Best Comics of 2021 (So Far): Marvel Comics
This list looks at the best comics of 2021 so far from Marvel, including the entire X-Men line, Iron Man, Daredevil, the best recent trade paperback collections, and more.
Read MoreTop Comics of 2018, #1 - #5
By Zack Quaintance — A difficult thing about a strong year for comics (like this one) is doing a retrospective Best Of list. Now, to be sure, no one mandates websites do rankings. That would be a clear violation of civil liberties. There is, however, a part of the pop culture blogger brain that goes wild for it, whispering all year long...where does this one rank...and if you don’t satisfy that beast—well, bad things happen.
So, here we our with ours, freshly formulated for 2018 by our committee of one. Before we dive into the third and final and (let’s face it) best part, which features in descending order selections #5 to #1 (Top Comics of 2018, #16 - #25 and Top Comics #6 - #15 are also up now, btw), let’s rehash our ground rules:
No trades or OGNs: Building out our OGN coverage is a priority for 2019. We’re just not there yet. So, while I absolutely loved work like Tillie Walden’s On a Sunbeam, Box Brown’s Is This Guy For Real? The Unbelievable Andy Kaufman, and Ryan Lindsay and Eric Zawadzki’s Eternal, you won’t find them here. Ideally, next year’s we’ll have an entire post dedicated to OGNs.
No webcomics, manga, or newspaper strips: Again, our site is a bit deficient covering these (if you are into these things, we’d love to chat about you writing for us!). I should, of course, mention that in 2018 someone under the pen name Olivia James took over the long-running Nancy strip and did amazing things with it (Sluggo is lit), but, again, you won’t find it on our list.
Longevity matters: New this year, you will find what I consider a key stat—how many issues were published this year. Late debut series like Die, Electric Warriors, and Bitter Root have tons of promise. They just haven’t been around enough to be a definitive comic of 2018. Ditto for comics that ended in April or earlier.
There you have it: guiding principles of our Top Comics of 2018. Now, without further adieu, let’s finish this bad hombre!
Top Comics of 2018
The Immortal Hulk by Alex Ross.
5. Immortal Hulk
Writer: Al Ewing
Artists: Joe Bennett
Inker: Ruy Jose
Colorist: Paul Mounts
Letterer: Cory Petit
Publisher: Marvel Comics
Issues in 2018: 10
The first of the Big 2 titles to make my Top 5 Comics of 2018 is the Al Ewing and Joe Bennett-driven Immortal Hulk, a startlingly-blunt take on a long-time hero that reads more like a creator-owned book than a shared universe corporate story. We’re late in the superhero trajectory, with comics having constructed, deconstructed, and exported the concept to other mediums plenty. Our best modern stories are those that get closest to capturing a character’s core, and rarely has a title done this as well as Immortal Hulk.
At the same time, this book has found a darker place that was always there, taking existing elements and extrapolating them so thoroughly they feel novel. It’s found ground not possible for the sensibilities of the 1960s, Hulk’s heyday. Both artwork and audience have evolved, becoming more sophisticated and thereby allowing Ewing, Bennett, and others to push Hulk further into monster territory while at the same time making Banner the emotional blank slate he was perhaps always meant to be. In this book, Banner is backgrounded, standing in for humanity at large as darker base impulses drag him places no one wants to go (ahem, hell). The Hulk is not the hero—that honor goes to anyone who can live a contented and peaceful life.
On the surface, this comic has also benefited from consistent artwork from Bennett who has needed few guest replacements, plus early chapters that provide satisfying narratives independent of what came before or will come after. This is a bit of a lost art, but still very much welcome, and it’s something that Immortal Hulk did expertly.
This gem by Ryan Sook and Brad Anderson from Action Comics #1006 is quite possibly the comic book page of the year.
4. Action Comics / Man of Steel / Superman
Writer: Brian Michael Bendis
Artists: Patrick Gleason, Yanick Paquette, Ryan Sook, Ivan Reis, w/Doc Shaner, Steve Rude, Jay Fabok, Kevin Maguire, & Adam Hughes
Inkers: Wade Von Grawbadger, Joe Prado, & Oclair Albert
Colorists: Alejandro Sanchez, Nathan Fairbairn, Brad Anderson
Letterers: Josh Reed
Issues in 2018: 5 / 6 / 6
In 2017, Brian Michael Bendis—a leading voice at Marvel Comics for almost 20 years—announced a jump to the distinguished competition, leaving fans with questions that ranged from whether Bendis could thrive there to which titles he would take over. Some suggested this would spark a creative rejuvenation for Bendis, a chance to recapture energy from bygone days. Here’s the thing, though: Bendis had quietly been doing some of his best work at Marvel. Following the stumble that was Civil War II, his Infamous Iron Man, Jessica Jones, and Defenders titles were all excellent.
