My Top Ten Comics of 2020

It’s been a strange year, in many ways. And one such way is that it has upended how a lot of entertainment has been consumed. The most obvious change this year has been with film, where the experience of going to the cinema has largely given way to watching stuff at home on streaming services or after purchasing from iTunes. But even with comics there has been changes, with me barely getting out to the comic shop this year, instead getting stuff sent to me by mail at my LCS. And as such I’ve shifted a bit in my reading tastes, becoming less connected to the weekly new comics haul (since even my new releases arrive at a slight delay with shipping) and inclined more towards catching up on older stuff and reading OGNs/collections. But with being at home for so much of the year, I’ve still managed to read A LOT of stuff.

A regular reminder that my qualifier for eligibility is that the comic is either a graphic novel released in its entirety this year, a foreign language work released in English for the first time this year, or if it’s an ongoing/limited series, that at least 3 issues were released this year. For 2020 in particular, that’s disqualified quite a few things, as it feels we had some major players like Sea of Sorrows and Home Sick Pilots only have one issue out at the time of writing this list. But they’ll be books to watch out for in next year’s rankings to be sure!

10. PULP

Much has been made of the format of Pulp, the Western/noir mashup from the powerhouse pairing of Ed Brubaker and Sean Phillips. Long champions of the single issue format, their choice to lean into the OGN model sparked much chat about this increasingly being the future for comics. But aside from that discourse, it shouldn’t be overlooked that the comic contained within these hardcover pages is great. A story about a former Wild West outlaw, now an old man living in1930s New York struggling as a writer, selling pulp story reworkings of his own life and experiences, it’s another pristine exploration of pained humanity and bad decisions that this team does so well. I’ve not read Reckless yet, though, saving that for Christmas, and that might knock this out of the list!


This was an early lockdown standout for me. It seems buzz on this was quite quiet during its initial single issue run, but particularly on the build-up to the release of the Volume 1 collection, it started picking up more buzz and momentum. And with good reason. It’s a smart new spin on vampire lore, using a vampire narrative as a prism through which to interrogate heirarchies of class and race. And Jason Shawn Alexander’s art is just next level good, be it in the immersive, intimate detail of the human characters or in depictions of the vampires that are proper frightening and monstrous. I can’t wait to read the second volume, and am a little sad I have to wait until 2021 for it!


Giant Days has become one of my all-time favourite comics. But I was always behind the curve on that series, reading it in collected volumes. I still have the last volume to read, actually. And so with Wicked Things, the new miniseries from John Allison and Max Sarin, set in the same universe and seeing the supporting character of improbable child detective Charlotte Grote spinning off into her own yarn, I wanted to be right in at the ground floor with the single issues. As it happens, my biggest disappointment with this comic is that it IS a miniseries, as I already feel like I could happily read 40+ issues of Charlotte’s adventures, digging deeper into the quirky world of celebrity detective culture that this series opens up. It has that Giant Days comedy brilliance, but Allison and Sarin also do a great job of setting up genuine stakes and peril to up the ante of the drama.


I’ve talked before about this top notch Appalachian horror from Alex Paknadel, Nil Vendrell, Giulia Brusco, Ryan Ferrier and James Maddox feels like a thematic cousin to Mountainhead. Developed separately and simultaneously, but with many similar ideas and plot turns, and then you factor in the fact that in both cases it’s writers from the UK looking in from outside to comment on strangeness in the American (or, in my case, Canadian) heartland. But where Redfork really excels is in how it brings this community to life, digs into the factors that have blighted the place and the people within it, doing what a lot of the best horror these days does by getting to the monstrous stuff from the angle of real life darkness that’s relevant to the lived experience of many. Alex has had a strong couple of years with the output he’s been delivering, but this may be his best work yet.


By this point I believe I am well established as a fan of Daredevil, but I’ll admit that following the conclusion of the seminal Waid/Samnee run, I drifted away from the comics. But this run from Chip Zdarsky and Marco Checcetto, among other artists, has brought me right back, emerging as arguably the best title Marvel is currently producing. It was already noteworthy last year, where I remarked on how it was a series being slept on. But one year down the line and that is even more the case, as the story has gone from strength to strength, with Zdarsky giving us some compelling exploration of what’s going on inside Matt Murdock’s head, as well as prime fodder for The Kingpin and other members of the supporting cast. I feel it’s starting to get more recognition now, but here’s hoping that 2021 is the year where even more of us acknowledge how consistently great this run has been.


In many ways, Undone By Blood works as a nice double-bill with Pulp, which featured earlier on the list. Both are comics that play with a two-pronged narrative, one featuring an old hard-boiled Wild West tale, with another presenting a harsher reality at a later point in the 20th Century. In this case, the latter-day strand is set in the 1970s, and the connective tissue of the two threads is that the protagonist of the 1970s arc (Ethel Grady Lane, an instantly compelling character) is reading the Wild West story as a novel, which we experience in both comic and prose form. And given how great Pulp was, it’s not lightly that I say that Undone By Blood is the superior of the two. The all-star creative team of Lonnie Nadler, Zac Thompson, Sami Kivela, Jason Wordie and Hassan Otsmane-Elhaou are firing on all cylinders here. Sami’s work has never been more beautiful and evocative. Zac and Lonnie display a master of wordsmanship in those prose entries that makes me feel like I ought to pack in this whole writing lark as clearly I’m an amateur. This comic pulls off the trick of making me love both storylines equally, where whenever we cut to one, I’m anxious to get back to the other, while still being gripped by what I’m reading. Quite possibly AfterShock’s best ever comic.


I’m at a disadvantage in talking about Blue in Green here, as having already talked at length about the comic when writing about the work of Ram V, I don’t know how many more ways I have left to say that it’s brilliant and essential reading. Back when I first heard about the release of a new comic from the creative team of Grafity’s Wall, a horror comic at that, this became my “event comic” of 2020. It certainly delivered on expectations. Frightening, and not in the way you might expect, getting under your skin and giving voice to the unspoken anxieties and insecurities you have buried deep down (or that I have, at least). In fact, though the plots are completely different, in a lot of ways Blue in Green felt like a fitting comics medium companion piece to I’m Thinking of Ending Things, in the particular bad vibes it evoked. The whole creative team shines, here, with Ram V giving us some immaculate writing and some of the most resonant internal monologue I’ve seen in a comic in forever, Anand RK displaying a whole new facet of his talents with a breakout performance and some of the most distinctive visuals of the year, and Aditya Bidikar flexing his muscles with a masterclass in just how creative a force in a comic the letterer can be when it comes to shaping mood. A haunting comic that lingers long after you’re done reading.


