[This post was originally published at Buzzscope.com on 1/3/2006, and retrieved from The Wayback Machine on 7/14/21.]
Let’s face it; comic books are a potentially expensive passion. Whether you’re a fan of the four-color capes and tights set, gritty black-and-white noir dramas, semi-autobiographical narratives, or something in between – there’s a ton of comic books out there competing for your hard-earned dollars, and relative to other forms of entertainment, they’re not cheap. Walking into any decently stocked comic book shop can be an intimidating thing, especially for the casual reader, when the average comic goes for $3 a pop (and rising), $15-20 for a trade paperback.
What’s good? What’s worth the money? What will leave you satisfied when it’s done, and not wishing you’d bought a copy of Entertainment Weekly, or rented Batman Begins instead?
Fear not, loyal reader, because we here at Buzzscope have read way more comic books this year than, say, Andrew Arnold – plus, we don’t self-consciously spell comics with an annoyingly pretentious “x” – slogging through some of the worst comics to hit the shelves, in order to bring you the Best Comics of 2005.
Is it a definitive list? Of course not!
It was a democratic process, and none of our diverse staff of reviewers who contributed to the list – Matt Bergin, Ernie Estrella and Dave Howlett – would be browbeaten into simply using my personal Top 10, which means compromises were made and some highly (and, to be honest, not so highly) regarded comics, like Bumperboy Loses His Marbles, The Dark Horse Book of the Dead, House of M, King, The King, Lex Luthor: Man Of Steel, Madrox: Multiple Choice, Marvel Knights Spider-Man, NYC Mech: Beta Love, Optic Nerve, Powers, Project: Superior, Stray Bullets, Top Ten: The Forty-Niners, Absolute Watchmen, WE3, Why Are You Doing This?, and Wolverine: Enemy of the State didn’t make the cut. Many of these comics have made other “Best of” lists, deservedly so, and as our Honorable Mentions, all are certainly worthy of some of your hard-earned dollars.
But before you check them out, read through our picks for the best of what the “Big Two”, independent and mainstream publishers released in 2005. From 100 Bullets to 100 Girls, second seasons of Sleeper and the Ultimates, and amazing Solo efforts by Kyle Baker and Joshua W. Cotter – these are the comics you absolutely must buy, borrow or steal first. We even snuck in a bit of manga for those of you interested in really expanding your comics radar.
Seven categories, thirty-two comics – each representing the best of a year that was, overall, perhaps one of the best years ever. As always, let us know what you think about our picks, and tell us what some of your favorites were that we missed.
BEST ONGOING SERIES
100 BULLETS, by Brian Azzarello and Eduardo Risso (Vertigo/DC): Free of their mainstream commitments to books like the monthly Superman and Batman titles, Brian Azzarello and Eduardo Risso returned to their ongoing revenge drama 100 Bullets with…well, a vengeance, some might say. Nearly seventy issues into its proposed 100-issue run, the web of conspiracy and payback that draws Agent Graves, Dizzy, Cole, Wylie, and dozens of others together has been drawn excruciatingly tight, resulting in shock after shock. Long-time characters are regularly dispatched; long-buried secrets are routinely unearthed; and the depths of the psychotic Minuteman Lono’s depravity continue to be explored. Also, after all this time, Dave Johnson’s painted covers are still the hottest sight on the comic stands. – Dave Howlett
AMELIA RULES! by Jimmy Gownley (Renaissance Press): Amelia Rules! is a sweet, but not saccharine, spin on what its like being a kid trying to fit in and make sense of an increasingly complicated world, that proudly wears its superheroes-as-power-fantasy underpinnings on its sleeve. Amelia Louise McBride is a plucky nine-year old transplanted New Yorker with a flair for the dramatic, and she narrates her exciting young life story with aplomb, while unself-conciously tugging at heartstrings. Jimmy Gownley’s innovative artwork brings it all to vivid life – evoking a combination of Bill Watterson’s Calvin & Hobbes and Charles Schultz’s Peanuts, both for his simple but distinctive faces, and energetic layouts – with the manic, whipsmart pacing of such Nickelodeon all-ages favorites as Jimmy Neutron and Fairly Oddparents. His kids look and act like kids, their superhero identities are simultaneously outrageous and apropos, and his coloring pallette is varied, vibrant and easy on the eyes. If there’s a comic book deserving a much wider audience, you’d be hard-pressed to find it. Amelia does, in fact, rule! – Guy LeCharles Gonzalez