This is my way of saying I predicted Bendis at DC would be successful. He’s generally praised most for early work on Daredevil, as well as for creating Jessica Jones and Miles Morales (who’s having a moment with new film Into the Spider-Verse). What gets lost is that Bendis is likely the most prolific comic writer of a generation, consistently producing three to five monthly titles and rarely (if ever) suffering delays. As I’ve written, part of what I love about comics is the deadline-driven schedules force creators to just do the damn work, to put forth ideas without belaboring them as one must in film or prose writing. When it comes to embracing child-like excitement, love of comics history, and just doing the damn thing—Bendis is the best.
Still, even I didn’t predict what he’s doing with DC’s Superman titles. Flanked by the best artists to work on the character in decades, Bendis is telling a story that breaks this hero and his mythos down to its core before (seemingly) building it back up with slight tweaks for 2018. His Action Comics, Superman, and Man of Steel miniseries have all felt both classic and progressive as he revels in iconic stature while viscerally having a blast using the DC Universe that’s been off limits for so long. The end result is that both Action and Superman continue to rise, as satisfying as they are epic.
From Monstress #18. Artwork by Sana Takeda.
3. Monstress
Writer: Marjorie Liu
Artist: Sana Takeda
Letterer: Rus Wooton
Publisher: Image Comics
Issues in 2018: 6
This was the year of Monstress, with Marjorie Liu and Sana Takeda’s expansive creator-owned fantasy hitting big at the Eisner’s and (presumably) finding a much larger audience. For fans of the book from the start, it was incredibly rewarding to see this story get its due. Liu’s world-building is phenomenal, drawing loosely from traditions while first and foremost exploring original elements. Takeda’s artwork, meanwhile, is second to no artist keeping as regular a release schedule (save for possibly the great Fiona Staples), with an intricate manga-influenced look that makes every panel of Monstress feel like the product of months of design work.
This year saw Monstress play out its third arc, a grandiose story heavy with confidence. The world-building continues, but it’s not as noticeable as it was in earlier arcs (both of which were also phenomenal, btw). The real focus of the story now is the journey of the main character. Given this is a fantasy comic (the fantasy comic of the decade), we wouldn’t have it any other way.
What started as a revenge story in 2015, has grown into a powerful young woman reckoning with a range of life: her relationship with her history, with her mother, with the mysterious power inside her, with the most responsible way to use it, and with the repercussions for noble actions that grew out of a simple desire to escape oppression and survive.
Black Hammer: Age of Doom, Quantum Age, Doctor Star, and Chtu-Louise.
2. Black Hammer
Black Hammer: Age of Doom / Doctor Star and the Kingdom of Lost Tomorrows / Quantum Age: From the World of Black Hammer / Black Hammer: Cthu-Louise
Writer: Jeff Lemire
Artists: Dean Ormston, Rich Tommaso, Max Fiumara, Wilfredo Torres, Emi Lenox
Colorist: Dave Stewart
Letterer: Todd Klein
Publisher: Dark Horse Comics
Issues in 2018: 7 / 4 / 5 / 1
This past year also saw the establishing of a new superhero universe: Black Hammer. Technically, this homage-heavy universe was created back in 2016 with the advent of Black Hammer #1 from writer Jeff Lemire and artist Dean Ormston. That issue was the start of a specific story. The wider universe grew later, doing so with an adjacent miniseries that broadened the plot in 2016 (Sherlock Frankenstein and the Legion of Evil from Lemire and artist extraordinaire David Rubin).
In 2018, however, we got an even broader expansion. This past year, the Black Hammer universe continued with its main title, while adding two more miniseries and a one-shot. Add to that all kinds of rumors about what’s coming in 2019—from Lemire himself writing/drawing a 12-issue series, to a crossover between Black Hammer and DC Comics—and all signs point to this universe being here to stay. I had a chance to interview Jeff Lemire at San Diego Comic Con, and he agreed, saying as much.
