By Various — This year, we’ve been so lucky to work with so many talented writers and passionate comics fans. There have really been some great pieces this year (check out our Twitter to see them!). It’s been great, and so we’re coming together again now at the end of the year to talk about our favorite books.

Below is a quick (30 choices!) list of our favorite books of 2019. We’ll have more Best of 2019 content coming in the next 10 days or so, so if you enjoy this list, check back soon!

Now, let’s get to our Best Comics of 2019: Contributor Picks…

Best Comics of 2019: Comics Bookcase Contributor Picks

All-Time Comics: Zerosis Deathscape
Writer: Josh Bayer and Josh Simmons
Artist: Trevor Von Eeden
Publisher: Fantagraphics
Headed by indie comics leaders, Josh Bayer and Josh Simmons, Zerosis Deathscape is a beacon of light in the comics world. There are so many great comics right now. Both Marvel and DC put out real gems this year, and many great writers and artists are doing career work for those companies. When I read All-Time Comics: Zerosis Deathscape, however, I reevaluate everything and want to burn it all down. Then I give it an hour, read an issue of Ironheart, and feel alright again. But every issue of this book has left me feeling so inspired creatively, while feeling so positive and alive with what comics can do. Zerosis Deathscape is the follow-up to All-Time Comics Season One, which introduced Crime Destroyer, Atlas, Bullwhip, and Blind Justice. Zerosis Deathscape expands on all their stories within a single focused narrative. The heroes in All-Time Comics are riffs on classic superheroes. And while not attempting to be inspired by old comics, All-Time Comics feels exactly old comics. Everything from production, writing, pencils, inks, colors, it’s all old comics. It feels like someone took a book from 1974 and teleported it into the present, injecting modern ideas about race, sexism, government, and identity into the text. This season of features some really great, kinetic, art from Trevor Von Eeden, and it’s some of the wildest stuff I’ve read all year. (Nick Couture)

Assassin Nation
Writer: Kyle Starks
Artist: Erica Henderson
Letterer: Deron Bennett
Publisher: Image Comics
This year was filled with comics that were heartfelt, thoughtful examinations of the human experience…Assassin Nation was not one of those comics. It was a story about 20 of the world’s greatest assassins all being hired to be bodyguards for a crimelord and, please understand how serious I am when I write this, it kicks all kinds of ass. Assassin Nation is the funniest comic I read this year, and it isn’t close. From start to finish, in-dialogue jokes to ridiculous SFX, the book had me laughing. Humor in comics, I think, is hard, but writer Kyle Starks nails every punchline. It’s also funny that artist Erica Henderson is known for her work on The Unbeatable Squirrel Girl considering how different these two books are. Yet, Henderson’s style is incredible, with big action sequences that land and visual humor that is second to none. It boasts one of the best character casts in creator-owned comics, it’s funny as hell, and each issue is packed with action, the only thing you could ask is a second volume…and then a third and a fourth and…(Jarred A. Luján)

Bad Luck Chuck
Writer: Lela Gwenn
Artist: Matthew Dow Smith
Colorist: Kelly Fitzpatrick
Letterer: Frank Cvetkovic
Publisher: Dark Horse Comics
Debut book of writer Lela Gwenn, Bad Luck Chuck might be the least debut-book-feeling debut book of the year. Working with veteran artist Matthew Dow Smith, and super-star colorist Kelly Fitzpatrick, one would think Gwenn manages to not only keep up with her collaborators, but brings out the best in them as well. Smith delivers what may be the best work of his career, while Fitzpatrick proves once again that she's one of the best colorists today. Bad Luck Chuck feels like a spiritual follow-up to the Ed Brubaker/Greg Rucka/Sean Phillips/Michael Lark crime books of the early 2000s, but with a 2019 touch of self-deprecating humor added to the mix, which just might be the recipe for a perfect comic. (Jamie Grayson)