CAPTAIN AMERICA, by Ed Brubaker, Steve Epting and Michael Lark (Marvel): Ed Brubaker’s first year on Captain America is filled with mystery, World War II flashbacks, the death of his biggest nemesis, and Bucky! “Out of Time” and “Winter Soldier” have been two huge story arcs that have brought more interest to the character than at any time over the last two decades. Steve Epting renders a vividly real world (his Red Skull will creep you out), and Michael Lark’s flashback art complemented Brubaker’s script in a way that pushed this series to the top of my pile every week it came out. While Marvel’s attention is focused on the work of Brian Michael Bendis, it is Brubaker who should be paraded as the writer who will take them to new heights. – Ernie Estrella
CONAN, by Kurt Busiek, Cary Nord, Greg Ruth and Dave Stewart (Dark Horse): One of the hardest things to do in comics is taking on a well-known character loaded with history, and making him seem fresh and exciting without ‘updating’ or ‘ultimizing’ him. Kudos to Kurt Busiek for pulling it off so masterfully, and consistently, for the past two years. Cary Nord was born to draw Conan, and Dave Stewart’s coloring complements him perfectly, making this one of the best looking comics around, too. The creative use of Greg Ruth illustrating the periodic fill-in issue, telling Busiek’s done-in-one stories of Conan’s early youth, is just one of the many things setting this particular license apart from its inferior cousin, the ill-conceived Red Sonja. – Guy LeCharles Gonzalez
DAREDEVIL, by Brian Michael Bendis and Alex Maleev (Marvel): If one could imagine flawlessness in comic production, Brian Michael Bendis and Alex Maleev have given us a taste of perfection. “Decalogue” kicked off the year with a memorable nod to Polish filmmaker, Krzysztof Kieslowski, and their final story arc has had the entire Hell’s Kitchen sink thrown in with Kingpin, Elektra, Black Widow, and Bullseye. A 55-issue run climaxes with the “Murdock Papers,” and it’s fitting that Ben Urich plays such an important role after becoming as much of a fixture of this series as Matt Murdock himself. Thank you Brian and Alex for making Daredevil great again. – Ernie Estrella
ELK’S RUN, by Joshua Hale Fialkov, Noel Tuazon and Scott A. Keating (Hoarse & Buggy/Speakeasy): Imagine a compelling combination of Shirley Jackson’s “The Lottery” and Stephen King’s “The Body,” with a healthy dose of M. Night Shyamalan’s The Village, and you’ll have a good idea of the overall tone of Elk’s Run, the critically acclaimed mini-series from writer/creator Joshua Hale Fialkov that you’re most likely not currently reading. Then, imagine the resultant story being told from multiple viewpoints, Rashomon-style, and you’ll realize that you’re missing out on THE sleeper hit of the year. Noel Tuazon’s art is perfectly suited for the eerie but grounded tone of Fialkov’s story, reminiscent of Craig Thompson’s impressionistic work in the way he excels at making the ordinary interesting and distinctive, while Scott A. Keating’s coloring complements him with a simple, but subtly varied palette. A suspenseful blend of familiar genre elements whose sum is far greater than its individual parts, Fialkov has crafted the kind of story that stretches the definition of “comic book” and is deserving of the superlative tagline: Instant Classic. – Guy LeCharles Gonzalez
EX MACHINA, by Brian K. Vaughan and Tony Harris (DC/Wildstorm): Who says politics has to be boring? This genre-straddling series from Brian K. Vaughan and Tony Harris continues to surprise and entertain as it gradually reveals the troublesome career of New York mayor Mitchell Hundred, a former super-hero (in a world without them) who decided that he could serve his public better in office rather than in costume. The result is a gripping political drama that incorporates elements of super-hero comics, suspense, science fiction, and skin-crawling horror into the chronicling of Hundred’s controversial term in office. Vaughan’s scripts are witty, unpredictable, and relevant, and Harris’ constantly evolving art perfectly balances the human with the fantastic. – Dave Howlett
SOLO, by various (DC): One of DC’s most experimental new series has paid off with some of the best single-issue releases from the company in years. In each bimonthly issue of Solo, a top-flight creator is given 48 pages to do with as they please (aided by some of the best writers and colorists in the business). Highlights so far have included Darwyn Cooke’s fistful of styles and storytelling techniques in #5, and Mike Allred’s kooky Silver Age tributes throughout #7 (although Paul Pope’s re-telling of Jack Kirby’s O.M.A.C. origin in #3 must be seen to be believed). The unique format of Solo also allows the creators to share autobiographical stories as well, offering a glimpse into the lives of artists known primarily for their fiction. A celebration of comic book auteurs at the top of their game, every issue of Solo is a revelation. – Dave Howlett