I point this out as a way to note Black Hammer is so well-done that it has found a strong foothold in a market over-saturated by superhero concepts since basically 1970 (if not sooner). This is Lemire in all his brilliant Lemire-ness, following his deepest ideas and tragic lonesome sensibilities. He’s created a tone that allows him to write a few pages of funny before lapsing into full-blown meditations on the nature of generational comic book stories. Shared superhero universes function best with a strong guiding voice or perspective (see Marvel in the ‘60s). Black Hammer is doing just that, and I for one feel lucky to experience it in real time.
Saga #50 (cover by Fiona Staples) finds the family in happier times.
1. Saga
Writer: Brian K. Vaughan
Artist: Fiona Staples
Letterer: Fonografiks
Publisher: Image Comics
Issues in 2018: 6
I’ve written about this often, but it’s easy to take long-running creator-owned comics for granted, forgetting what a rare thing it is to have talented writers and artists string together wholly original stories with only their keyboards and pencils. For many of us, our lifetimes have been marked with a mainstream comic selection dictated by corporations and distributors, plus whatever experimental work was on the fringes. In recent years, this has changed, and, leading that change, has been Brian K. Vaughan and Fiona Staples’ familial sci-fi epic, Saga.
This year, however, was one in which we were all but forced to stop taking Saga for granted. The first reason for this was Saga’s latest story arc (which ran in issues #49 - #54, and wrapped up in July) was obscenely consequential. I don’t want to give anything away, but $@#% goes down and it’s bad, so bad I wrote about why it hurts, partially to make sense of why I was so devastated. It’s a testament to this story that it can hit such intense emotional beats so far into its run.
Second, the book announced it would be going on a year-long (minimum) hiatus. Obviously, you can’t take something for granted once it leaves you. Kind of bummer (we’re compensating with a year-long Saga re-read), made all the more bumming (is that a word? ah well) by how good the comic got before the announcement. There really is, quite simply, nothing else like Saga, not in terms of the scope of the story, the artful thematic explorations undertaken within, or the industry-best action and design graphics generated a whopping six times a year (or more!) by the massive talent that is Fiona Staples.
This site is dedicated to discussing comic books in thoughtful and analytical ways as the medium enjoys a new golden age. To us, Saga remains the leader of an ongoing renaissance, and a big part of the reason we think it’s so important to volunteer time to cover the artform. It is an absolute honor to give the book and its devastating 2018 story (kind of fitting, in sooooo many ways) our Top Comic of 2018 honor.
Check out Best Comics of 2018, #16 - #25 and Best Comics of 2018, #6 - #15! And check back later in the week for more year-end lists, including our Best Single Issues and our Top Creators of 2018!
Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.
Top Comics of September 2018
By Zack Quaintance — This month is one that has the potential to be infamous, in that it ended with an event—Heroes in Crisis—that saw one of the Big 2 (DC) embrace a sort of grit and darkness that feels outdated. Word is now coming out that in addition to being a viscerally uncomfortable book, Heroes in Crisis also undersold expectations. Really, it almost feels to me as if the larger line itself is working like an antibody to reject Heroes in Crisis, purging its anachronistic themes from a shared superhero universe that is now bent on being brighter.
But, hey, this isn’t a piece about Heroes in Crisis! This is, instead, a piece about the comics from last month that I really liked, and within it you will find talk of some of my usual favorites—Wasted Space and Immortal Hulk—as well as some discussion of comics I haven’t written as much about, including The Seeds and Supergirl. And because I can’t help myself: yes! Okay, fine. I found Heroes in Crisis disappointing, but I still enjoyed September holistically as another great month for comics.
Let’s take a look at why!
Shout Outs
Snotgirl #11. I’m just so happy this book is back. The art is phenomenal, even if the story has seemed to search for direction. Still, there’s nothing else quite like this comic, one of the most singular today. It’s like reading a guilty pleasure Instagram feed.
While I thought the opening arc of Jason Aaron’s Avengers run was maybe two issues longer than it needed to be, Avengers #7 & #8 are two of my favorite standalone Avengers stories in years, Avengers #7 for its biblical qualities and #8 because of its deep focus on team dynamics.
