerns about pacing, I’m almost not bothered about the wider story of the intergalactic war going on, as I’m so engrossed with what Marco, Alana, Prince Robot IV, The Will, Lying Cat et al are up to, the interesting conversations about life and love they’re having.  I’ve actually got a sneaking suspicion that Brian K Vaughan is in fact trying to stealthily get us into an intimate family drama about what it means to be a parent and to be a child, about the families we’re both born into and that we make for ourselves,  and he just cleverly disguised it as a sweeping sci-fi/fantasy epic.  His cast are so fully realised that I already feel like I know them, and so it’s extra devastating when any of them die, or even placed in mortal danger.  And what can be said about Fiona Staples that hasn’t already been said?  In her tenure on this title, she has evolved into one of the premier artists in comics, and each issue is packed with more beautiful imagery and masterful characterisation.  This is true superstar work, and her work here has secured her spot on the comic artist A-list for years to come.  It’ll be interesting to see how Saga fares next year.  Will it go down the list if the pace continues to frustrate?  Or will it go up the rankings if the plot kicks into motion, or if I more fully embrace the narrative working on a whole other level than what I’d perhaps originally anticipated?  Perhaps next year it might even claim that elusive #1 spot?

 

3. THE WAKE

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Surprisingly, Batman is not the highest-ranked Scott Snyder comic on my list.  No, that accolade goes to The Wake, his collaboration with artist Sean Murphy.  With American Vampire spending most of this year in hiatus, The Wake was left to fill the void in Snyder Vertigo output, and it instantly became the imprint’s standout title for the bulk of 2013.  Channelling the likes of Alien and The Thing, The Wake tells the story of marine biologist Lee Archer, taken down to a secret base at the bottom of the ocean with various other aquatic experts, where they quickly end up stranded and pitted against monstrous creatures from the black depths below.  I think there is something inherently alien and frightening about the deep, deep sea, and Sean Murphy’s visuals here prove utterly masterful at capturing that sense of isolation and claustrophobia.  I first became a fan of his on American Vampire: Survival of the Fittest, and what I’ve seen of Punk Rock Jesus is very impressive, but this is Murphy’s most accomplished work yet, true auteur stuff.  Snyder, meanwhile, managed to craft a narrative packed with tension, shock reversals and genuine frights, but his most audacious move has come at the halfway point, which we’ve now reached as the year comes to a close.  If The Wake had just been a 5-part miniseries about this horrific ordeal experienced by this ensemble of characters we come to care about in their deep sea base, it would have been considered a home run success as an intimate, tightly-contained thriller.  But Snyder is instead doing something much more ambitious, weaving vignettes of the distant past and the impending apocalyptic future through the narrative, and setting the stage for the second phase of the series, which promises to explode open the scope of the story into a tale of global dystopia in a catastrophic future where the siege of phase one has escalated into all-out war for the future of mankind.  It’s risky, as if it doesn’t work the whole thing could collapse.  But if he pulls it off, it’s going to be spectacular.  When it’s all said and done, I can see The Wake standing as a trademark comic for both Snyder and Murphy: when it’s all collected in a lovely hardback, that’s always going to be a hot seller.  And I can already see The Wake being a hit movie in a few years.  But that might be getting ahead of ourselves.  First, let’s see if issues #6-#10 can be executed as note-perfect as issues #1-#5 were.  With the talent involved, I’m confident!

 

2. EAST OF WEST

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It’s strange seeing East of West ranked above Saga, considering back when East of West #1 came out I wrote I talked about the parallels between the two titles, and how I felt that Saga #1 did a better job of introducing its world.  In fact, I didn’t warm to East of West right away, originally dropping it after issue #2, so I remained vocal in my affirmation that Saga was the superior series.  But I continued to hear good things about East of West, so I ended up getting the first graphic novel around the time issue #6 came out to give it another try.  As it turns out, I was a fool.  A blind fool!  Something just clicked for me on repeat reading, and I fell in love.  Really, the comparisons with Saga only work on the barest of surface levels, as this is ultimately a different beast.  Saga is using the backdrop of a massive, epic intergalactic war to tell a very small, intimate, personal story about a family’s struggle for survival.  East of West is telling a massive, epic story that’s staggering in scale, so much so I feel like even now we’ve yet to taken in the full scope of its multi-pronged narrative.  It’s a story so big I don’t think I can do it justice in this paragraph, but basically it’s about an alternate history of America, one where the Civil War went a different way and ended up with America divided into 7 nations, and our story begins with the time drawing near where the Four Horsemen are destined to bring about the end of the world.  Only one of them, Death, has his own agenda, one that involves getting revenge on those who wronged him and reclaiming a lost love.  Each issue is an exercise in giving us a piece of the puzzle, unlocking another part of this sprawling world and hinting at how it might connect into the bigger picture.  You get a firm sense in reading that writer Jonathan Hickman has this whole universe intricately mapped out, and each chapter is just him methodically shining a spotlight on it one small chunk at a time.  And that first issue I originally found to be less accessible than Saga #1 has opened itself up as a rich exercise in world-building, and an immensely enjoyable comics package in itself, one I’ve revisited just about as much as Saga #1 by now.  The series as a whole has offered up great reread value for me, with my Volume 1 graphic novel having already got a good battering from how well-thumbed it’s become.  A good deal of that is because artist Nick Dragotta makes the comic an absolute pleasure to look at, each page a breathtaking work of art I want to hang on my wall.  It is Dragotta’s flair for design that has brought Hickman’s vast ensemble cast to life.  As last month’s 30 Characters Showcase feature on my blog demonstrated, East of West has just been a machine for pumping out memorable new characters this year, emerging from the ether fully-formed and instantly iconic.  A friend of mine described East of West to me as Muse’s “Knights of Cydonia” as a comic.  I can see where he got that from, but I disagree.  For me, it’s Ennio Morricone’s “Man with a Harmonica” from Once Upon a Time in the West as a comic.  With East of West, Hickman and Dragotta have crafted a work of desolate beauty that stands as the best new comic of 2013, a year packed full of excellent new comics.  