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Batman: Last Knight on Earth
Writer: Scott Snyder
Artist: Greg Capullo
Inker: Jonathan Glapion
Colorist: FCO Plascencia
Letterer: Tom Napolitano
Publisher: DC Comics - Black Label
Batman: Last Knight on Earth is the climactic conclusion to the Batman epic started by superstar comics team Scott Snyder, Greg Capullo, Jonathon Glapion, & FCO Plascencia way back in 2011. The team reunited for the final tale of their Batman this year, and it’s outstanding. Last Knight on Earth, a DC Black Label book, isn’t confined by continuity and so it tells exactly the story the creators want to. The tale that unfolds is heartbreaking, heartwarming, insane, bombastic, brutal, and so much more. It’s a post-apocalyptic action mystery that forces Batman to question whether all he’s done has made a difference, and whether or not his fight is worth it. The series asks profound moral questions, and puts the Caped Crusader in situations that wouldn’t be possible in main continuity. Seeing a Batman so far down the line, with the DC Universe crumbling, is this story’s immediate hook, and Snyder and Capullo keep twists and big moments coming throughout three extra-sized issues. Snyder puts out some of his all-time best writing, and Capullo, Glapion, and Plascencia deliver iconic images, one after the other. There’s mystery, suspense, world-building, horror, high action, heart, humor, and everything else you’d want from a Batman tale. This creative team has had a storied run on Batman, and they went out this year with an exclamation point. (Alex Batts)

Batman Universe
Writer: Brian Michael Bendis
Artist: Nick Derington
Colorist: Dave Stewart
Letterer: Josh Reed
We all knew that after moving to DC Comics, Brian Michael Bendis would eventually get his hands on Batman. Who knew it would be this much fun? Batman: Universe is the most fun I’ve ever had with Batman, period. Bendis, artist Nick Derington, colorist Dave Stewart, and letterer Josh Reed take Batman on this time-traveling, intergalactic romp through the DC Universe. It’s a fantastic highlight, and a beautiful reminder, of how diverse the DCU can be. It’s also a showcase for a more fun and lighter Batman, one who has made his mark on the world and has friends all over the place. As the name suggests, it’s universal in this regard. There’s Batman running into the hairy residents of Gorilla City and being interrogated by Thanagarians on their homeworld, before heading off to the Wild West to interact with Jonah Hex. The real stars, however, are Derington and Stewart. This off-kilter story is perfectly captured by Derington’s line-work and sense of design, which simply doesn’t look like anything else in comics right now. Derington is expressive and unusual, and his work is thereby perfect to bring this story to life. (Hussein Wasiti)

Black Badge
Writer: Matt Kindt
Artist: Tyler Jenkins
Colorist: Hilary Jenkins
Letterer: Jim Campbell
Publisher: BOOM! Studios
Matt Kindt, Tyler Jenkins, and Hilary Jenkins’ political spy story is a welcome addition to the collection of conspiracy comics Kindt has amassed over his long career. But what makes Black Badge special is how it turns a subject, child soldiers, from a problematic one into one with a great message: “the kids are the future.” Kindt is often one to write characters with heart, and one to always build an intriguing world. But, Tyler Jenkins’ art and Hilary Jenkins’ colors do an amazing job of conveying the tone of this series. Each issue builds the mystery and lore of the Black Badge organization, creating a perfect modern spy story. It’s gritty, but full of life and authenticity. Fans of Kindt’s Mind MGMT, Dept H, and Grass Kings will be right at home with this comic. In fact, readers might start to question allegiances after reading Black Badge but they’ll love the story all the same. (Toren Chenault)

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Black Hammer: Age of Doom
Writer: Jeff Lemire
Artist: Dean Ormston
Colorist: Dave Stewart
Letterer: Todd Klein
Publisher: Dark Horse Comics
A lot of creators would love to build their own superhero universe. With multiple titles, story arcs, and collaborators involved, Jeff Lemire has done that with Black Hammer, and this year saw the end of “Part 1” of Black Hammer with Age of Doom. And what an ending. Lemire has crafted one of the most honest and engaging comics today. And Dean Ormston’s art has become just as iconic as the heroes themselves. They’re lovable screwups in a story that homages the best parts of iconic superhero tales over the years, just with Lemire’s touch. Age of Doom was filled with answers, answers behind the Black Hammer mystery, and it ended in a very satisfying but somewhat bittersweet way. I felt like I was saying goodbye to family members. I know that more Black Hammer comics are planned, but if this was the last time we see the main heroes together as a family, let me just say thanks to Lemire and crew for the work they put in. (Toren Chenault)