Relay #3. I’ve been enthralled by this book from its start. It’s, to be reductive, mind-expanding sci-fi brought to life with illustrations that oscillate from detailed and realistic to totally psychedelic. It’s a complex read, one I’m doing my damndest to analyze via reviews.
I’m all in on the SuperBendis run these days, and I liked Superman #3 and Action Comics #1003 quite a bit. Supergirl #22, however, was a fantastic surprise. This is a smaller title, but it’s bringing a welcome additional depth to Bendis’ larger aspirations.
September’s Wonder Woman #54 & #55 teamed one of my favorite rising comics writers, Steve Orlando, with one of my favorite underrated art teams, Raul Allen and Patricia Martin. The results were (unsurprisingly) to my liking.
DC Comics is in a bit of holding pattern in a couple places, waiting for new superstar runs to start (Aquaman, The Green Lantern, Wonder Woman, etc.), but Justice League #8 & Justice League Dark #3 continue to establish its team-up book as a true flagship.
In Black Hammer: Age of Doom #5, some of this series’ mysteries become clear, and the team of Jeff Lemire and Dean Ormstron have more than built a satisfying resolution.
I continue to be impressed with the world-building going on in Skyward, a charming comic that’s clearly lasting for a long haul. Check out our review of Skyward #6.
Not to give too much away, but the last panel in The Wild Storm #17 is well worth your time, provided you’ve read The Authority...
Tom King and Mitch Gerads work in Mister Miracle #11 is once again excellent, featuring action, a future classic nine-panel grid of Darkseid double-dipping a carrot, and a promise that mysteries will be unraveled next month (maybe).
Top Comics of September 2018
5. Wasted Space #5 by Michael Moreci, Hayden Sherman, Jason Wordie, & Jim Campbell
This month saw the conclusion of Wasted Space’s first arc, and what a doozy. What I find most compelling about Wasted Space is that it lives a double life, both as a slapstick space opera and as a deep ideological exploration of culture and society. I’ve said this before but it’s worth reiterating: there’s a David Foster Wallace-esque quality to the ideas and concerns in this book, one that is especially evident in some of the lengthiest bits of dialogue as well as in the intelligence woven throughout.
Aesthetically, it’s a bright and vibrant comic with a quick plot and jokes that feel surprising yet never inappropriate. I’m a vocal proponent of Vault Comics, and, as such, I’m often asked where new readers should start. After this issue (and arc), my answer is now Wasted Space.
4. Doomsday Clock #7 by Geoff Johns & Gary Frank
This issue caught me off guard. In Doomsday Clock #7, there is more plot and action than in the first half of this maxi-series combined. Indeed, the first six issues here were almost introspective in nature, carefully building the individual concerns of different Watchmen characters as they moved from their world into the proper DCU.
In Doomsday Clock #7, our principals start to slam together, with a good deal of direct involvement from usual DC heroes as well. The result is a comic that almost serves as a mission statement for this entire event. It’s an entertaining read that has me more excited for the final five issues. There is a little bit of a bittersweet tinge to it, in that one can only imagine what it would have been like had this book kept to a monthly schedule, as well as what it would have meant for the larger DCU, too. Sigh.
3. Immortal Hulk #5 & #6 by Al Ewing & Lee Garbett
September brought us two new issues of my favorite Marvel comic, Immortal Hulk, and so I’m including them here together. It seems to me like these two books together took a deeper turn into the supernatural, opening the door for the titular undead Hulk to explore some darker, perhaps even supernatural spaces.
The glowing red visage of Banner’s demon father is the MVP of this new scary turn. Designed to horrific perfection by usual series artist Joe Bennett, the face is memorable and terrifying, a fitting personification of this book’s ambition to be a different, unnerving sort of Hulk story. I also like that this book is seemingly separate from the usual cash-grabby fray of crossing over Marvel titles. Indeed, it’s starting to feel like the publisher is actively separating prestige titles from gimmicky cash grabs, and discerning readers are better for it.
2. Batman #54 by Tom King, Matt Wagner, Tomeu Morey, & Clayton Cowles
Batman #54 was a comic that made me emotional. As I wrote in my Batman #54 review, I found this issue to be an all-time great Batman story, a father-son take on one of the most famous duos not only in comics but in the entire world. It’s also largely indicative of what I’ve liked most about King’s run so far: its humanity.