I initially wasn’t sure about including this one, These are mostly old Junji Ito stories, including a couple which I have read previously through unofficial translations. But this is their first time collected in this volume, the first time officially translated into English for most of them, and with new color pages and elements to make this collection a new, distinct product from Viz. Contained in these pages are some of the greatest Junji Ito short stories ever, including Enigma of Amigara Fault, The Human Chair, Billions Alone (formerly known as the catchier Army of One) and The Licking Woman. All intensely disturbing tales with truly horrifying imagery that will stay in your brain. But possibly what I enjoyed most in this collection was a story that’s not scary at all, an autobiographical comic called Master Umezz and Me, chronicling Junji Ito’s lifelong love for the work of mangaka Kazuo Umezz. Here, we get so much insight into Junji Ito himself, as well as some nice commentary on the appeal of horror and chasing entertainment that scares us.


This comic kicked my ass. Built on a killer premise – what if we live in a world where things become more true the more that people believe in them, and that thus in this age of conspiracy theory reality is in greater danger than ever before? – the execution is even more frightening and compelling than you’d imagine. The first issue was a pristine establishment of the concept, but then each subsequent issue has hit like a haymaker, shining a light on something that makes me angry or upset then making me afraid of it too. James Tynion IV, Martin Simmonds and Aditya Bidikar have gifted us with a comic that feels truly essential, where every chapter is a must-read and something you immediately want to talk to people about. If anything, even though it’s clocking in at #2, if anything this could be underrating it. And that’s because, at just three issues in, this series is just getting rolling. And if it keeps on going at this level of quality and building momentum as it continues to unfold, this could ultimately emerge as one of the great comics of this era. It already has that vibe of something really special about it. We’ll see where things go next year!


This comic ranked very respectably last year based just on the first few issues. And then, after that, I let the issues build up in my to-read pile, me buying them without actually getting round to reading them. Eventually, I had a little stack piled up and decided to do a catch-up one nice, sunny day. I blasted through them, and the reminder of just how fantastic this series is hit me like a mack truck. This might be my favourite Superman-related thing in any medium I’ve experience since All Star Superman. Jimmy Olsen is my favourite superhero of 2020. I love Steve Lieber’s fresh, modern take on the character (while still capturing some of the traditional quirks), while writer Matt Fraction manages to make him goofy and likeable and still the kind of exciting adventurer that Superman would want to be his pal. The comic is laugh-out-loud hilarious, with each issue containing at least a couple of guffaw moments, but that shouldn’t distract from how intricately plotted this all is, too. I bought the whole thing in single issues, but I’ll confess: I bought the graphic novel as a gift for a friend, and part of me wanted to clutch on it myself, just to have it in my bookcase. Because perhaps more than anything in the last several years, Superman’s Pal Jimmy Olsen feels like it could become an all-time canon great book for DC, something they ought to keep in perpetual rotation.As always, here’s the annual tally of the best-of-the-year winners, from 2010 through to now…

  • 2010: Scalped
  • 2011: Scalped
  • 2012: The Underwater Welder
  • 2013: The Manhattan Projects
  • 2014: Southern Bastards
  • 2015: Southern Bastards
  • 2016: The Sheriff of Babylon
  • 2017: Batman
  • 2018: The Immortal Hulk
  • 2019: House of X / Powers of X
  • 2020: Superman’s Pal Jimmy Olsen

And that was 2020 in comics! 2021 is already loaded with exciting comics, and a few potential front-runners for next year’s top prize. I can’t wait to see how it all pans out!

My Top 20 Daredevil Comics!

Tomorrow, Daredevil launches on Netflix, and I’m ridiculously excited for it.  Daredevil is my favourite Marvel superhero, and I’ve been anticipating his arrival in the MCU ever since Marvel announced they’d got the rights back from Fox.  When, from there, we got news that Daredevil would be adapted as a Netflix series my hype grew, and has steadily been building and building to critical mass with each new casting announcement, picture, trailer, and glowing review.  So, with one day to go and me sat here feeling like it’s Christmas Eve, I thought I’d immerse myself in my love of Daredevil a little more by sharing my top 20 comics starring everyone’s favourite blind lawyer/superhero.

I got the idea from Comic Book Resources.  They’re running a Top 50 Greatest Daredevil Stories feature right now, and for that I came up with a Top 10 list when voting.  In doing that, I realised how easy it would be to stretch that out to a Top 20.  That in itself speaks to the strength of Daredevil as a character: I don’t think there’s any other Marvel hero I could come up with a Top 20 favourite stories list for.  I should note that, in any entry on my list taken up by a story from Mark Waid’s run, the title is made up by me, as Mark Waid didn’t give his stories titles.  For shame!  You’ll also find that my list both skews modern, and has some key exclusions.  For example, there is nothing from Ann Nocenti’s run.  Ann Nocenti and John Romita Jr’s work on Daredevil made up some of the first Daredevil comics I can remember reading, but since with most of them it’s been near 20 years since I read them I don’t think I can remember them well enough to fairly rank them.

But enough preamble.  Here’s my list!

Honourable Mention: PunisherMAX, by Jason Aaron & Steve Dillon

I absolutely love this story, and as a comic in itself would likely rank it above a few of the entries in my top 20.  So why is it not in my top 20?  Well, the title gives it away.  It’s not a Daredevil comic, and Daredevil himself never appears.  But it’s worth a mention because it takes some key figures from Daredevil’s supporting cast – The Kingpin, Bullseye, Vanessa Fisk, Elektra – and reimagines them as charactes to fit into the MAX universe inhabited by Garth Ennis’ aging-in-real-time Punisher.  The result is that Aaron and Dillon give us the most visceral, monstrous depictions of The Kingpin and Bullseye seen in any comic in recent years, making the series a must-read for any fans of the iconic Daredevil villains.

20. The Damned (Daredevil Vol 1, #180) by Frank Miler & Klaus Janson

This issue seems to be one of the less acclaimed of Frank Miller’s landmark run on Daredevil, but it’s one that I will always remember fondly, perhaps because I have memories of reading it very early as a young comic fan.  But even looking back at it now, I think it boasts some of Miller and Klaus Janson’s most striking imagery, from Daredevil hobbling around with his leg in a cast to Daredevil and Ben Urich plunged into murky water with an alligator swimming towards them from the depths.  In this issue, Ben Urich discovers that Wilson Fisk’s wife Vanessa – thought to be dead – has been trapped in a subterranean society, and Daredevil must rescue her.

19. The Purple Children (Daredevil Vol 4, #8-#10) by Mark Waid & Chris Samnee

I know this is a very recent addition to the Daredevil canon, but it made such an immediate impression that I think it very quickly earned this spot so high up in my estimations.  The Purple Man was reinvented in Alias as one of Marvel’s most terrifying villains, so on the surface it may have seemed an odd fit for him to return to his old stomping grounds in Daredevil in its current upbeat phase.  But the transition works, and The Purple Man remains as frightening as ever, as he gathers the various illegitimate children he’s had over the years and discovers they have powers of persuasion to surpass even his own.  But what really sets this storyline apart is how it peels back the scab that’s been quietly growing at least through Mark Waid’s run and arguably longer, and directly tackles the notion of Matt Murdock as a sufferer of depression in a really potent, moving fashion.  I think this is all the more powerful in light of recent news stories that have served to stigmatise mental illness, showing that it can afflict superheroes too.