 

1.  THE MANHATTAN PROJECTS

ManhattanProjects11bIt’s a Jonathan Hickman double-header!  For me, when it comes to comics, 2013 was the year of The Manhattan Projects.  It was always a good comic: it placed very respectably at #6 last year, and almost as early as I’d decided on Saga as my likely #1 comic of 2013, I’d pencilled in The Manhattan Projects at #2.  But in 2013, it’s like a switch flipped and the series catapulted from “very good” to “mind-blowingly fantastic.”  Literally, right from the start of the year: it was January’s issue #8 specifically that I identify as the series truly hitting its stride and launching into a chain of A+ issues that hasn’t been broken since.  The issues released in 2012 were all about setting the stage, introducing us to an alternate vision of 1940s America where the gathering of famed scientists for the construction of the atomic bomb was in fact a cover for numerous other, more dangerous and outlandish experiments, and none of those beloved scientific minds of history were what they seemed.  By the end of last year, representatives of America, Nazi Germany and Soviet Russia (not to mention the odd alien planet and alternate dimension) had gathered under The Manhattan Projects and declared themselves beyond the jurisdiction of any one nation.  And so, with 2013, we launched into the consequences of this action, with Oppenheimer, Einstein, Feynman, Von Braun and co pitted against an Illuminati-type organisation of figureheads representing entrenched power and the old way of thinking, led by none other than an orgy-loving mason President Truman, and a reanimated A.I. President Roosevelt.  Yes, this happened.  January’s issue #8 did the unthinkable by making us root for and even grudgingly respect Von Braun, who up until this point (and after it, really) has been portrayed as an unrepentant Nazi bastard, as he battled against the odds against A.I. Roosevelt.  Then issue #9 turned the tables with a massacre montage of Godfather proportions, cementing the scientists’ of The Manhattan Projects’ status as rulers of the world.  It was also the issue that confirmed for me that, more than any book starring The Avengers, the Justice League or the X-Men, The Manhattan Projects is the best team book in comics.  After that, issue #10 saw guest artist Ryan Browne tell an absolutely bonkers story from within the fractured mind of Joseph Oppenheimer, where the absorbed consciousness of Robert Oppenheimer punched horses and witnessed Being John Malkovich type scenes of legions of Oppenheimers engaged in acts of depravity.  Issue #11 switched gears again with a poignant character study of Harry Daghlian, the most human of the entire ensemble cast despite being a flaming radioactive skull in a containment suit.  Issue #12 then flipped that around into an emotional gut punch that cast scenes from earlier in the series in a disturbing new light.  From there, it became clear that, if the first arc of the series was about the team being assembled, and the second arc was about it reaching the height of its power, the third arc was about the team becoming fragmented by threats from within. 

 

I can happily rattle off issue-by-issue accounts of what went on without needing to go back to my comics for reference, because I’ve read each issue so often as to know the chronology of what’s happened pretty much by heart.  Even without anything else, that alone would probably be enough to justify its #1 spot here.  More than any other comic I read this year, The Manhattan Projects held the most reread value for me, where I could repeatedly read the whole thing from the beginning, or jump into issues out of order, and continue to enjoy it and get more from it.  That to me says I got more enjoyment from these comics than any other on the list, and to put anything else at #1 would be patently dishonest on my part.  But thankfully, there’s so much more evidence to support the title’s claim at the top spot.  Every member of the creative team triumphs in their role.  Writer Jonathan Hickman’s profile is arguably larger than ever right now, coming off Infinity and with his acclaimed role as master architect of the Avengers line for Marvel, but The Manhattan Projects remains his most fun, accessible book.  And it’s so character-driven, too.  Each member of the cast is so well-realised that I find myself thinking about where their story will take them or absently doodling them the way I might do about Batman or Spider-Man, and it’s even made me more interested in reading up on their real world counterparts.  If East of West is a vast puzzle that is gradually pieced together, The Manhattan Projects is much more about instant gratification, throwing jaw-dropping concepts at us and packing crazy revelations into each issue, only to then detonate that status quo and launch us into something new and even more exciting, like Hickman’s daring himself to somehow manage to maintain this crazy pace.  We’ve seen new world orders be formed and dissolved, and central characters have been maimed or killed in the process.  It’s a thrill-ride, but doesn’t sacrifice the smarts in the process.  Artist Nick Pitarra has grown leaps and bounds over the course of the series, going from an intriguing emerging artist who drew influence from some of my favourites in the field to becoming a master storyteller in his own right.  Each issue of The Manhattan Projects is a dense read that I take my time on, and a large part of that is that Pitarra crams into each page visual detail that enriches the narrative and the characterisation, in keeping with the spirit of the script but quite independent of it.  I savour and dwell on each page of a given issue, marvelling at the construction and becoming immersed in this twisted world Pitarra presents to us.  I mentioned that I like doodling characters from the comic, and I end up doodling them in a crude approximation of Pitarra’s style, because that’s how those characters look to me… they seem more real in his style than they do as real physical humans in old photographs.  And his perfect partner is colorist extraordinaire Jordie Bellaire, who textures Pitarra’s figures just right to give them a cartoonish, spritely weight on the page.  Her influence on the aesthetic of the book has become so indelible that she ended up recoloring the early issues she didn’t draw for the trades, because now those early issues just don’t look right without her.  Even letterer Rus Wooton was given opportunity to showcase his deft work this year, with one extended sequence in issue #12 really requiring him to take centre stage and shoulder the weight of the narrative.  These guys really have come together to form what is for me a comics dream team. 

 

I find it galling that The Manhattan Projects doesn’t get more recognition.  Of course, those who read it love it, and sing its praises.  But I sometimes see major comics news sites not bother to review new issues on the week of its release, and it’s been annoyingly absent on some of the year-end lists I’ve seen.  This seemed to be the case with previous list-topper Scalped as well, though its status seems to have grown some since its conclusion.  But it’s there loss, as month in month out, I get more enjoyment from The Manhattan Projects than anything on the shelves.  On an issue-by-issue basis, it’s a joy.  As an extended serialised narrative, it’s a triumph.  And there’s so much I’m itching to see from the series in 2014.  First on the wishlist: what is the secret origin of Ustinov, and how did he end up as a floating brain in a jar?  Will the series maintain its momentum and hold onto the top spot next year?  Who knows?  If this list has shown anything, it’s that there are no sure things, and that there are always new titles clamouring to grab readers’ attention.  But for now, what I can say for certain is that no comic made me love comics in 2013 more than The Manhattan Projects.