I think I’m far from alone in saying King’s Batman has been one of peaks and valleys, and I attribute this to a two steps forward, one step back journey he has Bruce on. King is trying to slowly humanize and grow a character whose owners have everything to gain by keeping him static. His solution seems to be a series of small pushes in lieu of any major leaps. This issue is one of the most blissful small pushes forward so far.
1. Seeds #2 by Ann Nocenti & David Aja (read our review of Seeds #1)
I didn’t know what to make of Seeds’ first issue. It was a blatantly creative comic, one that intrigued me and seemed to have something much deeper to say beneath the compelling visuals that made up its veneer. The first issue, though, withheld much about what the book intended to be about, and, as such, I withheld a bit of enthusiasm. After reading the second issue this has changed. I’m all in on The Seeds, to the point I now suspect that when the four-issue series concludes, it is likely to be praised as one of the best comics of the decade, if not longer.
This is a story that feels both impossible and real, that feels of our moment and also forward-looking. It’s thematic interests are disparate at first glance, ranging from sex between humans and aliens, the environmental death of the earth, and the bludgeoning impact of human reliance on technology. Look closer, though, and you’ll find a creative team that is almost unnervingly prescient. This is a comic book story that in my opinion is clearly laying out what should (or soon will be) easily the most pressing concerns of our time, and doing it with some of the finest art in the industry. Simply put, if you’re not reading this comic, you are making a mistake.
Check out our Best New #1 Comics of September 2018 plus more of our monthly lists here.
Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as BatmansBookcase.
Top Big 2 Books That Read Like Indie Comics
By Cory Webber — As someone who jumped into comics fairly recently—I started reading in 2014—I quickly found myself overwhelmed by decades of superhero continuity and backstories. Where should I begin? How do I keep track of things in both multiverses? What do I cut out of my life to make time for my newfound passion? The answers were start by identifying favorite characters, give up on ever entirely keeping track of both multiverses, and sacrifice sleep.
As I learned more about superhero comics, I also discovered Image, which opened a new world to me. Don’t get me wrong, I love the Big 2, but it was incredible to find Image and its trove of rich, self-contained stories unburdened by prior continuity or connections to other books. These creator-owned comics are stories I can open and enjoy on their own individual merits. I like and respect both types of books. I have, however, found there is a special intersection between the two, and that’s what I’d like to talk about today.
So, why not turn this into a list? Well, here you go: my Top Big Two Books That Read Like Indie Comics, in no particular order. My criteria is simple: the book either has to read as a self-contained story, or transcend superheroics to incorporate elements of other genres, or at least have hints of them (Editor’s Note: No Big 2 imprints are included..this list is strictly superheroes).
Big 2 Books That Read Like Indie Comics
Pizza Dog from Matt Fraction and David Aja's Hawkeye.
Hawkeye by Matt Fraction and David Aja
Hawkeye was the first superhero book I read that really subverted what I thought I knew about comics. Matt Fraction took the most obvious thing about Clint Barton (his lack of superpowers), and used it to not only humanize him, but to showcase what he was truly capable of (being a real pain in the butt, mostly). Also, the relationship between Barton and Kate Bishop (the better Hawkeye) developed into something special. Their back-and-forth banter, and Clint’s inability to be a decent partner, is something still being mined in comics today. Namely, Kelly Thompson’s recently concluded Hawkeye run. If you haven’t, do yourself a favor and read it!
The issue that really stands out in this run is issue #11, the pizza dog issue, which won an Eisner in 2014 for Best Single Issue (or One-Shot). It’s told from the perspective of Lucky, aka the titular pizza dog. What transpires and how it is presented is utterly brilliant, and this remains the single best issue of anything I’ve ever read.
Tom King's Vision applies an overly-logical robotic lens to family life in the suburbs.
Vision by Tom King and Gabriel Hernandez Walta
Vision was my first introduction to Tom King, and I was blown away. In this 12-issue maxi series, we see what happens when Viz creates his own family and attempts to assimilate into suburb living. What comes to pass is equal parts intriguing, disturbing, and heartbreaking. Watching this android family attempting to fit in and be normal was quite different from anything I’d read before, and I don’t think I’m alone there.
King’s writing was poetic and poignant. There was something fascinating about the interactions between Viz and Virginia, and how they precisely, and concisely, analyzed everything. Whether it was discussing the ironic usage of the word nice, or the semantics of ideas like certainty, belief, and luck, it was interesting to see them process information and incorporate it into their attempt at emulating a human pathos.