18. Hardcore (Daredevil Vol 2, #46-#50) by Brian Michael Bendis & Alex Maleev

In a way, this is a bit like Daredevil’s version of a story like Knightfall or Hush where Batman is forced to go up against multiple enemies back-to-back.  After a lengthy absence after an attempted assassination, The Kingpin has returned to New York City to reclaim his criminal empire.  To keep Daredevil occupied, he hires the services of both Typhoid Mary and Bullseye, leading to a gauntlet where Daredevil must go through both of them and finally The Kingpin himself.  As someone who ranks these three as Daredevil’s three greatest foes, this was fun reading for me!  What was also clever was that, in light of Matt Murdock being outed to the press as being Daredevil earlier in the run, it upended the way these foes come after him.  Typhoid Mary attacks Matt on a busy street in broad daylight.  Bullseye sneaks into his bedroom at the dead of night and nearly kills his girlfriend, Milla Donovan.  And in the final confrontation between Daredevil and The Kingpin, Bendis throws another shocking status quo change at us.

17. Date Night (Daredevil Vol 3, #12) by Mark Waid & Chris Samnee

This is a low-key little done-in-one in Mark Waid’s run on Daredevil, but like the entirety of that run, it is a delight.  Here, after a year of flirting and coyly dancing around one another, Matt Murdock and Kirsten McDuffie finally go on a date.  And in an issue spent entirely out of costume, we just get to enjoy spending time with Matt Murdock as a person, making this issue a wonderful showcase for how Waid has managed to bring out the character’s likeability.  Running through the issue is also an enjoyable flashback to Matt Murdock and Foggy Nelson in law school, highlighting an episode where their lasting friendship was cemented: something that takes on a poignant note given future story developments in the run.  This issue is also noteworthy for being the first drawn by Chris Samnee, who would go on to become “co-storyteller” with Waid and establish himself as one of the best ever Daredevil artists.

16. The Murdock Papers (Daredevil Vol 2, #76-#81) by Brian Michael Bendis & Alex Maleev

This is the climactic arc of the lengthy Bendis/Maleev run, and it really does have this crushing weight of finality behind it.  Bendis manages to bring back just about all the key players and plot points from the duration of his run, throwing them all into the mix here to create this overwhelming feeling of chickens all coming home to roost, and the noose inevitably tightening around Matt Murdock’s neck.  Also, after “Hardcore” seemed to serve the purpose of undercutting The Kingpin as a threat for this new, darker, tougher Daredevil, “The Murdock Papers” is very much about showing that The Kingpin still has teeth, and it’s right at the moment when you start to underestimate him that he could be most dangerous.  In the story, a captive Kingpin plans to make a deal with the FBI to give them irrefutable proof that Daredevil is Matt Murdock, with the search for this proof setting the stage for a grand battle royale between Daredevil, his friends and his foes.  But all is not quite as it seems.  The cliffhanger finale perfectly sets the stage for Brubaker and Lark to come in and hit a slam-dunk as they took over from Bendis and Maleev, and they would of course do just that.  More on that later…

15. Devils (Daredevil Vol 1, #169) by Frank Miller & Klaus Janson

Bullseye is one of my favourite comic book villains, has been for a long time.  And it’s thanks to Frank Miller that he was elevated from a throwaway costumed crook to being such a memorably wicked thorn in Daredevil’s side.  This issue here was one of the key issues that helped to cement Bullseye’s reputation as an A-list baddie.  In the story, Bullseye is suffering from a brain tumor, which makes him start to imagine everyone as Daredevil.  He reacts as you might imagine Bullseye would, resulting in a killing spree through the streets of New York City.  One of the best things about Miller and Janson’s acclaimed run on Daredevil were their masterfully executed fight scenes, and it seems that none were more hard-hitting than when Daredevil matched up with Bullseye.  We get one such memorable fight here.  Though, of course, there were more to come.


14. Senseless (Daredevil Vol 3, #14-#16) by Mark Waid & Chris Samnee

Certain actions by Matt Murdock in the first year of Daredevil, Vol 3 have angered the authorities of Latveria, and so in this storyline, Daredevil find himself kidnapped and held prisoner in Dr. Doom’s dominion.  The story gets really interesting when the Latverians subject Daredevil to a chemical that slowly neutralises his other senses, causing his radar sense to vanish, and for him to gradually go deaf and be unable to smell, taste or touch.  Waid and Samnee do a great job of making us feel the horror of Daredevil’s plight, going from someone who has turned his disability into a strength into someone rendered truly helpless.  It’s a nice foreshadowing of the grisly fate that would be revealed for Bullseye later in the run.  But the way Daredevil’s senses start to attempt to compensate becomes another visualisation of Daredevil’s true greatest power: his ability to always come back and keep fighting, no matter how low he has been laid.

13. Return of the King (Daredevil Vol 2, #116) by Ed Brubaker & David Aja

“Return of the King” is actually a 5-part storyline that built up to the finale of Ed Brubaker and Michael Lark’s run in the renumbered Daredevil #500, and it’s a good storyline.  But for this particular list, I’m highlighting the opening issue that serves as the prelude, drawn by guest artist David Aja, in which our focus is entirely on Wilson Fisk.  It’s a fascinating exploration of his character, what makes him tick and his complex relationship with Matt Murdock.  In the story, Fisk has once again attempted to retire from his wicked ways, moving to a quiet village in Spain to start a new life.  He has met a woman with a young child, and they have become a surrogate family to him.  But then Lady Bullseye tracks him down with hopes of making him become The Kingpin once again, and tragedy unfolds.  Brubaker uses some clever narration here, having Fisk not in 1st person but in 2nd person, “You shouldn’t have done that, Wilson,” etc.  While the 1st person narration often employed by Matt Murdock makes us relate more to him, this 2nd person narration distances us from Fisk, and it also underlines an accusatory, self-loathing tone.


12. Gang War! (Daredevil VOl 1, #170-#172) by Frank Miller & Klaus Janson

Another great Kingpin story here, with this being particularly significant in that this is where Frank Miller transformed The Kingpin from an outlandish Spider-Man villain into Daredevil’s arch-nemesis.  Wilson and Vanessa Fisk had been living in quiet retirement in Japan, but when they plan to put behind their criminal connections for good by turning state’s evidence against their former affiliates, Vanessa travels to Hell’s Kitchen to seek the legal counsel of Nelson & Murdock.  But things go wrong when The Kingpin’s former underlings kidnap her to draw Fisk out of hiding.  When he does indeed return, it’s far more than they bargained for, and we see just how ruthless The Kingpin can be when what he loves is threatened.  Bullseye enters the fray as well, switching allegiances from Fisk’s opponents to The Kingpin himself, and having another memorable battle with Daredevil.  But the storyline is most significant in how it lays out the template that would establish The Kingpin as arguably Marvel’s best villain.