ULTIMATES 2, by Mark Millar, Bryan Hitch and Paul Neary (Marvel/Ultimate Marvel): One of the biggest highlights of The Ultimates is how it has so heavily influenced the way creators tackle regular ‘616’ Captain America. The original Steve Rogers has slowly taken on the subtle, rougher edges of the Ultimate version of the frozen war hero. Even his costume has taken on elements of the Ultimate Cap’s gear — from the utility belt, to the rugged boots, to the visible seams running down the mask. Millar and Hitch absolutely nailed what makes Cap cool, and what he needed to be cooler, both in personality and design. This flagship of the Ultimate Universe is just so, so good. – Matt Bergin
Y: THE LAST MAN, by Brian K. Vaughan, Pia Guerra, Goran Sudzuka and José Marzan Jr. (DC/Vertigo): There’s more than meets the brown-eye when it comes to Ampersand, Yorick’s little monkey. This year saw the focus shy away from Yorick and onto his supporting cast, but that doesn’t mean there was any shortage of cliffhangers and memorable moments in Y: The Last Man. “Girl on Girl” kicked off the year, and the relationship between Agent 355, Dr. Mann and Yorick heightened during the search for his girlfriend, Beth. The interplay between the main characters is the main reason to come back month after month. End your search for good science-fiction comics right here with the last man on earth. – Ernie Estrella
BEST MINI-SERIES
BATTLE HYMN, by B. Clay Moore, Jeremy Haun and Ande Parks (Image): Find everything by B. Clay Moore (The Expatriate, Hawaiian Dick) because he can write some damn good comics. Battle Hymn is a twisted cross between the Ultimates and the Invaders, a dysfunctional superhero team set during World War II, but in this series the only thing expected is the unexpected. Moore’s style places readers right into the action, forcing them to keep up while bracing for the visual money-shots from Jeremy Haun. – Ernie Estrella
CONCRETE: THE HUMAN DILEMMA, By Paul Chadwick (Dark Horse): Writer/artist Paul Chadwick’s signature creation—a former political speechwriter trapped in an alien body made of stone—returned in a new five-issue mini-series dealing with the problem of overpopulation. Hired as the spokesperson for a zero-population-growth advocacy group, Ronald Lithgow—aka Concrete—is forced to re-examine his own viewpoints when he learns that his mysterious extraterrestrial form still has a few surprises left in it. “The Human Dilemma” has more going for it than mere sociopolitical commentary, though—the relationship between Ron and Dr. Maureen Vonnegut takes a surprising turn in this series, and Ron’s assistant, Larry Munro, must finally face the consequences of his womanizing. Chadwick’s intelligent script considers the population dilemma from many angles, beautifully supported by his elegant black-and-white art. – Dave Howlett
FADE FROM GRACE, by Gabriel Benson and Jeff Amano (Beckett/Image): Fade From Grace became one of my favorite mini-series of the year with its very first issue. If there’s ever been a comic book that was the perfect gift for a comic book geek to give his non-comic book-reading girlfriend, Fade From Grace would be it, and my own wife – who won’t even glance at any manga – has confirmed that. Elegantly written, and beautifully illustrated, it’s a four-color “chick flick” that any self-respecting fan of quality comic books would love. Heroes are defined by their actions, not simply because they put on the spandex and beat up the bad guys, and Gabriel Benson takes that simple truth and weaves an engaging love story disguised in traditional superhero trappings, doing so from the perspective of the hero’s wife, Grace. Jeff Amano is on the ball here with his signature art style, miles removed from the typical steroid-enhanced physiques of most superhero comics, and he knows how to tell a story visually, mixing up his layouts and making effective use of several full-page splashes, not to show off, but to heighten the emotional impact of key moments. He’s at his best, though, in the smaller moments, able to communicate emotions via body language, whether that of a panicked crowd, an appreciative citizen, or an awestruck police officer. Fade From Grace belongs on the front lines of the push into the mainstream, a superhero story anyone can appreciate. – Guy LeCharles Gonzalez