Immortal Hulk by Al Ewing and Joe Bennett
Al Ewing and Joe Bennett's Immortal Hulk is one of the best horror-mystery books today.
This book is the most recent on this list. At the time of writing this, only 4 issues have been released. The only thing you need to know here is that the Hulk was dead, and now he is not. Al Ewing’s choice to tell this story as straight up horror was an inspired one. Joe Bennett’s art, combined with Ewing’s script, makes for an eerie, unnerving setting as Bruce Banner goes from town to town trying to lay low while also unraveling mysteries involving gamma-ray exposed individuals like himself.
Most impressively, the last two issues have barely focused on Banner. Rather, they have centered on reporter Jackie McGee, and her investigations into these other gamma-ray afflicted individuals plus a seemingly mysterious green door that connects them all. If you don’t like the Hulk, you may still want to give this a shot. It’s unlike anything on shelves today from either of the Big Two.
The Omega Men by Tom King and Barnaby Bagenda
Surprise, surprise—I’ve included another of Tom King’s works. In Omega Men, King takes lesser known characters from the DC pantheon and weaves a space opera laced with murder, adventure, and betrayal...lots and lots of betrayal. I recently read this for the first time, and I’ll be honest, the early issues were rough. I was unaware of the previous Omega Men from the ‘80’s, nor was I familiar with Kyle Rayner.
Both of these 9 panel grids have a poetic symmetry to them.
King quickly changed all that. In fact, by #4 I was comfortable and fully-immersed. Also, Rayner may have just become my favorite lantern. One of the things that stands out, which King does well and often, is the 9-panel grid. One sequence that stood out, in particular, was a two-page affair where each grid mirrored the grid opposite it. For example, the same dialogue that was used in panel 1, was used in panel 9; same for panel 2 and panel 8, and so forth, with the middle panel having no dialogue. It was a minor thing, but it really highlighted King’s poetic tendencies.
Being one of King’s early books and one of his first Big 2 comics, it maybe comes as no surprise that there were so many parallels between this story and the conflicts he witnessed as a CIA agent in the Middle East. For example, going to war to acquire resources, branding those who oppose you as terrorists, the role of religion in all of it, etc…However, despite all the political and religious content, this book does not come across as heavy-handed. Rather, it is ultimately a densely woven tale about love, loss, and relationships.
As for the art, Barnaby Bagenda absolutely blew me away. His action had great movement, and he was able to superbly convey the emotion of this story via great facial expressions and body poses. Moreover, Romulo Fajardo Jr.’s colors really complement Bagenda’s art. In the backmatter of the trade, the team detailed its fascinating art process. They didn’t do any inking, rather they flattened right after pencils, then did the color work and added special effects. It all adds up to a gorgeous, dynamically-drawn story that grabs you right away and doesn’t let go until the final page.
Hot take: If this were published by an indie publisher, and an ongoing series, it would be spoken of in the same breath as Saga. As it stands, the book is still critically-lauded, and it helped land King firmly on everyone’s radars, and rightfully so.
Dan Slott and Mike Allred's Silver Surfer is a touching and epic cosmic love story.
Silver Surfer by Dan Slott and Mike Allred
So, ummm, apparently a superhero comic can make a grown man cry. Dan Slott and Mike Allred’s Silver Surfer did just that. This series ran for 29 issues, and it tells the story of Norrin Radd and Dawn Greenwood as they traverse both the expansive cosmos above, and the ever-expanding love from deep within. You know, the kind us humans can only hope to aspire to.
Slott’s use of Dawn as a lens, through which we get to see the Surfer and the multiverse, also served as a lens through which we got to see the good in everything. And I mean EVERYTHING. This optimism was refreshing and welcoming. Furthermore, Allred’s art, and his wife Laura’s colors, really drove the positivity home with unique character designs and out-of-this-world, Kirby-esque scenery that spanned space and time.
As with Hawkeye, my favorite issue was issue #11 from Vol. 1. Again, another Eisner-award winning single issue. The layout of #11 is something that just has to be seen. Never has a layout design been so integral to a story as it has been here - it’s simply brilliant!
Cory Webber is a work-from-home entrepreneur who also reads and reviews comics for fun. Find him on Twitter at @CeeEssWebber. He lives in Lehi, Utah with his wife and three sons.