ManhattanProjects11c So, to wrap things up, here’s an overview of the annual standings, and what comics have made the #1 spot each year I’ve ran this feature on my blog….

2010: Scalped

2011: Scalped

2012: The Underwater Welder

2013: The Manhattan Projects

 

Thanks for reading, everyone.  Merry Christmas, and a Happy New Year!

My Top Ten Comics of 2012

We’re back a bit earlier this year, so apologies to any groundbreaking comic that comes out of nowhere in the last two weeks of December and blows me away.  This marks the third time I’ve run this feature on my blog, which I guess makes it a tradition of sorts.  There’s been an interesting shift in the tides as far as my comic reading goes.  Last year I spoke of DC’s dominance in my reading list, but one year on and the new car smell has faded from much of DC’s New 52.  The very best of the bunch are still going strong, but my DC reading list has thinned considerably in 2012, with yet more titles still hovering on the precipice of being dropped.  Marvel, meanwhile, has enjoyed a slight resurgence, with me sampling and enjoying a few of the Marvel NOW! launches and jump-on points.  But the big story of this year for me has been Image, who have been on a real roll, launching intriguing new titles left and right throughout the year and enjoying perhaps their best year ever.  Taking everything into account, the field of contention for the year’s best comics is so strong that, as of the writing of this intro, there are several comics still in the running to claim the #10 spot.  One honourable mention that was incredibly close to inclusion on the list was Thor: God of Thunder, by Jason Aaron and Esad Ribic, one of the best debuts of the year.  The only thing holding it back from a top 10 inclusion was that, with only two issues released, I thought I needed to see more of the series before I could fairly judge its merits in the context of a whole year.  Maybe in the 2013 list! Will the New 52 debuts that leapt into the top 10 last year retain their placement on the list?  Will the mighty Scalped emerge as the winner for the third year in a row?  Read on and find out!

10.  FATALE

Fatale3aThe first Image comic to make the list, but not the last.  Fatale was the first in a wave of high-profile new series launches for the publisher, with the powerhouse pairing of Ed Brubaker and Sean Phillips launching a new creator-owned slice of pulpy noir to accompany an impressive portfolio that already includes Criminal, Sleeper and Incognito.  After arguably the high-point of both their careers thus far with last year’s Criminal: Last of the Innocent, I was highly eager to see what the pair had in store next.  What sets Fatale apart from its stablemates is that the noir aesthetic is filtered through the lens of the horror genre.  Drawing in equal parts from Lovecraftian pulp and Satanic horror cinema of the 1960s and 1970s (The Exorcist, Rosemary’s Baby, a good dose of Hammer Horror) the result has been a narrative that substitutes overt shocks for a gradual, creeping dread that steadily built over the course of the first arc.  The second arc, while not quite as focused, still retained some degree of this finely cultivated atmosphere.  The story revolves around Josephine, an apparently-immortal woman who is gifted/cursed with the ability to make any man fall madly in love with her if they so much as look at her.  The narrative has strands spreading along both the present and various eras of the past, becoming increasingly intricate as it goes along.  It’s a limited series, but Brubaker says it keeps on getting bigger as he realises there’s more and more story to tell.  The comics themselves are fine packages, published on nice quality paper, and complete with various fascinating essays about pulp and horror fiction by Jess Nevins.  Not as immediately gripping as some of the comics higher on the list, but a quietly commanding comic that certainly merits recognition.

9.  CHEW

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After dropping out of the list last year, Chew makes a return to the top ten.  There was never really any substantial drop in quality; this offbeat series about a near-future world populated by various strange and delightful characters with food-based powers has always remained a consistently fun read, but perhaps that made it easy to take for granted as shiny new titles vied for my attentions.  But with the excellent Special Agent Poyo one-shot spinoff and the recent “Space Cakes” story arc, Chew has really upped its game and re-established itself as one of the most inventive comics on the market.  Everybody loves Rob Guillory’s gleefully demented artwork, such an integral component of the book’s identity that the very thought of a fill-in artist is horrifying.  But perhaps not enough credit is given to the deceptively intricate writing of John Layman.  With the way each issue works so well as a standalone caper, it would be easy to assume Chew is lightweight comedic fare.  But while there’s no doubt the book is funny – I laugh out loud at least once every issue – when you actually look at the ambitious narrative that has been crafted over the course of the series, it’s a surprisingly dense mythology.  We’ve now reached the halfway point of the series, and with the heartbreaking shock of issue #30, we could be heading for a change in dynamic for the second half.  But whatever lies in store, I’m certainly onboard for the long haul.

8.  WOLVERINE AND THE X-MEN

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I’ll confess, I’m shamefully late to the Wolverine and the X-Men bandwagon.  I almost picked it up at the beginning.  But that was when my interest in Marvel was at its lowest ebb, and when DC’s New 52 was making big demands on my pull list, and one of my favourite writers, Jason Aaron, was launching two new Marvel titles – Wolverine and the X-Men and The Incredible Hulk – in the same week.  I didn’t want to add more than one new Marvel comic to my monthly reading list.  So I chose The Incredible Hulk.  Now, I quite enjoyed Aaron’s run with the Green Goliath, it had some engaging ideas behind it.  But based on the tidal wave of positive feedback I’d been hearing for Wolverine and the X-Men, I began to suspect I may have made the wrong choice.  My decision to sample issue #19, billed as the Marvel NOW! “jumping-on point” for new readers, confirmed it.  Fun and accessible – two words I haven’t typically associated with X-Men comics – the strength of the issue encouraged me to pick up the previous few issues at my LCS, which included Wolverine and the X-Men #17, the Doop issue drawn by Mike Allred, perhaps one of my favourite single comics of the year.  That sealed the deal.  I went back to the start, and have been gorging myself on collected editions and back issues to get caught up.  What I love about this series is that every character earns their place.  No one is here because they were popular during Claremont’s run or whatever.  This is an ensemble piece, and every character – be they student or teacher – has something to contribute.  Which brings me to perhaps my favourite aspect of the series: the return to the school dynamic, previously crucial to the appeal of the X-Men franchise, but all too often overlooked amidst the more general superheroics.  I might have been late to the party, but better late than never!