Coffin Bound
Writer: Dan Watters
Artist: Dani
Colorist: Brad Simpson
Letterer: Aditya Bidikar
Publisher: Image Comics
A twisted and fascinating story about life, death, and the space in between, Coffin Bound deserves a place on every Best of 2019 list and, more importantly, every bookshelf. With a tight 4-issue first arc, Dan Watters introduces the world and characters, all while keeping tensions high and action moving. Artist Dani sells that with inky, swirling visuals. Colorist Brad Simpson creates a moody, dreamlike atmosphere, and letterer Aditya Bidikar creates a whole host of lettering styles that fit seamlessly with the art and characters. This book was a winner and I can’t wait to see what the next arc brings. (Harry Kassen)

Collapser
Writers: Mikey Way and Shaun Simon
Artist: Ilias Kyriazis
Colorist: Cris Peter
Letterer: Simon Bowland
Publisher: DC Comics - Young Animal
Collapser has felt like an ode to weird heroes, like Animal Man and Shade, the Changing Man. It's not an homage, it doesn't play off existing characters or ideas, but it delivers a brand new dysfunctional superhero with all of the weirdness of its forebears. The series introduces us to Liam James, an aspiring DJ and orderly at a senior center, as he gets a black hole thrust into his chest and has to come to terms with powers, betrayals, and a family legacy. One of the key things that grabbed me in this story was the presentation of Liam's anxiety. Way and Simon captured the horror of that defeatist and at times overwhelming negative voice very well, and it shone through in the style change for Bowland's lettering. The artwork from Kyriazis and Peter is also incredible. Kyriazis has an angular and lanky style, somewhat in the same vein as Ted McKeever, Richard Case, and Sonny Lieu, and it works perfectly for this weird superhero. It's part of the reason why it has that early pre-Vertigo weird hero vibe, just in presentation. When combined with the soft focus and neon glow of Peter's colors, this series stands out with a beautiful unique look. (d. emerson eddy)

Criminal
Writer: Ed Brubaker
Artist: Sean Phillips
Colorist: Jacob Phillips
Publisher: Image Comics
The return of the best crime comic series, by the one of the best creative teams, happened this year. Starting with the first issue of a new volume, the book hit the ground running and has not let up for a second. Not only do we see returning faces, but new faces add interesting wrinkles to the story. As with the previous runs, the Lawless family are the stars. However, unlike previously, it focuses more on Teeg and Ricky, rather than Tracy. We are currently in the middle the epic “Cruel Summer” arc that is poised to end with a bang. As always, Brubaker and Phillips bring their A-game here, with Brubaker laying down some of the best hardboiled narration I’ve seen in any of his series yet. Phillips has totally refined his style and is joined by his son, Jacob, who completely knocks it out with his color work. To put it simply, it is a crime if you are not reading Criminal. (Taylor Pechter)

Crowded
Writer: Christopher Sebela
Artists: Ro Stein and Ted Brandt
Colors: Triona Farrell
Letters: Cardinal Rae
Publisher: Image
This Eisner-nominated breakout hit from Image Comics continues to be one of my favorite books this year. It’s a consistently funny, smart, brutally honest, angry ride of a comic. Everyone involved adds to the book in a strong distinct way. Ro Stein, Ted Brandt, Triona Farrell, and Cardinal Rae came out of nowhere and have crushed it on every issue. Christopher Sebela writes his butt off each issue, with so much thought and care put into every page. I really didn't know where this book would go this year but it ended up in Vegas, which had been a perfect setting to continue to skewer the gig economy, tech bros, and every other modern nightmare technology. (Nick Couture)

Deadly Class
Writer: Rick Remender
Artist: Wes Craig
Colorist: Jordan Boyd
Letterer: Rus Wooton
Publisher: Image Comics
Launching in early 2014 from Image Comics, Deadly Class has been a mainstay in comics. This year we saw a short-lived Syfy Channel adaptation that, by most accounts, was pretty solid. Going into 2019, I was unsure about the future of the book. Remender had been winding down some of his other creator-owned books (Black Science, Low), which launched around the same time as Deadly Class, and with his TV stuff ramping up, I thought he might step away from this book, but that does not seem to be the case. It’s carrying on full speed ahead, adding new layers and threads while maintaining that amazing Wes Craig art with Jordan Boyd colors. Deadly Class has a real beating heart at its core, largely thanks to the strong personal connection the book has to Rick Remender and his childhood. Frequently an issue of Deadly Class will function as a thesis on politics and mental health. No other book consistently gives me such a healthy dose of ideas to ruminate on. It has no signs of slowing down. (Nick Couture)