11. Wake Up (Daredevil Vol 2, #16-#19) by Brian Michael Bendis & David Mack

Before Brian Michael Bendis’ great run on Daredevil with artist Alex Maleev began proper, he penned this 4-part storyline brilliantly drawn by Dave Mack.  Daredevil himself doesn’t show up until late in the story, with our key protagonist instead being reporter Ben Urich.  Loser villain Leap-Frog has gone missing, and his young son is in a catatonic state, drawing violent pictures that seem to involve Daredevil.  And as Urich pieces the story of what really happened together, it reveals a harrowing tale of abuse that brings up flashes of Urich’s own childhood.  When Daredevil eventually does enter the story, the gentleness and compassion he shows the troubled child are truly touching.  And it’s all portrayed in stunning fashion by Mack, who uses oblique, psychologically-representative tableaus that you wouldn’t normally expect to find in a mainstream superhero comic.  A further showcase of just how versatile a character Daredevil can be.

10. Daredevil: Yellow, by Jeph Loeb and Tim Sale

Jeph Loeb and Tim Sale, the team behind one of the greatest Batman comics ever, The Long Halloween, reunite for this retelling of Daredevil’s early years of crime-fighting.  The narrative is pretty basic, revisiting some of the early villain encounters from the first few issues of Daredevil from back in the 1960s, but with a more character-driven focus on the love triangle between Matt Murdock, Foggy Nelson and Karen Page.  But the romantic happenings are given an undertone of immense sadness with the framing device of a present-day Daredevil – grieving the now-dead Karen – writing letters to her to help come to terms with her loss.  The true highlight here, though, is the beautiful visuals.  The comic looks stunning, with Tim Sale’s distinctive character design and ink washes making each page into a breathtaking work of art.  Also look out for a clever connection which puts this story into a shared universe with The Long Halloween. 


9. The Man Without Fear, by Frank Miller & John Romita, Jr

Years after his celebrated run on the character, Frank Miller returned to write one more Daredevil story, this time giving us a retelling of his origin which was apparently originally intended as a treatment for an abandoned film adaptation.  It may not quite be optimum Miller, with him repeating a few beats from his iconic Batman work, but there’s a joy in seeing him slip back into writing Matt Murdock like one slips into a comfy old pair of slippers.  The art is provided by John Romita Jr, and I’d venture to say this could be of the finest work of his storied career. In particular, the scene where he breaks up the child trafficking ring in a black tracksuit (which has gone on to form the basis for the “proto-costume” in the Netflix series) is a triumph of badass visuals.  This story is very much a Matt Murdock story, with him not appearing in the famous Daredevil costume until the final page. But anyone wanting a definitive account of how Matt Murdock became the hero he is today need look no further than this.

8. A New Beginning (Daredevil Vol 3, #1-#3), by Mark Waid & Paulo Rivera, Marcos Martin

After the entirety of Daredevil Volume 2 took Matt Murdock on an ever-deepening spiral of despair, this Volume 3 relaunch was tasked with starting a whole new era for Daredevil.  And Mark Waid and Paulo Rivera do so in style.  Right from the first issue, the tone is wildly different.  We have fun and adventure, we have outlandish villains like The Spot, we have Daredevil smiling!  Paulo Rivera gives us crisp, clean lines, accompanied by the bright, bold colors of Javier Rodriguez.  It really does feel drastically different from the moody, murky crime thriller the title had become.  And yet, Waid makes sure that despite the radical surface change, the character’s history is still acknowledged and respected.  In a wonderfully-drawn short by Marcos Martin contained within this opening storyline, Matt Murdock and Foggy Nelson have a conversation in which Matt lays out his new approach to life, closing the door in all the awful things that have happened to him and making a conscious decision to move forward.  And it’s a decision that Foggy doesn’t necessarily think is healthy, marking the first signifier of the underlying darkness this run doesn’t always get credit for.  I rank this opening 3-part story, in which Daredevil clashes with Black Panther villain Klaw, so highly because it’s the story that sets the tone going forward, and – after being a Daredevil fan for many years who ranked The Kingpin and Bullseye as his favourite characters – it was Waid’s grasp of Matt Murdock’s personality here that cemented Daredevil as my favourite character in his own book.

7. The Trial of the Century (Daredevil Vol 2, #38-#40) by Brian Michael Bendis & Manuel Gutierrez

As celebrated as Alex Maleev’s work on his Daredevil run with Brian Michael Bendis has become, funnily enough, one of the best stories in that run was drawn by fill-in artist Manuel Gutierrez.  Here, forgotten hero the White Tiger finds himself wrongfully accused of shooting a police officer while attempting to thwart a robbery, and Matt Murdock must represent him in court.  What follows is perhaps my all-time favourite story of Matt Murdock as a lawyer.  Daredevil barely shows up at all in the storyline, with his lengthiest appearance being when he shows up in costume to meet Luke Cage and Iron Fist and they’re all like, “Umm, actually we were looking for legal advice.”  No, this story stands primarily as compelling courtroom drama.  With Matt Murdock himself recently being publicly unmasked as Daredevil at this point, that weighs heavily on the story, both in terms of Murdock’s own feelings about the White Tiger and on taking his case, and in terms of how the public and the media turn on costumed vigilantes.  It’s infuriating to see the legal system steadily let down a good man stage by stage, and we feel Murdock’s growing frustration, but also recognise he’s maybe partly responsible for stirring up these nasty feelings against costumed heroes for which White Tiger is primed to suffer.  The ending is heartbreaking.

6. The Devil in Cell Block D (Daredevil Vol 2, #82-87) by Ed Brubaker & Michael Lark  

Earlier in the list, I talked about how the departing Bendis and Maleev set up a slam-dunk for incoming replacements Ed Brubaker and Michael Lark.  Well, here’s the slam-dunk.  The climax of the previous run left Matt Murdock in prison, alongside many of the enemies he put there, awaiting trial for his activities as Daredevil.  Brubaker immediately establishes a hard-boiled tone here, making this feel like he’s turning his patented noir stylings to a prison drama, only with Daredevil characters.  And there really is a lot of Daredevil characters.  Murdock is joined in prison by The Kingpin, Bullseye, The Owl, Gladiator, Hammerhead, Black Tarantula and The Punisher, with the various parties gradually converging as the narrative unfolds, building and building like a melting pot that eventually explodes.  The dynamic between Murdock and Fisk is interesting here, as they find themselves as unlikely, grudging allies in a prison full of inmates out to get them both.  And yet, Fisk still remains the devil on Daredevil’s shoulder, trying to bring out the worst in him and make him compromise himself, because Fisk believes everyone will compromise themselves given the right amount of pressure and Murdock’s refusal to do so continually defies him.  All this is ably presented by Michael Lark, who’s understated, moody pencils are the perfect compliment to Brubaker’s writing.