7.  SWEET TOOTH

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Much like Chew, Sweet Tooth is a series that has been consistently great each month since its beginning, but which slipped from my top ten last year, only to return to the rankings in 2012.  In the case of Sweet Tooth, the fresh burst of momentum has come from the title’s impending conclusion.  Over the course of this year, all the plot threads have been getting drawn together and paid off, with – as of the writing of this list – only one issue remaining before the whole series is wrapped up.  Jeff Lemire has been doing very well with his work in the DCU, but this post-apocalyptic drama about a young animal/human hybrid boy, a battle-hardened old man, and their travels through a wasteland ravaged by a global pandemic – both written and drawn by the Canadian cartoonist – remains his best ongoing series.  And it’s a title that I feel has long been unfairly overlooked.  It is so well-crafted, filled with heart and characters you care about, and Lemire does some really interesting, ambitious things with his art, his layouts, and at times even the very structure of the comic itself.  I’ve talked a lot about what a void in my comics-reading life the end of Scalped will be, but I might be almost as sad to see Sweet Tooth go.  On the plus side, I’ll be first in line to check out Trillium, Jeff Lemire’s follow-up Vertigo project in 2013.

6.  THE MANHATTAN PROJECTS

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And to think, I almost didn’t buy this comic.  I’m afraid I must confess that, before The Manhattan Projects began, I wasn’t the biggest Jonathan Hickman fan.  I’d tried a few of his Marvel titles, but they’d ultimately left me cold.  But the buzz around the first issue, along with the enticingly high-concept proposal for the series – an Expendables-like team of famed scientists from history teaming up to engage in bonkers super-science – was enough to whet my appetite and make me give it a try.  I’m glad I did.  Each issue has at least one moment where I have to stop and say to myself, “That’s utterly demented!”  And, unlike lesser comics that I feel have been cynically engineered around an “Oh shock, WHAT A TWIST!” beat as a cliffhanger each issue, The Manhattan Projects manages to introduce a genuine shock revelation with each chapter in a manner that feels organic, because it tends to come from the characters and inform their portrayal.  This series has really made me a fan of Jonathan Hickman and his approach to storytelling, and since enjoying this I’ve picked up the first couple of issues of Secret, dipped my toes into his epic Fantastic Four run, and devoured The Nightly News, a wonderful comic that’s probably my favourite thing he’s done.  I’ve also become a fan of the offbeat artistic stylings of Nick Pitarra, whose visualisation of this crazy world have very quickly become definitive.  A gem of a book, that keeps going from strength to strength and getting better with each issue.

5.  SCALPED

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What’s this!?  Scalped at last toppled from the number one spot!?  I assure you, its lower placing on the list year is down to the insane quality of the comics above it, rather than any decline in the series itself, which came to an end this year.  The year in Scalped began with the dramatic conclusion to the “Knuckle Up” story, before segueing into “Trail’s End”, the final storyline that brought the saga’s major storylines to a head while still managing to leave a few tantalising loose ends dangling at the end.  This final victory lap made for some highly rewarding reading for loyal Scalped readers, as some of the catastrophic events we’ve been waiting to inevitably happen for years finally took place.  But even as the end drew near, Scalped never felt like it had checked out early.  “Trail’s End” immediately threw us off-kilter by picking up after a leap forward in time, with the status quo of several characters suddenly shifted and us left playing catch-up.  And from there, Jason Aaron steadily turned the screw and built up a sense of dread and uncertainty where, even right up to the last issue, we weren’t sure how it was all going to end, who would live and who would die.  There ended up being quite a few surprises with the way all that worked out.  And one of the biggest joys of Scalped this year is that, if I can recall, all the issues released in 2012 were drawn by the mighty R.M. Guera, who added so much to the rough, rugged aesthetic of the book.  It will be greatly missed, and my 2013 Top Ten Comics list will feel emptier for its absence, but Scalped has, for my money at least, cemented its status as one of the greatest comic books of all time.

4.  IAIN LAURIE’S HORROR MOUNTAIN

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There is perhaps no comic I’ve enjoyed continually rereading more this year than Iain Laurie’s Horror Mountain.  Given its lack of distribution it may be unlikely to appear on many other top ten comics lists this year, and that’s a great shame, as this is one of the most original, darkly inventive comics of 2012.  Horror Mountain is a standalone collection of shorts introducing various warped and depraved characters from the shadowy recesses of cartoonist Iain Laurie’s mind, with such unforgettable monstrosities as Captain Tits and Nazelbahhn.  The resulting end product plays a bit like a sketch comedy show broadcast in Hell.  By turns surreal, horrifying and strangely hilarious, Iain Laurie’s Horror Mountain is perhaps the purest, rawest expression of a singular creative voice in comics you’ll read all year.  Iain Laurie is one of the most exciting creators in comics right now, and I can’t think of anyone more deserving of having a breakout year in 2013.  I imagine his work best presented in the oversized hardcover format of X’Ed Out and The Hive, the recent output from Charles Burns.  The only thing preventing Iain Laurie’s Horror Mountain from getting higher on this list is that there isn’t more of it.  If you’re at all the kind of person who reads through these year-end “best of” lists to figure out what comics to buy next, then this should go to the top of your list.  BUY IT NOW. (Also available digitally for just $1!)

3.  BATMAN

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Last year I predicted that Scott Snyder and Greg Capullo’s fantastic work on Batman would earn the comic a high placement on this year’s list, despite the book not placing in the 2011 top ten: I opted to go for Scott Snyder’s Detective Comics instead, since the Batman run had at that point just begun.  Sure enough, here it is.  In the intervening 12 months, Batman has emerged as unquestionably the crown jewel of the New 52, not just in terms of sales, but in terms of quality.  The Bat-titles are strong in general right now – I currently read and enjoy Batman & Robin, Detective Comics and Batman Inc – but Batman reigns supreme.  The year got off to a blistering start for the title, with Batman #5 soaring out of the gates as an early contender for the best single comic book of 2012, not to mention one of the best single issues of an ongoing Batman comic I’ve ever read.  Featuring Batman trapped in a labyrinth by the Court of Owls and gradually losing his mind, with trippy, boundary-pushing artwork by Greg Capullo, this saw Batman pushed to the brink of defeat and despair in a way that shocked many readers.  This was the high watermark for the “Court of Owls” saga, and though it might have faltered slightly in the last chapter or two, for the most part “The Court of Owls” was a textbook example of how to tell a gripping, high-stakes Batman epic.  And now it looks like the all-star creative team is set to top it with “Death of the Family”, the currently-unfolding storyline featuring the hotly-anticipated return of The Joker.  Scott Snyder has done a stellar job of injecting a sense of genuine danger and peril into the “illusion of change” world of superhero comics, crafting nightmare scenarios where even jaded comics readers are left on the edge of their seats wondering how the hell Batman can possibly prevail.  And Greg Capullo is giving us perhaps the finest work of his celebrated career.  If Batman can maintain this dizzyingly high standard, I fully expect it to rank highly on next year’s list as well.