Everything
Writer: Christopher Cantwell
Artist: I.N.J. Culbard
Letterer: Steve Wands
Publisher: Dark Horse Comics
I don’t know if I’ve ever been clear about how much I like cosmic horror, but I really do love it. I also love commentary on the weird and at-times-more-frightening-than-Lovecraft state of American Capitalism. That brings us to Everything. From weirdness master Christopher Cantwell and part-time Lovecraft adapter I.N.J. Culbard, we get this tale of, essentially, Walmart but extra weird. I’m not quite sure I understand anything that’s happening in this series, but I do know that I love reading it. It follows a number of characters, all related to Everything, a new superstore in Holland, Michigan. As the weirdness settles into town, people start to get wary. That’s all I can say for sure at this point, but I’m excited to read every new issue of this one, and I’ll say you should do the same. (Harry Kassen)

Excalibur
Writer: Tini Howard
Line artist: Marcus To
Colorist: Erick Arciniega
Letterer: VC’s Cory Petit
Design (them data pages): Tom Muller
Publisher: Marvel Comics
We're only four issues in, but Excalibur is pushing all the right Big 2 comics buttons for me. So far it's the most balanced of the Dawn of X titles, matching pathos with the new world-building and status quo, the quiet moments with splashy fantasy action. Marcus To has the perfect action-oriented style for this, and he excels at drawing extremely good-looking folks, so it’s about time he was on a high profile X-book. Howard's work with the entire cast (including the formerly villainous •┤Ȧ├• and criminally underutilized Rictor) is exceptional thus far, and though this first arc is heavily focused on the Braddocks, everyone has had moments to shine. Howard is essentially penning both a spiritual and actual successor to Remender's Uncanny X-Force, with Betsy Braddock's Terrible Horrible Increasingly Bad Day. This time, Betsy's brother's soul is in peril, the stakes are high, and hey! Jamie Braddock has been resurrected so we can expect more emotional fallout from that episode of Keeping Up With the Braddocks from 7 years ago. All hail the new Captain Britain, indeed. (Allison Senecal)

Gryffen: Galaxy’s Most Wanted
Writer: Ben Kahn
Artist: Bruno Hidalgo
Letterer: Sal Cipriano
Publisher: SBI Press
Past collaborators writer Ben Kahn and artist Bruno Hidalgo worked together again this year on Gryffen, which is a take on a subject 100 percent different from their past creations, with them having previously done two books tackling supernatural subject matter. In this one, Kahn and Hidalgo show their versatility by taking on a sci-fi story. The result, Gryffen, is the most unapologetically anarchic and progressive comic since Jamie Delano's Hellblazer, and looking at what the world's become in the three decades that passed in between the two, Gryffen is the exact kind of book we need right now. (Jamie Grayson)

House of X/Powers of X
Writer: Jonathan Hickman
Artists: Pepe Larraz, R.B. Silva
Inkers: R.B. Silva and Adriano di Benedetto
Colorist: Marte Garcia
Letterer: Clayton Cowles
Publisher: Marvel Comics
In 2019, there was one thing that the vast majority of comics fans seemed to agree upon - House of X / Powers of X, the 12-issue series in which writer Jonathan Hickman and a team of very talented collaborators gave the X-Men their first new visionary status quo in almost two decades. Hickman’s story dove into the core of the mutants-versus-humanity concept, returning to readers with some of the long-running franchise’s most vital elements…which he then combined with his own visionary hard sci-fi plotting to create a new framework for one of superhero comics’ foundational properties. Moreover, he did all this with immense support and promotion from publisher Marvel Comics, which has been reticent in recent years to do that given the X-Men were central in negotiations related to film rights. The result was an entertaining and through-provoking story that read as wholly new and ultimately delivered us a new house (of X!) for creators to tell stories in for years to come. (Zack Quaintance)

Ice Cream Man
Writer: W. Maxwell Prince
Artist: Martin Morazzo
Colorist: Chris O’Halloran
Letterer: Good Old Neon
Publisher: Image Comics
If the core of the best writing and storytelling is taking honest thoughts and feelings, blending them up with narrative fascinations, and creating something wholly unique — no comic had more success in 2019 than Ice Cream Man. This book — which is a horror anthology series that has a sinister Ice Cream Man as the lone major commonality between installments — is so varied, yet each and every issue really works hard to explore a fear, concern or fascination on the minds of its creators. What results is a powerful universality that comes to us by way of some of the most surprising horror concepts and formalist comics experiments the medium has ever seen. Put simply, Ice Cream Man is a must-read comic and a true storytelling achievement. (Zack Quaintance)