5. Ikari (Daredevil Vol 3, #23-#27), by Mark Waid & Chris Samnee

For me, this 5-part storyline was the climax of Mark Waid’s work on Daredevil, and just about everything that’s followed has felt like an extended victory lap.  Here, the themes and ideas Waid had been laying out come to a head, and the mysterious villain who has been acting against Daredevil from the shadows since the very beginning of the run is finally revealed: it’s Bullseye, but much changed, left crippled since his last resurrection with all his senses but sight utterly nullified.  But with his body useless, his mind has worked on coming up with a most personal way of destroying Daredevil.  Enter a great new villain for the Daredevil pantheon in the form of Ikari: a killer drenched in Daredevil’s history, given powers in a careful recreation of the accident that gave Matt Murdock his, and draped in an obscene repurposing of Battlin’ Jack Murdock’s boxing robes.  It’s a triumph of design from Chris Samnee, who is brilliant and firing on all cylinders throughout the story, particularly in the central Ikari/Daredevil fight scene that takes up most of the penultimate chapter.  Ikari is designed to provoke Daredevil, and it works.  Bullseye wants Matt Murdock to feel fear, with all his loved ones placed in danger.  But while in the last volume, this kind of story development would have been used to show that friends are a weakness for Daredevil and only leave him open to more pain, the resolution we come to here underlines just how different the mission statement for this run is.  And perhaps what I love most about this storyline is the subplot with Foggy Nelson, who has been diagnosed with cancer.  Watching Matt Murdock see his friend through his treatment creates a really touching picture of their friendship, highlighting that the relationship between Matt and Foggy is at the heart of Waid and Samnee’s run.  The whole run is a classic, but this storyline deserves to be recognised as a classic within a classic.


4. Last Hand (Daredevil Vol 1, #181) by Frank Miller & Klaus Janson

Quite possibly the most famous Daredevil story of all time: the death of Elektra.  I think enough time has passed for this not to be a spoiler, yeah?  I’ve got a confession to make: I’m not that big an Elektra fan.  I’m more in the camp of viewing Karen Page as Matt Murdock’s true great love, and I enjoy Typhoid Mary more as an antagonistic foil.  And so “The Elektra Saga” as a whole didn’t resonate with me so much as other aspects of Frank Miller’s seminal run.  But I cannot deny the power of this chapter, when Bullseye murders her, resulting in a bruising final confrontation between Daredevil and Bullseye that leaves Bullseye paralysed.  And yet, much of Matt Murdock’s outpouring of grief over the loss of his love would come in the following chapter.  I actually view this most as a great Bullseye story, probably the greatest Bullseye story.  He narrates the issue, and he crafts a picture of obsession and bitterness, with all the little slights and humiliations from his earlier clashes with Daredevil through the run weighing on him, all informing the monstrous actions he goes on to commit here.  He also figures out Murdock is Daredevil, way before his identity would go public… and no one, not even The Kingpin, believes him.  Of course, Elektra would later be resurrected, but the death as depicted here still has power to distress.  This is a piece of comics history which still manages to feel fresh and vital.

3. Out (Daredevil Vol 2, #32-#37) by Brian Michael Bendis & Alex Maleev

For me, “Out” is the dizzying high-point of the consistently excellent Bendis/Maleev run on Daredevil.  In this storyline, Matt Murdock gets outed as Daredevil to the tabloid press, and his life is turned upside down.  What immediately strikes you reading this is just how ballsy it is.  You read it, and you’re thinking, “Okay, how is the genie going to get put back in the bottle here?  This surely can’t actually be happening to Matt Murdock.”  And then they keep pushing it further and further, and you realise there is no putting this genie back in the bottle.  This is an audacious upending of Daredevil’s status quo damn near on a par with “The Anatomy Lesson” in Swamp Thing, and Bendis and Maleev do great work exploring the consequences of a superhero with a secret identity being publicly exposed, and the impact such a catastrophe would have not just on the hero himself, but on those closest to him.  There’s also some potent commentary on rolling news and how the media would make a feeding frenzy out of this.  “Out” is a thought-provoking exploration of what the cost of being a superhero in a world like our own may be, and the ripple-effects of this particular storyline are still being felt in Daredevil comics now a decade later.  Hugely influential.

2. Snow-Blind (Daredevil Vol 3, #7), by Mark Waid & Paulo Rivera

Matt Murdock is volunteering at a school for the blind over the Christmas holidays, and is taking a group of blind kids on a trip.  But their bus crashes, killing the driver, and leaving Daredevil stranded in a snowstorm with a group of scared, blind children who he has to lead to safety.  There are no supervillains, no fights, no high-stakes save the world or even save the city narratives.  Just Daredevil and these kids.  And yet Daredevil has rarely felt like so much of a hero as he does here.  It’s a rousing read watching Daredevil fight to bring these kids to safety, even when fighting against his injuries and his own growing panic.  And most touching of all, we see that the kids themselves have strength and heroism of their own.  Paulo Rivera’s art here is simply beautiful, finding detail and nuance even against the stark, snowy backdrop.  This here is the high-point of Mark Waid’s Daredevil, which is itself the high-point of superhero comics in recent years.

1. Born Again (Daredevil Vol 1, #227-#233) by Frank Miller & David Mazzucchelli

One year before the creative team of writer Frank Miller and artist David Mazzucchelli created “Batman: Year One”, regarded by many as the greatest Batman story ever, they teamed up for “Born Again,” an equally excellent (perhaps even a little better) 7-part Daredevil saga. Matt Murdock’s old love, Karen Page, has become a heroin addict, and has sold the secret of Daredevil’s secret identity. That information has found its way into the hands of The Kingpin, who uses it to systematically destroy Matt Murdock’s life, piece by piece. The first half of the story is that of a downward spiral, as Murdock’s life falls apart and he drifts deeper into the depths of despair as he loses everything. The second half of the story is a tale of rebirth, as we see Murdock rise from the ashes and piece the ruins of his life back together in a struggle to find the strength to be a hero once again. The Kingpin is terrifying here, elevated from intimidating gangster to a primal force of corruption, a force of nature like the sea, endlessly chipping away at all areas of weakness in people of all kinds, his malign influence spread throughout Hell’s Kitchen and far beyond.  It’s one of my favourite depictions of any villain in any comic. Ben Urich, Karen Page and Foggy Nelson all also get their moments to shine, each given their own long, dark night of the soul and the chance to triumph over it. But this is Matt Murdock’s journey. Again, there’s very little Daredevil here. It’s another shining example of how Daredevil may be the costume, but it’s Matt Murdock, the man, who is the true hero. The greatest Daredevil story ever, and quite possibly the best Marvel comic ever.


So, those are my favourite Daredevil comics.  What are yours?  Let me know!