2.  SAGA

Saga4aIt has become very fashionable for everyone to gush about how amazing Saga is, and under that sea of hyperbole it might be easy to overlook how good this series actually is.  I’ve read the first issue several times now.  I read it two times in a row on the week I first bought it, before reading any of my other comics from that week, and I remember doing this because I was more excited about rereading this mind-blowing book than reading of my other purchases, none of which could hope to live up to Saga #1.  Since then I’ve periodically returned to that first issue, and recently downloaded it free on Comixology so I can reread it even more on my iPad.  Though I should clarify that the other 6 issues to follow have been great too, establishing a unique, vibrant sci-fi/fantasy world that feels like the basis of a fresh and exciting mythology I’m incredibly excited to explore and learn more about in the years to come.  The best of the crop of new Image comics to launch this year, Saga marks the return of Brian K. Vaughan to comics.  Given how much I adore Y: The Last Man and Ex Machina, that alone was enough to guarantee my interest.  But Vaughan doesn’t rest on his laurels, and isn’t content with just coming back to do what he did before.  No, he’s pushing himself with what could be his most ambitious narrative yet, a huge, sweeping space opera that incorporates various planets, species and cultures, a tale of star-crossed lovers on the run with their baby, and a long-running intergalactic war with unsettling real-world parallels.  But at its core Saga is a book about characters, and it’s amazing how quickly readers have come to care about Marko, Alana, Izabel, Prince Robot IV, The Will, Lying Cat and the rest.  And the art, oh God, how can I not mention the art!?  Fiona Staples has very quickly emerged as one of my favourite artists in comics, and of the breakout comic stars of 2012.  As artist and colorist (and occasional letterer when it comes to Hazel’s narration), Staples is crucial in giving the book its visual identity, crafting an aesthetic that often abandons hackneyed genre tropes where you’d expect to find them and instead crafts something new and often a bit crazy in its place, making Saga feel like no sci-fi or fantasy story you’ve ever encountered before, in any medium.  So integral is Fiona Staples to the book that, when the announcement came that the book was taking a hiatus of a couple of months in between arcs to let her get caught up on her art, the usual grumbling was pretty much absent, with a “Yeah, that’s fair enough, because a fill-in artist would be unthinkable” response proving to be the norm.  This is the comic I look forward to each month above all others.  When Scalped finished this year, I did not expect any comic to fill that “monthly comics crack” void.  I certainly didn’t expect it to happen so soon.  But Saga could very well be the spiritual successor to Scalped, and I can’t think of a better compliment to give a comic than that.

1.  THE UNDERWATER WELDER

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After all that fawning over Saga, it might be hard to believe it only made it to #2 on my year-end list.  Believe me, pretty much right from its stellar first issue, I thought it had the “Best Comic of 2012” spot in the bag, and it would take a very special comic indeed to top it.  It’s a good thing, then, that The Underwater Welder is a very special comic indeed.  Essex County is Jeff Lemire’s masterpiece, and stands as one of the finest comics of the past decade, not to mention one of my all-time favourites.  So, as much as I’ve enjoyed Lemire’s work in the DCU, I had been eagerly anticipating The Underwater Welder – his next graphic novel for Top Shelf– since I first heard about it last year.  And while it doesn’t quite surpass the mighty Essex County, it could very well be Lemire’s most accomplished work since that breakthrough book.  It is very much a thematic cousin to Essex County, given its exploration of fathers and sons and life in a small community, but this tale – of an underwater welder still haunted by memories of a father he lost in childhood as his wife is expecting with a child of his own – takes an unexpected, Twilight Zone style twist into supernatural territory that sets it apart.  While many may know Lemire primarily as a writer, The Underwater Welder shows his outstanding ability as a cartoonist, with a nigh-unparalleled gift for wringing a surprising amount of emotional heft out of seemingly simple images.  Lemire’s artwork feels a lot more precise and polished than it did with Essex County, but still retains that rough, sketchy quality that some might find initially off-putting.  I, however, love it, with Lemire simplifying much of the extraneous detail and honing in on the emotional truth of a moment.  And it’s surprising how immersive the worlds he draws can become, as we build up an emotional investment in the characters and gain a strong sense of place from their surroundings: this book left me seriously wanting to visit Nova Scotia.  Lemire also does some impressive visual experimentation, composing some of the year’s most breathtaking page layouts for this story.  But more than anything else, what I adore about The Underwater Welder is its heart.  Lemire has a gift for telling stories that can feel nakedly emotional without ever coming across as sappy or maudlin, and he does it again with this moving, unconventionally heartwarming tale.  I wish Lemire all the best in his work on ongoing comics.  But I hope that no matter what heights his career as a mainstream comic writer takes him to, he will always find the time to come back to writing and drawing graphic novels like The Underwater Welder, because when he does projects like this, Jeff Lemire is better than just about anyone in the comics medium today.

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REVIEW: Chew #20

I must confess, lately I’ve been a bit annoyed by Chew.  Perhaps it’s just sour grapes, given that for two years in a row now Chew has defeated what I felt were superior books (Sweet Tooth in 2010 for Best New Comic and Scalped in 2011 for Best Continuing Series) at the Eisner awards.  Perhaps it’s the fact that I’m tired of people speculating that every Image #1 that gets released (and there’s been a lot in recent months, it seems) could be “the next Chew“, after this series became a surprise hit upon its debut in 2009.  Whatever the reason, I often find myself thinking that, aside from some moments of sporadic brilliance, Chew hasn’t quite been able to quite live up to the sheer excellence of “Taster’s Choice”, its first story arc, and isn’t as great as the hype would suggest.

