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: Lost Dogs

As anyone familiar with my ramblings will probably know, I am a huge fan of Jeff Lemire.  I first became aware of the Canadian cartoonist with the launch of his Vertigo series Sweet Tooth, which continues to be one of the best titles on the shelves each month.  Animal Man is one of the crown jewels of DC’s New 52.  Underwater Welder is perhaps my most anticipated upcoming book of this year.  And Essex County, Lemire’s masterpiece, stands as one of my all-time favourite comics.  So I was very excited to hear the news that Top Shelf would also be re-releasing Lost Dogs, Jeff Lemire’s earliest published work, originally circulated through a small press run and then discontinued, never to be seen again for years.  I had heard of this graphic novel, but never thought I’d have the chance to read it.  But here it is, repackaged with a snazzy new cover and relettered by Chris Ross, all for a bargain price.  If, like me, you’re a Jeff Lemire fan, this is surely an essential purchase.

Reading Lost Dogs, I was put in mind of Following, Christopher Nolan’s first film.  Not because the narrative is remotely similar, but both are an example of a beginner’s effort, rough around the edges and nowhere near as polished and refined as their creator’s later work, but with flashes of the brilliance and that unique authorial vision that would flourish in later projects with the benefit of greater experience.  Arguably the most fascinating part of the whole book is Lemire’s foreword, which eloquently explains how Lost Dogs stands as a document of Lemire’s life at that particular moment in time.

As far as the graphic novel itself goes, it’s very raw.  The art, while still recognisable as Lemire’s style, is not so refined.  It appears as if Lemire eschewed pencils altogether in favour of thick inks, and the result is a muddy, messy aesthetic.  But that perhaps works out nicely, as this is a muddy, messy story.  It does play out a bit like a fable, and the abstract style gives everything a dreamlike quality, albeit a terrifying fever dream.

But the visuals here are very much a crude work-in-progress, and Lemire does stumble in places while trying to find his artistic voice.  For example, there are some points where the 12-16 panel grids often employed in the story work very well, such as when our nameless protagonist’s memories torment him in a bombardment of snapshots of happier times, interlaced with a bleaker present.  But there are other moments – such as during a fight scene – where they just leave the page feeling cramped and unclear.  But even amidst these early growing pains, there are some splash pages where Lemire crafts images of haunting, ethereal beauty, the kind of moments Lemire’s art now has a reputation for capturing masterfully.

The story, what there is, revolves around a hulking giant of a man whose life is racked with tragedy, who finds himself forced to reinvent himself as a bare-kuckle boxer to help a desperate old man.  It’s a simple story and a quick read, but it’s packed with raw emotion.  Though he says very little, with most of his dialogue saved for the end of the story, the gentle giant at the heart of the story could be one of Lemire’s finest creations, challenging our expectations of what a character like him is going to be, and giving the narrative heart.  This is a bleak, tragic tale, and not in the bittersweet sense of Essex County.  It takes some doing to make one of the most beautifully melancholy comics ever feel upbeat by comparison, but the unrelenting nastiness and misery depicted here just about does it.  It’s not an easy read, but get to the end and you’ll find that the story will stick with you long after you’ve closed the book.

I’m a big fan of Jeff Lemire.  But I’ve also become a big fan of creator-owned comics, and discovering some of the emerging talent of tomorrow.  It was a fascinating experience getting to go back and read Lost Dogs, and see one of the best in the industry right now at a stage when he was still learning his craft.  It made me think that right now, the likes of Mark Bertolini, Paul Allor, Magnus Aspli, Gordon McLean, Iain Laurie, Fabian Rangel Jr et al are creating their Lost Dogs, finding their voice, and in the not so distant future we could see them break out.  There’s something exciting about seeing a creator’s first steps to greatness.  And so I’m very grateful that I finally got the opporunity to read Lost Dogs.

Lost Dogs is available now in all good comic book shops.

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?