My Top Ten Comics of 2014

Hello and welcome once more to my annual countdown of the Top 10 comics of the year. You’ll notice that, after last year’s inflated Top 20 list, I’m back down to 10 for 2014. That’s not to suggest that the quality of titles being released is in decline, but rather that I’ve probably been buying a little less comics this year, having to make some ruthless cuts to my pull list as having less and less free time to read through my comics has left a larger and larger pile of unread books to try to get to. That, and the fact that it took me ages to write that Top 20 list last year! 2014 has been another year of change for me, as while last year I talked a bit about how the number of Image titles I was reading had skyrocketed, this year I’ve had to drop a few of those. And while last year I said that I’d all but stopped reading Marvel and DC’s output, Marvel at least has made a big comeback for me, with an array of quality launches this year. Also noteworthy is the ascendancy of BOOM! Studios, with such quality output as The Woods, Memetic, Curse, Black Market and The Empty Man, and I’ve really been enjoying Oni Press output like The Life After and The Bunker. As ever, there are plenty of great comics I couldn’t fit into my top 10. Aforementioned indie offerings The Life After and The Woods, and other cracking indie titles like MonkeyBrain breakouts D4VE and Headspace, not to mention Image debuts like Spread, Wytches, Roche Limit and Deadly Class. Even some previous Top 10 mainstays like Batman, Saga and Sex Criminals, while maintaining a consistent quality, didn’t make the cut. Charles Soule wrote stellar comics for both Marvel and DC that came close to qualifying in She-Hulk and Swamp Thing respectively. Coming agonisingly close and actually being present in the list in an earlier draft was the delightful, charming, funny, surprisingly tender and emotional Dungeon Fun, by breakout genius Scottish creators Colin Bell and Neil Slorance. But what we’re left with is a collection of truly superb comics, some you may already be reading, others you should seek out. Let’s get right into it…

LegendaryStarLordI figured out numbers 1-9 on this list pretty quickly, but there was a real fight for this final spot on the list. Just take a look at that vast “Honourable Mentions” list above to show how many quality comics were in contention. But I think the main two that got closest were this year’s Guardians of the Galaxy expansions, Legendary Star-Lord and Rocket Raccoon. Both were fun, action-packed titles, and I have a hard time deciding which one I loved more. Rocket Raccoon is just fantastic, Skottie Young is doing stellar work on that title, and it was perhaps the title that had the bigger immediate “WOW!” reaction of the two. But it’s Legendary Star-Lord that has grown on me even more over the course of their respective runs. Star-Lord is my favourite Guardian, and Sam Humphries has, in this series, crafted a version of Peter Quill that does justice to all iterations of his character. The surface level that immediately grabs you as the series begins is how spot-on a pastiche of Chris Pratt’s excellent cinematic portrayal it is, right down to the dude-speak and man-child party lifestyle. But as the series has progressed, Humphries has skilfully weaved what might have seemed like a soft character retcon to make it feel like an appropriate character evolution that stays faithful to the haunted, guilt-ridden moral pragmatist that starred in the definitive Abnett & Lanning Guardians of the Galaxy run. There’s even the inclusion of an updated version of transport/confidante Ship from the very earliest Star-Lord appearances from the 1970s. The bombastic artwork of Paco Medina is a revelation, and it’s his bright, energetic visuals that really hammer home the glorious comedy beats: from Kitty Pryde dancing in a giant banana suit to Quill on an awkward date dressed in a bad ’80s prom tux. Straddling a line between rewarding single-issue stories and steadily building up an intriguing overarching narrative, Legendary Star-Lord is a gem of a comic that makes a great case for why Star-Lord is a hero deserving of his own solo title.

EastOfWest10East of West has slipped a little from its #2 ranking last year. Don’t get me wrong, Jonathan Hickman and Nick Dragotta’s sci-fi/Western opus still ranks up there with Image’s best titles and is always a book that gets read very soon after I get home from buying it at the local comic shop. If anything, the lower placement is reflective of not poorer storytelling, but more subtle storytelling, with Hickman and Dragotta carefully expanding the world and often replacing the more sweeping scope of the initial arc with a series of one-shots exploring the various nations of this alternate America. All were interesting to varying degrees, though at times this approach left me missing some of my favourite characters and wondering when certain plot beats would be followed up on. But when the various threads start to weave together and the individually-defined forces start to clash, you really feel a sense of culmination, and the sheer scale feels even more epic and breathtaking for the build-up that set it up. With what has been set up as of the latest issue I read, Hickman seems primed to take this world into even darker places as the narrative enters its next phase. But it’s the team of Nick Dragotta and colourist Frank Martin that continue to steal the show with each passing chapter. There’s not an issue that goes by where I don’t have to stop at least once and just marvel over the construction of a page. Still arguably the most visually stunning art team in comics.

AndreTheGiantI’ll get this out of the way: you don’t have to be a wrestling fan to love Andre the Giant: Life and Legend. All you have to be is a fan of fascinating life stories, realised with wonderful comics storytelling by Box Brown. But I’ve been a wrestling fan going back to when I was a little kid, albeit not so much lately. And the first person I can remember being a favourite wrestler of mine was Andre the Giant. The 7-foot-plus tall athlete was, pun intended, a larger-than-life presence, and this graphic biography does a great job of conveying that, with various interviewees sharing accounts of the sheer size of the man and the unique life he led as a result of it that range from the charming to the breathtaking. But his size, which gave him incredible fame and a livelihood, was also an incredible burden. Most obviously, it was a medical condition, one that was slowly killing him. But, as Brown astutely depicts, it also negatively impacted his life in a whole series of constant little inconveniences and humiliations that wore him down, the cold fact that in one context, he was “The Eighth Wonder of the World,” but in another he was just a freak. The biography is more a highlight reel than an exhaustive analysis, but we do get some excellent snapshots of his life. We see how he used to get lifts to school from Samuel Beckett as a boy in France, and we get a look at his time on the set of The Princess Bride. But most effectively of all, Box Brown paints a portrait of an era of American history that holds endless fascination for me: the 1980s wrestling circuit and all the eccentricities contained within. Informative, poignant, and often laugh-out-loud funny, when I read Andre the Giant: Life and Legend back near the start of the year, it became probably the first definite fixture on this list and its place has stayed secure ever since.

StrayBulletsKillersWhat a fantastic year 2014 has been for fans of David Lapham’s seminal crime epic, Stray Bullets. With no new chapters published in some time, and the series arguably never getting the widespread acclaim and recognition it deserved, it seemed in danger of being consigned to history as an unfairly forgotten comics classic. But then Image Comics signed a new deal to revive Stray Bullets last year, prompting the series to be posted up on ComiXology. Then, this year, the original run was finally brought to a conclusion with Stray Bullets #41, followed by the whole series being released in a deluxe omnibus called “The Uber Alles Edition,” allowing a whole new generation of readers to get absorbed into this dark, ruthlessly bleak saga. And then we got Stray Bullets: Killers. David Lapham has slipped effortlessly back into this seedy world and its inhabitants, like slipping into an old pair of comfy slippers, not missing a beat. As always with Stray Bullets, Killers seems to operate on the fringes of the crime genre, looking at how regular people on the fringes are impacted, or how their moral decisions can have a ripple effect. The backbone of Killers has been the blossoming and ultimately wilting romance between recurring protagonist Virginia and Eli, two flawed characters who make mistakes, but who we come to deeply care about, and whose happiness we become highly emotionally invested in. A happiness which, if Stray Bullets has taught us anything, shouldn’t be expected to last. Killers is often a low-key series, and as such even now is still to some degree being overlooked, not always getting mentioned amongst the other great Image titles of the past year. But Stray Bullets: Killers is actually better than most of them, and has produced some of the best single issues of any comic in 2014.