So, I have all these grievances and grumbles about Chew in my head.  That is, until I actually read an issue.  Without fail, whenever I read a new issue of writer John Layman and artist Rob Guillory’s oddball conspiracy comedy-thriller, I’m reminded (and perhaps that’s the problem – the big gaps between issues makes me forget) that Chew is one of the most consistently entertaining titles on the stands, and that rarely is there an issue that doesn’t offer at least one laugh-out-loud moment.  So really, begrudging it for beating Scalped at the Eisners is like begrudging No Country For Old Men for beating There Will Be Blood at the Oscars: my personal favorite in the category may have lost out, but the one that won was still very much a deserving award winner on its own merits.

For those unfamiliar with Chew, I might tell you that is a series set in a world where chicken has been made illegal, in the wake of a recent avian flu epidemic, and that our main character, Tony Chu, is a cibopath, someone who can eat something, and instantly tell you about the history of that thing – be it an apple, or a sausage, or a chunk out of a dead body.  But the sprawling narrative has expanded so far beyond that premise, giving us a detailed, far-reaching, yet utterly bizarre mythology that is still being uncovered, that the initial synopsis no longer does the scope and complexity of the series justice.

Indeed, because of the farcical, comedic caper nature of the storylines, it’s easy to overlook just how much of a labyrinthine plot Chew has.  It’s a credit to Layman’s skill as a writer that it all feels palpable, even simple, when in fact the plotting is deceptively intricate.  This is what puts Chew well ahead of Morning Glories (that most common recipient of the “next Chew” buzz) in my book.  Both are titles driven by mysteries and unanswered questions, but Chew doesn’t get so caught up in it that it forgets to make each issue a compelling, rewarding reading experience in its own right.  I’ve never read an issue of Chew, even one that leaves lots of questions hanging and mysteries unresolved, and thought, “Hurry up and get on with it.”  Because each issue has its own drama that makes it work as a standalone comic you can just pick up, read and enjoy, rather than simply being an exercise in getting to the next cliffhanger – a lesson Morning Glories could benefit from learning.

In the case of Chew #20, the “case-of-the-week” (playing against the backdrop of the larger mysteries that have emerged in this “Flambe” story arc) revolves around The Church of the Divinity of the Immaculate Ova (only in Chew), an egg-worshipping cult that Tony Chu and his cyborg partner John Colby are sent to investigate.  It’s an entertaining enough diversion, but ultimately it ends up feeling like that: a diversion.  Just something for Tony to do, while the real meat of the issue revolves around the bookend sequences at the start and end of the issue, featuring Tony’s enigmatic former mentor, Mason Savoy.

It is also in these sequences that Guillory really gets to cut loose, unloading with a barrage of lush double-page spreads that play on some familiar imagery from the opening issue.  Guillory continues to steal the show with his quirky artwork on Chew.  A lot of his character designs are just inately funny, so much so they could probably garner a chuckle even if Layman scripted them as doing nothing but silently reading the phonebook.  And I love the little details and Easter eggs (Easter Immaculate Ovas?) that he throws in.  For example, a few issues back we saw the cast of Fringe pop up in the background of one scene.  And here, take a look at the visual gag he adds with the Kool-Aid the cult is passing around.

Overall, this is a pretty unremarkable issue of Chew, mainly setting the stage for more interesting things to come.  But such is the nature of this series that even the less than stellar installments can still make for a fun read.  Next year, Showtime will be producing a pilot for a Chew TV series.  So, if you want to be one of the trendy kids who liked the series before it was cool, now’s the time to jump onboard.

My Top Ten Comics of 2010

Hey all!

Been a while since I blogged, so I figured I’d post this up.  I’ve also posted this as part of my Comic Book Club column over on Project Fanboy, but I figured I’d post it here too.  Hope you all had a Merry Christmas, and have a Happy New Year!

2010 was an interesting year in the world of comics. As the new decade began, both Marvel and DC seemed set to be making a move towards more optimistic storytelling and more heroic heroes, with Dark Reign giving way to The Heroic Age and Blackest Night giving way to Brightest Day. There was also a stated intention to move away from company-spanning crossover events, focusing more on smaller events within individual franchises. Neither promise seems to have held on long, with Brightest Day being as gore-addled and grim as any DCU story of the past few years and Daredevil turning evil for a while in Shadowland, and with Marvel recently announcing their latest big crossover event: Fear Itself.

It was a year where the comic book movie craze seemed to falter, with Iron Man 2 proving a disappointment, and both Kick-Ass and Scott Pilgrim VS the World (undeservedly) underperforming at the box office. But on the other side, it was a year where a new frontier for comic book adaptation – television – began to be exploited more fully. The Walking Dead was one of the year’s biggest TV success stories, breaking viewing records for AMC by a substantial margin and already finding itself nominated for a Golden Globe. This has in turn paved the way for a glut of comic book TV projects, ranging from remakes of classic TV superhero shows of the past (Wonder Woman, The Hulk) to adaptations of thus-far untouched comic book properties (Locke & Key, Powers, Alias).

As ever, it’s difficult to provide a concise summary for the year in comics as a whole. There were a few great comics, some awful comics, and a whole bunch that fell somewhere in between. This list of mine is by no means all-encompassing. Instead, it is a deeply subjective reflection of my own limited, largely mainstream-leaning reading throughout the year. Graphic novels, mini-series’ and ongoing monthly comics were all eligible for inclusion as I put my list together. Here’s what I came up with:

HONORABLE MENTION: THOR

It’s been a turbulent year for Marvel’s god of thunder. After J. Michael Straczynski’s great run came to an abrupt, disappointing close, we entered 2010 with a sense of “Right, let’s hurry up and get on with Matt Fraction’s run, get Kieron Gillen in to tidy up Straczynski’s mess.” But then Mr. Gillen surprised people by coming onboard with a run that was very good in its own right, far exceeding the expectations of the transitional writer between two A-listers and in fact surpassing much of the latter part of the JMS run. Of course, it shouldn’t have been a surprise to those familiar with Phonogram or SWORD that Gillen would not disappoint. His first arc, “Latverian Prometheus” – in which hostilities between Asgard and Dr. Doom came to a head and Straczynski’s incomplete saga was wrapped up – was great fun, and delivered on both the action and characterization fronts. Arguably the high point of Gillen’s run came with the event tie-in Siege: Loki, which simultaneously explained some of Loki’s actions before and during the events of Siege and set up the next storyline for Thor once the event wrapped up, all while giving us a masterful insight into Loki’s motivations and treating us to some lovely art from Jamie McKelvie. It’s a shame then that the Siege tie-in issues of Thor itself were so poor they almost cost the title its place in the top ten. I don’t blame Gillen: the job of writing an arc set in Asgard where he couldn’t actually progress anything because the main activity was happening in the main Siege book, unable to even use any of the title’s main characters as they were also being used in Siege, was a particularly thankless one, which is probably why Straczynksi left the book in the first place. Thankfully then, Gillen got to end his run on a high note with an additional closing arc after finishing the grunt work that saw Thor and friends take a romp through hell. And now that Fraction is onboard (aided by some high-quality art by Pasqual Ferry), we’re getting the beginnings of what seems set to be an intriguing new era for Thor.