Immortal Hulk
Writer: Al Ewing
Artist: Joe Bennett
Inker: Ruy Jose
Colorist: Paul Mounts
Letterer: Cory Petit
Publisher: Marvel Comics
Have you ever had that moment reading a comic that felt so transcendent and so magical, that you immediately knew you were reading a classic in the making? That you were reading the definitive take on a character that will shape its future for years to come? Because that’s what it’s like reading The Immortal Hulk by Al Ewing, Joe Bennett, and a smattering of guest artists including Matias Bergara and Kyle Hotz. I haven’t read much of the Hulk, but Ewing manages to keep the series accessible for new fans. Somehow, the lack of context surrounding certain characters and events drives the horror of the book because things feel more mysterious and the world more lived-in. While the series has mostly played with body horror, recently the series has also dipped into grand cosmic horror and straight-up political satire. Ewing is making full use of the variety of genres the Hulk fits into, which is a revelation to me. It’s gripping, emotional, oftentimes genuinely scary, and it is the best comic Marvel is currently publishing. (Hussein Wasiti)

The Last God
Writer: Phillip Kennedy Johnson
Artist: Riccardo Federici
Colorists: Sunny Gho with Dean White
Letterer: Tom Napolitano
Publisher: DC Comics - Black Label
Fantasy stories – especially at the Big Two – are a rarity nowadays. The Last God is unique in that regard. It is also a great example of how a Big Two publisher can be supportive of a creative team. In this book, the creators have crafted a fantasy story full of unique characters, stunning locations and a captivating plot. Under DC Black Label, the book stands out as an example of what the line should be – unique stories that are very different to what the main DC line publishes. The book includes extra lore bits to help make the world of Cain Annum feel alive and thriving. Anyone who has asked for different types of comics from the Big Two should look at Black Label as a whole – but for fantasy fans, The Last God is a book that shouldn’t be missed! (Jack Sharpe)

Lois Lane
Writer: Greg Rucka
Artist: Mike Perkins
Colors: Paul Mounts
Letterer: Simon Bowland
Publisher: DC Comics
Truth. This is a key component to the character of Lois Lane. As an investigative reporter, it is her job to find the truth, by any means necessary. This personal drive is brought to light perfectly in this current Lois Lane series written by Greg Rucka, illustrated by Mike Perkins, colored by Paul Mounts, and lettered by Simon Bowland. Rucka blends the right amount of politics, family drama, and action, crafting an intense and personal comic book. Not to mention the inclusion of one of my favorite characters, Renee Montoya, returning to her role as The Question. The heavily inked, noirish style art by Mike Perkins really adds to the tone as well. Out of all the books coming out of the Superman office these days, this one (along with Fraction and Lieber’s Jimmy Olson being very a very close second) is my favorite. (Taylor Pechter)

Lucifer
Writer: Dan Watters
Line Artists: Sebastian Fiumara, Max Fiumara, Kelley Jones, Aaron Campbell, Massimiliano Leomacs, Fernando Blanco
Colorists: Dave McCaig, Chris O’Halloran, Dee Cunniffe
Letterer: Steve Wands
Publisher: DC Comics - Black Label
I was pathetically slow to get into this new Lucifer run, but it's now easily my favorite of the Sandman Universe titles. Watters and the murderers' row of art talent deliver something meaty (I spend 45 minutes on an average issue), sublime (there are some truly evocative pages, and who doesn’t love Lucifer-by-way-of-Bowie?), and moving (Mazikeeeeeeen) month in and month out with this one. The true stars may be Cunniffe, whose colors seamlessly tie the mix of line art together, and Wands, with easily the lettering job of the year. Together they've elevated this into a moody and romantic classic, a perfect successor to Carey's original run on the character. The Tempest is my favorite bit of Shakespeare, so no wonder this has spoken directly to my soul, with the first 13 issues revolving largely around Sycorax and Caliban, her son with Lucifer. I'm a sucker for world folklore, and the exploration of other pantheons and their underworlds seems to be continuing into next year. A treat for the forseeable future. (Allison Senecal)