MP19AlbertReturnsLast year’s #1 didn’t quite reach the same heights on this year’s list, in fact slipping to the ranking it held back in the 2012 list. But that’s hardly to suggest that writer Jonathan Hickman and artist Nick Pitarra’s bonkers revisionist history tale of mad science gone wild is in decline. This is a series that continues to fire on all cylinders with big, crazed ideas. Talking dog Laika got her own standalone adventure in space. The original Albert Einstein from our Earth came back to our reality to confront his evil parallel Earth doppleganger, and we got to see the mad journey across countless realms he had to brave to return home. William Westmoreland joined the cast as a hardcase with an ear necklace who took on an elite alien killing machine and won. We discovered that Che Guevara and Fidel Castro had their brains replaced by evil Communist aliens. And it all built up to a take on the assassination of JFK (magic bullet and all) that was about as bonkers as we’ve come to expect. The visuals of this book from Pitarra and colorist Jordie Bellaire continue to be an absolute delight, packed with detail and character quirks that had so much to the fabric of the story and make it what it is. The cast and the scope of this series continues to get bigger and bigger, and so the year ended with The Manhattan Projects going on hiatus, with a promise to come back in 2015 with more character-driven arcs focusing on the various narrative strands one at a time. Whatever format The Manhattan Projects takes going forward, you can be certain that I’ll be onboard!

ThorGodOfThunderFor the sake of clarity, it’s Thor: God of Thunder – the 25-issue series drawn largely by Esad Ribic, which ended a few months back – which is my included entry on this list, rather than the newly relaunched Thor, also written by Jason Aaron. Not that the new series, isn’t really great – honestly, save for the new issue #1, it’s pretty much a continuance of the narrative from God of Thunder and part of the same overarching saga – but it’s just getting started, really, so if I must pick one title for inclusion on this list I’ll go for Thor: God of Thunder. This title was excellent right from its beginning, and during the “God Butcher” storyline quickly established itself as one of the crown jewels in Marvel’s lineup. But it was with Esad Ribic’s return to the series in “Last Days of Midgard” that the title reached its greatest heights, and Jason Aaron cemented his status as best Thor writer since Simonson. This storyline told two tales. One narrative was of an Earth in the future that had been left as little more than a ravaged husk, old King Thor left to defend it against Galactus come finally to claim the remains of the planet that had thwarted him for so long. Here we saw Ribic at his finest, depicting a Galactus that truly inspired awe and terror, underlining the impossible odds Thor faced in fighting him. The other tale was in a present that eerily foreshadowed the desolation of the future, with evil corporation Roxxon embarking on dangerous, morally repellent initiatives that bring them into conflict with Thor. Now, Jason Aaron has already made major contributions to the villains in Thor’s mythos without even using arch foe Loki: from introducing the terrifying Gor to giving real teeth and wickedness to Malekith in a portrayal that put his cinematic appearance to shame. So it’s not a statement I make likely when I say that Roxxon figurehead Dario Agger was the most vile, repellent villain Thor faced in the whole series. He was a great opponent for Thor, because he was not someone Thor could just hit with his hammer. He was a very Earthly evil, hiding behind lawyers and dirty corporate tricks and playing on a level even a heavy-hitter superhero like Thor struggled to keep up with. From beginning to end, Thor: God of Thunder was a delight: dramatic, scary, and often surprisingly funny. It seems like we should expect more of the same from the new Thor.

PaxAmericanaAs a huge Grant Morrison fan, The Multiversity has long seemed like one of those dream projects, long discussed, that I’d forever been looking forward to, but felt was never going to actually come to pass. It’s literally been years that Morrison has been talking about this, so even when it appeared in solicitations, I still don’t think I quite believed it was finally happening. I don’t think I believed it until I held that first issue in my hands. But now that it’s launched and the first few issues have been released, I can gladly confirm that it has met and even exceeded expectations. This is Morrison’s trip through the Multiverse, at once a medley of returning characters and recurring motifs from his past work, and trailblazing into new terrain. The first issue was dizzying in scope, giving us a sense of a vast, mad DCU filled with depth and intricacies to a degree we haven’t really seen since the New 52 began back in 2011, and also giving us the return of CAPTAIN CARROT! After that we got a glorious, pulp-inspired rendition of the JSA, with great portrayals of the likes of Doctor Fate. Next up was a universe populated with the various legacy heroes following on from their iconic predecessors, like Morrison doing Jupiter’s Legacy better than Millar. But best of all was “Pax Americana,” drawn by art legend and frequent Morrison collaborator Frank Quitely, which saw the pair tackle the original Charlton heroes like Blue Beetle, Captain Atom and The Question that served as the basis for Watchmen. And, never one to shirk from ambition, and being quite bold as brass in the face of Moore’s criticisms about Morrison copying his work, Morrison and Quitely tackle head-on the very ideas of comics structure that Moore and Gibbons were exploring with Watchmen, and arguably pushes the envelope even further. Frank Quitely is possibly my favourite comic artist ever, so it’s not lightly that I say this could be some of his finest work to date, with the assured colour palette of Nathan Fairbairn acting as the perfect compliment to his style.  What I’ve loved about every issue so far, though I can also see it being a bit infuriating, is that rather than just creating a bunch of one-and-dones, Morrison has written a collection of fantastic issue #1s, all of which end having introduced us to an immersive world and leaving us desperate for an issue #2 that will never come. Such amazing craft and world-building throughout. This is a barmy celebration of DC’s Multiverse, and of superhero comics in general, done in a way only Grant Morrison can. Fantastic.