10. CHEW

After a stellar beginning that saw me rank the series at #8 in my top ten of the decade at this time last year, Chew seemed to falter slightly this year. Particularly at points during this most recent arc, “Just Desserts”, the series appeared to be lacking direction. But even in its weaker moments, Chew never fails to entertain, typically guaranteeing at least one out-loud belly laugh per issue. Rob Guillory’s art remains fantastic, giving the book its own unique identity, and with the last couple of issues it’s become apparent that John Layman has been carefully crafting a larger mythology, even when it appeared like the book was lacking direction. The stage has been set for Chew to reach new heights in 2011.

9. INVINCIBLE IRON MAN

Here we have another case of a title that reached heady heights in 2009 but couldn’t quite keep it up going into 2010. After the epic “World’s Most Wanted”, it appeared that Matt Fraction’s Iron Man saga had lost steam with both “Stark: Disassembled” and the current “Resilient” arc. With its almost-funereal pacing, Invincible Iron Man at times feels like one of the most decompressed comics on the market. But even when it’s at its most plodding, Fraction keeps things interesting, his mastery of Tony Stark, Pepper Potts and co so refined that he can make an issue of them sitting in a café drinking coffee compelling reading: and there were a couple of issues that weren’t too far off that. But when the action does come, its kinetic, in-your-face, thrilling; Salvatore Larroca’s art (long a weak point in the series) greatly improving over the course of the year. Compliments also go to the fantastic Invincible Iron Man Annual, which gave us a Mandarin who was delightfully vile and free of any redeeming qualities whatsoever. And even when the narrative is moving along slowly, you get the sense that Fraction knows what he’s doing, that he’s carefully setting the pieces in place for something explosive down the line. So Invincible Iron Man still has my attention, and my praise, going into 2011.

8. MORNING GLORIES

I almost didn’t include this in my list. This is in fact a belated edit, after finally getting caught up on the series. I blame the oversight on the frustrating lack of availability the series suffered in its early issues, what with all the quick sell-outs. I managed to get issue #1 on its third printing, but had given up all hope on getting issue #2, and as such had given up on the series altogether. But I finally managed to get a hold of that missing second issue, and now I’m fully onboard. Of course, the plus-side of all those sell-outs is that Morning Glories is positioned as the breakout indy comics smash of 2010, much like Chew was in 2010. But while it was the original high concept that initially sold Chew, with this tale of a group of 16 year olds trapped in a prestigious prep school with dark secrets, it seems like Nick Spencer is crafting the comic book equivalent of a water-cooler mystery more typically associated with television. I’ve seen many comparisons to Lost, but with its off-kilter weirdness, comically monstrous characters and constant sense of lurking dread, I’d say it bears closer parallels to Twin Peaks. In the first issue, Spencer introduces us to six new characters and within mere pages makes them all feel rounded and nuanced. Artist Joe Eisna, meanwhile, provides visuals that deftly shift back and forth from cartoonish to horrifying. Each issue deepens the mystery, offering more questions in place of answers. It remains to be seen whether – much like Lost – this approach stops being tantalizing and starts being infuriating, but for now this series is off to a highly promising start.

7. ACTION COMICS

Caught up in the tepid “New Krypton” saga for much of the year, it would have taken something incredible to hit Action Comics over the latter half of 2010 for the series to rank in this list at all. Thankfully, then, Paul Cornell jumped on as writer of the book, and made Lex Luthor the star. Each month, we see Superman’s arch-nemesis pit against another popular DC supervillain in his ongoing quest to unlock the secrets of the black rings last seen in Blackest Night. Witty, charismatic, even likeable, but also unquestionably evil, Cornell has made Lex Luthor into my new favorite superhero. And the Gorilla Grodd issue was surely one of the best single comics of the year. If the comic hadn’t been subpar for the rest of the year, Cornell’s run could have earned Action Comics a higher placing on this list. We’ll see what next year brings!

6. SWEET TOOTH

Once again, I find myself saying that a comic that was amazing in 2009 wasn’t quite as good in 2010: is that the theme of this year? Sweet Tooth had a brilliant opening arc, but the second storyline, “In Captivity”, didn’t pack quite the same emotional punch. There was one grim period where I briefly thought I had accidentally bought the same issue twice, as I read my new purchase and thought it was so incredibly similar to what I had read a month earlier, offering as little as it did in the way of plot advancement. “In Captivity” did, however, expand the mythology of the series, and introduce new characters to the mix. And despite not being quite to the level of “Out of the Deep Woods”, there was still plenty of emotional, heartbreaking story beats to be found. The current arc, “Animal Armies” has been a big improvement, and over the last couple of months Sweet Tooth has once again become essential reading. It’s just a shame the boost didn’t come earlier in the year, or Sweet Tooth could have cracked the top five.

5. KNIGHT & SQUIRE

I love this series so much. Three issues in, and I already feel totally immersed in this quirky, idiosyncratic and very, very British world that Paul Cornell and Jimmy Broxton have created. A spin-off using characters originally revived by Grant Morrison, Cornell has nevertheless made Knight & Squire feel totally his own. Each issue so far has been so dense with in-jokes and subtle humor that they benefit greatly from multiple readings, and I’ve reread these comics perhaps more than anything else on this top ten list. If I were to use any word to describe Knight & Squire, it would be nice. This is a nice comic. Whenever I’m done reading an issue, I’m cheered up, I feel that little bit happier for reading it. And with the dark, emotionally-draining stuff that’s coming up as our countdown continues, something bright and joyful that captures all the weird, silly stuff that makes comics so much fun is certainly refreshing.