Middlewest
Writer: Skottie Young
Artist: Jorge Corona
Colorist: Jean-Francois Beaulieu
Letterer: Nate Piekos
Publisher: Image/Skybound
Middlewest is something special. It's a coming of age story of a journey across a magical realist Americana as our protagonist Abel both tries to flee from his abusive father and come to terms with the swirling rage of his familial lineage to figure out who he himself truly is. These creators have an all ages story that takes the best elements of Pinocchio and Huckleberry Finn and puts them into an entirely new universe, combining some down home charm with deep, emotional trauma and other complex themes. Beaulieu is one of the unsung heroes of Skybound, elevating pretty much every comic he touches, bringing beautiful, rich colors also to Outpost Zero and Birthright, but his work here might well be his best for mainline Image. There's a vibrancy to the color of the book, even during scenes with muted tones and dark subject matter. He takes the already high caliber offerings from Young, Corona, and Piekos and helps make this series feel like something completely unlike anything else on the shelves today. (d. emerson eddy)

Once and Future
Writer: Kieron Gillen
Artist: Dan Mora
Colorist: Tamra Bonvillain
Letterer: Ed Dukeshire
Publisher: BOOM! Studios
Once and Future has been outstanding all year. It’s a book that’s a much needed, fresh take on the legend of King Arthur and Excalibur, a supernatural monster story starring badass, hardcore grandma Bridgette McGuire and her awkward, clumsy grandson Duncan. I’ve said this before, but Bridgette and Duncan are one of the best pairings in comics. There’s such a balance here, with the two of them really proving to be the right amount of compliment and opposite. Their dynamic is brilliant, leading to tremendously funny moments as well as a powerful relationship without a wealth of backstory given or needed. Furthermore, Mora really flexes on his pages. The art is some of the best of the year, well-paced and unique. While you can come for the Gillen and Mora superstar work, you’ll stay for colorist Tamra Bonvillain, who’s already done a tremendous job establishing herself as one of the best colorists in the industry, but Bonvillain is INCREDIBLE in this book. (Jarred A. Luján)

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Peter Cannon: Thunderbolt
Writer: Kieron Gillen
Artist: Casper Wijngaard
Colorist: Mary Safro
Letterer: Hassan Otsmane-Elhaou
Publisher: Dynamite
While HBO's Watchmen and Doomsday Clock may have dominated headlines, conversations, and column inches in discussion of “official” sequels, what I consider to be the real successor to Alan Moore, Dave Gibbons, and John Higgins' genius work is Peter Cannon: Thunderbolt. The series kind of came out of nowhere from Dynamite, in amongst their reinterpretations and reboots of an assorted collection of existing and licensed IP, but it was a quiet powerhouse. The creators crafted a story that was essentially a sequel, examination, satire, and response to Watchmen all at once, open to interpretation as to whether it was praising the work or mocking it. The series focused on the template for Ozymandias, the original Peter Cannon: Thunderbolt, and an exploration across multiple realities in order to stop an evil version of himself from destroying existence, but beyond that it was an exploration of forms and structures within comics. It dissected and analyzed storytelling techniques, like the 9-panel grid, and took a very interesting turn in the fourth issue as it embraced the black and white biographical comics style of longtime Alan Moore collaborator Eddie Campbell's Alec. It's an intelligent and hilariously funny comic that also beautifully showed off the versatility of Wijngaard, Safro, and Otsmane-Elhaou as they adapted their art to fit the twists in the tale. (d. emerson eddy)

The Plot
Writer: Tim Daniel & Michael Moreci
Artist: Joshua Hixson
Colorist: Jordan Boyd
Letterer: Jim Campbell
Publisher: Vault Comics
The debut title for Vault’s new Nightfall horror publishing initiative, The Plot is easily one of the best horror comics I’ve read all year. Even just three issues in, I can feel that this will be one I read again and again, and recommend to people constantly. Daniel and Moreci are creating a slow burn story of a family coming to terms with its history not just in time but in space, and Hixson, Boyd, and Campbell back that up by delivering perfectly suited, moody visuals. It’s a seamlessly executed book, and thrilling to see. It’s near the top of my list every month, and I’ll be eagerly awaiting each new issue in the new year. (Harry Kassen)