DaredevilDepressionDaredevil, as written by Mark Waid and over the past couple of years mostly drawn by Chris Samnee, is a comic that has existed on the periphery of my perception for quite some time. I’ve always been aware of the popularity and critical acclaim behind the title, and I’d read an issue here or there, but 2014 was finally the year I dove in, thanks to the Marvel NOW relaunch that relocated Matt Murdock to San Francisco, but largely kept the tone, cast and overarching storylines consistent from the previous volume. I used this opportunity to give Daredevil a try, and at last I was hooked. I went back and bought the whole of Volume 3 in the three deluxe hardcover editions, stormed through it, and was left kicking myself for taking so long to jump on the bandwagon. When looking at how influential this title has been – you could argue it has inspired a whole line of creative thought in Marvel’s publishing output, from a shift to shorter story arcs, to an increased spotlight on more stylised, cartoony artwork over more glossy, cookie-cutter fare – it’s easy to overlook just how brilliant Daredevil remains, and how it’s still setting the bar. So, let’s take a closer look at this year in Daredevil, in particular the title since it was relaunched as Volume 4. As stated above, while the locations are fresh, much of the themes are carrying on from what came before. And, in particular, this underlying notion that Daredevil’s bright, upbeat “new beginning” where he’d make a conscious decision to be happier was perhaps less secure than it first seemed that has been niggling away since Waid’s tenure began has really been scrutinised and drawn into the open. We got the first allusions to it in the two-part Original Sin tie-in (surely one of the best tie-ins that event produced) where we explored Matt’s mother, and discovered she suffered from post-partum depression when Matt was an infant. This exploration of mental illness built up to the high-point of the volume: the recently-completed “Purple Children” storyline, where longtime Daredevil foe The Purple Man sets loose a group of his illegitimate children whose more primal version of his mind-controlling powers may be even more potent than his own. On one level, this worked as a thrilling superhero story, with The Purple Man as scary and nasty as ever. But it also served as an excellent study of depression, and the continued stigmas surrounding mental illness that prevent people seeking help. Daredevil has long been one of the best developed superheroes in comics, and Waid manages to add a new dimension to his personality in an utterly believable, relatable way. And Chris Samnee’s artwork! Every page is a joy to behold, with clean lines packed with vibrant, kinetic energy, bolstered by the crisp colours of Javier Rodriguez and, more recently, Matthew Wilson. Even as a character who has had some rather definitive, iconic artists draw him, Samnee may have emerged as my ultimate Daredevil artist. Believe the hype. Daredevil by Waid and Samnee is simply the most perfectly-realised superhero comic on the shelves today.

ThroughTheWoods1While the marketing may have been focused on Original Sin and Future’s End, for me, right from when I first heard about it late last year, I knew that Through the Woods by Emily Carroll would be my “event comic” of 2014. The immensely talented Emily Carroll first came to my attention with “His Face All Red,” a chilling webcomic that to this day is one of the creepiest, most perfectly-structured horror comics ever. And so I was highly excited by the prospect of this graphic novel anthology, collecting “His Face All Red” in print for the first time alongside a collection of original short horror tales. After spending half the year breathlessly anticipating Through the Woods, I was very pleased when the final product lived up to expectations. Emily Carroll has a distinctive approach to horror, a lyrical quality that makes them feel like old fables, or forgotten children’s tales with a sinister underbelly. And like those children’s tales, her stories play with primal, universal fears: the loss of loved ones, or that those you care about are not all that they appear to be. Her artwork complements this vibe by being quite simple and childlike, but deceptively detailed and still capable of repellent, horrific imagery. Every story in the collection is strong, there’s not one dud here, but if I had to pick my favourites, in addition to the previously mentioned “His Face All Red,” I’d pick out “The Nesting Place” – a bloodcurdling mix of Cronenbergian body horror and Hitchcock’s Shadow of a Doubt – and “In Conclusion,” the epilogue which deftly plays with the imagery of Little Red Riding Hood to bring the book to a simple but unsettling close that will linger in the memory and induce shudders long after reading. This year, we’ve been spoiled with a treasure trove of quality horror comics, so much so that I even wrote about it on my blog. But standing above them all is Through the Woods, and with this collection, Emily Carroll has cemented her status as the Queen of Comics Horror, second only to the legendary Junji Ito when it comes to using the comics medium to craft fear. And speaking of Junji Ito, I’ve learned that he has a new collection getting translated into English, due for a 2015 release. Now I know what my “event comic” of 2015 will be, then…

SouthernBastards1There are certain books that you know right away you’re going to love. Southern Bastards was one of those books, where as soon as it got announced at Image Expo, I knew it was going to be a must-read. Anyone familiar with my previous annual top 10 comics lists or with my blog in general will know that I absolutely adore Scalped, Jason Aaron’s masterpiece. It attained the #1 spot on this list on multiple previous years during its run, and I wrote some very detailed, lengthy blogs dissecting some of the stuff I love about the gritty crime saga. It’s the series that established Jason Aaron as one of my favourite writers, and has led to be following him onto his work with Marvel, which I’ve enjoyed. But with Southern Bastards, drawn by his recurring collaborator Jason Latour, Aaron seemed to be setting up a book primed to fill the void left in my comics-reading life by Scalped when it ended. And in 6 issues, the book has done just that. Hell, you could argue it had done that by issue #1. Given that you could suggest Scalped took a story arc or so before it really got going, you might even argue that Southern Bastards has launched itself out of the starting block even faster than that classic. Immediately, you could tell this was two masters at work, with a sweaty, sun-scorched atmosphere that immersed you in the Deep South. Craw County is simultaneously depicted as a tangibly awful place that no one would want to go near, but also so well-realised in its scenery and its diners selling fried pie that I kinda want to go there. Latour’s red-hewn colour palette helps a great deal with this distinctive atmosphere, as does his hard-bitten character design. This is a tough world, and one laced with pain and tragedy. At first, we think we’re getting one kind of story, and we imagine we’re seeing the well-worn story tracks laid out before us. But then that train is derailed in the most gut-punching, upsetting of fashions. “Upsetting” is something this book does well. I think I’ve had my heart broken reading this comic half a dozen times in as many issues. It feels like we’re still in the opening salvos of a much larger narrative, so the bigger picture of the plot may not yet be clear, but what truly elevates this comic are the characters. They feel nuanced, like real people (though maybe people you’d never want to actually meet), with Aaron once again displaying real skill for finding the bruised humanity in even the most seemingly awful of people. Six issues in, and already Southern Bastards feels like appointment reading, the book I know I’ll rush to read immediately as soon as I get it home, its cast of characters already nestling their way into my brain and into my heart. One thing that somewhat sets it apart from Scalped is acclaim. Scalped was one of the best comics ever, but it always felt a bit like an underrated gem, beloved by those who discovered it but overlooked by wider audiences. I would put it at #1 on my lists while beseeching people to give it a try. On the other hand, I write this knowing that Southern Bastards is almost a boring choice to top my list with, as everyone seems to be putting it in their lists. But sometimes a choice is obvious because it is absolutely deserved. And I for one am glad that the rise of Image Comics and creator-owned comics means that a comic as excellent as Southern Bastards can get the recognition and respect it deserves. Roll on year two!
And that’s that! What will next year’s list bring? Will Southern Bastards be the first comic since Scalped to take the #1 spot more than once? Or will one of the books currently slated for a 2015 release that I’m eagerly looking forward to, like Junji Ito’s Fragments of Horror or Scott McCloud’s The Sculptor, nab the top spot? We’ll have to wait until next December to know for sure. In the meantime, as ever, I’ll end with 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
2014: Southern Bastards

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