4. AMERICAN VAMPIRE

This actually started out a bit lower on my top ten. But as I wrote this summary of its merits, I kept on nudging it up and up until it finally settled here at #4, making it the highest-ranked new series of the year on my list. American Vampire debuted with much fanfare, billed as the first original comic written by Stephen King – that’s what first attracted my attention. And yes, King’s back-up story over the first five issues proved that the man’s creativity and knack for characterization and the building of dread is not limited to the prose medium. But the true revelation came with the core creative team. Immediately noticeable is the work of artist Rafael Albuquerque, producing some of the most gorgeous interiors of any comic on the stands right now. But more and more I’m coming to appreciate the input of writer Scott Snyder. It seems like every month, he moves the narrative forward in some way, be it through shedding new light on a character or expanding the mythology. He really shows an affinity for serial storytelling, with each installment both serving as a satisfying read in its own right, while having a cumulative effect as it builds on what came before and sets the stage for what is to come. And in the vicious Skinner Sweet, Snyder has created arguably the year’s best new character: one of the comic’s great pleasures is the way we are continually lured into thinking the eponymous American vampire could grow into an anti-hero, only for Skinner Sweet to turn around and do something utterly horrible and monstrous and remind us of what a villain he unquestionably is. 10 issues in, American Vampire keeps on getting better and better.

3. BATMAN AND ROBIN

A list of 2010’s best comics could very easily have been dominated by Grant Morrison’s Batman output. But in the interest of fairness, I limited myself to only including a single Bat-title on the list, and the winner by a narrow margin was Batman and Robin. The book was consistently strong throughout the year, but what really put it above Batman Inc and even the ingenious Batman: The Return of Bruce Wayne for me was the concluding arc of Morrison’s run on the title: “Batman and Robin Must Die!” Serving as a kind of sequel to Batman R.I.P., we got to see Dr. Hurt and Professor Pyg make their welcome returns, and Frazer Irving floored us all with some spectacular art. But best of all was the long-awaited return of The Joker, and in particular Grant Morrison’s Joker, given that the Scottish scribe writes the character better than just about anyone. Grant Morrison’s extended Batman saga has made for one of the definitive superhero sagas of the decade and one of the finest runs in the character’s history, and I’m excited to see its next phase with Batman Inc.

2. THE WALKING DEAD

Aw, you gotta feel bad for The Walking Dead. Two years in a row now, it has ranked at #2 in my top ten. Looking at the series as a whole, I’d probably rate it as my personal #1 favorite comic. But based on the 2010 output alone, there is one comic I’d rate even higher. However, having said that, 2010 has still been a stellar year for everyone’s favorite zombie comic. We saw a shift in the dynamic this year as our survivors settled into Alexandria, the long sought-after safe haven they desired, populated by a community of largely good people striving to rebuild a sense of normal life. But the tragedy explored through the plights of various characters this year was that many of our survivors are so damaged by what they’ve had to go through to survive that they no longer have a place in a “normal” world. The result of this conflicted dynamic has been the steady escalation of tensions between the established cast and the new characters resident to Alexandria, all the while distracting us from the inexorable arrival of the zombie horde that now surrounds this “safe haven” as we head into 2011. “No Way Out” seems set to be a major storyline for the months ahead. When also taking into consideration the huge success of the TV adaptation, then I’d say it’s a great time to be a fan of The Walking Dead.

1. SCALPED

I heard alarming news lately, that – in the wake of the recent wave of house-clearing cancellations – Scalped is now currently one of Vertigo’s lowest-selling titles each month. That’s a real shame. Because it means people are missing out on one of the best books Vertigo has ever produced, and what was in my opinion the best comic of the year. 2010 gave us lots of quality developments within the pages of Scalped. The first few months of the year brought the heart-rending conclusion of “The Gnawing”, the storyline that has marked arguably the high-point of the comic’s history thus far. From there, the book adopted a change of pace (brave considering the amount of momentum build up off the back of “The Gnawing”) and gave us a collection of stand-alone stories that helped create a more rounded picture of The Rez and some of its inhabitants.

First came “Listening to the Earth Turn”, a single-issue tale of an elderly couple struggling to make an honest living on the outskirts of the reservation. This was a wonderful little story that challenged some of the negative assumptions that have been tossed in the direction of the series: that it suggests reservations are nothing but cesspits of crime and violence (the protagonists here are decent, law-abiding citizens) and that it is relentlessly bleak and miserable (this story had a happy ending). After that was a two-parter with the tongue-twisting title, “A Fine Action of an Honorable and Catholic Spaniard”, in which we got a little into the mind of Red Crow’s right-hand man Shunka, long one of the most mysterious members of the comic’s ensemble. The full page reveal of his man-on-man kiss was one of the more genuinely surprising page-turn twists of the year. Finally, and perhaps best of all, was “Family Tradition”, a single-issue tale notable on two counts. First, because it marked Jason Aaron’s return to the Vietnam War, the setting of The Other Side – the astounding comic that first made his name. And second, because we saw R.M. Guera (whose work started strong and has been steadily improving over the course of Scalped) reach a whole new level of excellence, with him delivering career-best work.

And after that interlude, it was back at last to the ongoing saga of Bad Horse and co. with “Unwanted”. Here, Carol Ellroy and the significant females of the saga, past and present, took centre stage, with Carol – having discovered she was pregnant at the conclusion of “The Gnawing” – agonizing over whether to have an abortion or to tell Bad Horse he could be a father, and in the process embarking on one of the few genuinely redemptive arcs we’ve seen in Scalped thus far. These issues of parenthood were further explored with the return of Wade Bad Horse, Dashiell’s deadbeat father, and a look at his difficult relationships with both his son and Red Crow. After that, we wrapped up the year with “A Come-To-Jesus”, another one-and-done, this time putting a spotlight on bit-part player Sheriff Wooster Karnow.

The unifying element throughout the year of Scalped was the raw, powerful, exhilarating writing skill of Jason Aaron, possibly the best writer working in the industry today. He’s done quality work over in Marvel in 2010 too, but his crowning achievement remains Scalped. I just hope that 2011 doesn’t mark the title’s cancellation, and that we get to see this epic narrative carry on until its intended conclusion.

So there we have it. My top ten comics of 2010. But I’m sure there are plenty of great comics I’ve overlooked. So let me know – what were your top ten comics of 2010?