These Savage Shores
Writer: Ram V.
Artist: Sumit Kumar
Colorist: Vittorio Astone
Letterer: Aditya Bidikar
Publisher: Vault Comics
These Savage Shores is a refreshing take on an old genre. Setting it in colonial India and blending elements of the country’s culture and mythos, this book is a wonderful (and welcomed) tale. It’s well written, with writer Ram V utilizing powerfully and deeply poetic prose, and it features complex characters that retain their relatability. Artist Sumit Kumar puts on a masterclass of sequential art, displaying a wicked level of ability on every page. Colorist Vittorio Astone and letterer Aditya Bidikar equally display mastery of their skills, creating a visual powerhouse of a comic book. These Savage Shores explores a wealth of themes, inspiring readers (like me) to re-read it to uncover another layer of what can only be described as a testament to the power of comics. If you’ve missed out on These Savage Shores this year, you are missing out on something very, very special. (Jarred A. Luján)

A Walk Through Hell
Writer: Garth Ennis
Artist: Goran Sudzuka
Colorist: Ive Svorcina
Letterer: Rob Steen
Publisher: AfterShock Comics
This is a series that I love, but I will say I’m not entirely caught up on it. From what I have read though, it’s far and away one of the best horror comics ever. It would be easy to just talk about the story, by Garth Ennis. It’s a deeply terrifying tale of evil on every scale, good enough to earn it a place on any “Best of” list, but that’s not the only reason I find it so captivating. The art or, more appropriately, the visuals, create horror in a way that I haven’t seen anywhere else. There’s a coldness to the images that portrays all of the frightening events of the story in the most chilling way possible. I won’t get into it all here (but expect more on this from me), but it’s brilliant and horrifying. I can’t emphasize this enough, but A Walk Through Hell is a must read book. (Harry Kassen)

White Trees
Writer: Chip Zdarsky
Artist: Kris Anka
Colorist: Matt Wilson
Letterer: Aditya Bidikar
Publisher: Image Comics
The creators behind the 2016 Star-Lord miniseries at Marvel Comics worked together again this year to bring readers the sexiest-looking comic we’ve maybe ever read. In this oversized 2-issue prestige series, the creative team dives into the astonishing, Dungeons and Dragons-esque, medieval world of Blacksand, and in that fantastic world we find elves, orcs and dragons. With all of that, this book tells a small-scale, personal, emotional story. This may sound like a totally crazy move…you know what? It’s also one that resulted in a crazy good comic. (Jamie Grayson)

The Wicked + The Divine
Writer: Kieron Gillen
Artist: Jamie McKelvie
Colorist: Matthew Wilson
Letterer: Clayton Cowles
Publisher: Image Comics
The Wicked + The Divine came to an end this year, and it puts the cap on what I now consider my favorite comic series of all-time. WicDiv followed the story of 12 Gods reincarnated as teenagers in the modern world with incredible power and fame. The series has a variety of excellently-explored themes, deep and intriguing mythology built upon already existing real world mythologies, and a relentless number of twists and turns. The twists in WicDiv never feels like twists for the sake of it, though. Each revelation is just that, a revelation that recontextualizes the story and forces readers to re-evaluate everything. The big reveals are also embedded in the heart of the tale, with moments having pay-offs 30+ issues later. Along with a constantly engaging plot, the series has an emotional throughline that grips the heart and never lets go. It’s a story of self-discovery, social commentary, and much more. And while the writing is outstanding, the art is also vital in making WicDiv what it is. This is one of the best looking comics of all time, and the way it utilizes the format is a testament to the brilliant creators behind it. It’s got unforgettable faces, high action, emotion dripping from each panel, and colors to leave you gawking. I’ve rambled longer than planned, but it’s so difficult to distill all my love for this series into a few short paragraphs. Long story short(ish), you should pick this series up; it’s more than worth it. (Alex Batts)

The Wild Storm
Writer: Warren Ellis
Artist: John Davis-Hunt
Colorist: Steve Buccellato
Letterer: Simon Bowland
Publisher: DC Comics - WildStorm
It’s really something else to watch a seasoned comics writer find a certain energy and spark again. It’s like they’re young all over, wide-eyed and excited but now with decades of industry experience assisting them. Yeah, that was Warren Ellis with Wild Storm this year. This reboot or reimagining of the Wild Storm Universe was perfect for a few reasons. First, It was clear Ellis had complete control, and second, Jon Davis-Hunt’s art. Every issue made my jaw drop with its color and efficiency. The story is a complete one, too, just 20-plus issues of government corruption, superheroes, and secrets. All starting because a girl saved a man falling from a window. It’s a comic that has a perfect amount of action, mixed in with Ellis’ humor and subtle societal satire. It’s Wild Storm for the modern era. (Toren Chenault)

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