THE O.M.A.C. PROJECT (including “SACRIFICE”), by Greg Rucka, Jesus Saiz, Rags Morales and Michael Bair (DC): Because I can’t just vote for the entire massive “Prelude to Infinite Crisis” that ran throughout the summer of ’05, I have to at least give kudos to the best of it – these two connected minis that kicked off with the ventilation of Ted Kord’s skull and ended with the “Snap!” heard round the world. I know Geoff Johns is the ultimate mastermind behind the massive Crisis: 2 project, but Greg Rucka did a great job holding up his end of the prelude. – Matt Bergin
THE SURROGATES, By Robert Venditti and Brett Weldele (Top Shelf): First-time comic scripter Robert Venditti hits it out of the park with his debut mini-series, a sci-fi whodunit that reads like Blade Runner for the internet generation. Illustrated in muted, gritty tones by Brett Weldele (Oni’s Shot Callerz), The Surrogates shows us a future where most of the population lives vicariously through physically superior android doubles…that is, until a mysterious vigilante begins pulling the plug on the so-called “surries”. Venditti’s intelligent scripts abandon sci-fi clichés like opening crawls and mind-numbing exposition, instead allowing readers to piece the details of this futuristic world together through dialogue, action, and back-up features like fictional interviews and science articles about “surrogate” technology. With this book, indie mainstay Top Shelf proves that they can do mainstream as well, if not better, than the competition. – Dave Howlett
BEST ORIGINAL GRAPHIC NOVELS/TRADE PAPERBACKS
BLACK HOLE, by Charles Burns (Pantheon Books): Originally serialized in twelve issues over the course of a decade – first by now-defunct Kitchen Sink Press and eventually finished by Fantagraphics Books – Charles Burns’ “Black Hole” is now finally available in a hardcover collected edition. This creepy youth drama follows a group of Seattle teens in the 1970s that falls victim to a mysterious venereal disease—one that transforms its victims into deformed freaks. The plague sufferers retreat to form their own society in the forest, but are haunted by a killer in their midst. Mixing pubescent angst with Cronenberg-esque body horror, Black Hole is one of the most unsettling comics in recent memory—a searing allegory of teenage alienation that benefits immensely from the collected format. Burns’ pulpy black-and-white artwork is equally effective at conveying tender moments as well as horrifying physical transformations and violent murders. A filmed version is in the works, from Alexandre Aja (director of High Tension”), but it’s hard to imagine a screen version of Black Hole capturing the pathos and dread of Burns’ comics. – Dave Howlett
THE PLOT: THE SECRET STORY OF THE PROTOCOLS OF THE ELDERS OF ZION, by Will Eisner (W.W. Norton): 2005 saw the passing of a legend, Will Eisner, so it is my hope that we remember him and his final work, The Plot, as we head into 2006. It was his hope that a graphic novel would help do what academic literature could not – to prove that The Protocols of the elders of Zion, a supposed Jewish blueprint to take over the world was indeed a hoax. Despite being proved false, the Protocols has made its way around the globe and into the hands of many racist organizations, and sadly is still being printed today in Europe, Asia, and the Middle East. Eisner shows, through an historical who’s who, its beginnings and its role in the spread of anti-Semitism. – Ernie Estrella
THE QUITTER, by Harvey Pekar and Dean Haspiel (DC/Vertigo): This is a crushing story about Harvey Pekar’s humble beginnings as a youth growing up in East Cleveland. It recounts the racism he experienced, the generation gap he had from immigrant parents, and how he gave up at the first signs of adversity. Pekar has never been shy about his life and this graphic novel puts it all out on the table, and shows the struggles and anguish one man could go through. It is as truthful as it is revealing, and allows the reader to face his/her own failures before discovering success. – Ernie Estrella
RUNNERS: BAD GOODS, by Sean Wang (Serve Man Press): Sean Wang’s titular “Runners” are a diverse band of charismatic space smugglers who move questionable cargo for profit, no questions asked. Led by Roka Nostaco, the vaguely elephantine proprietor of the freighter Khoruysa Brimia, they are, collectively, the distillation of the best of George Lucas’ original Star Wars characters, as Wang throws in everything from Han Solo’s hotshot bravado to Luke Skywalker’s naive idealism, mixing and matching personality traits for a more appealing cast than Lucas could ever have dreamed up. Wang handles both action and characterization extremely well, with smart dialogue and a steady pace, working the serial format the way it’s meant to be with each issue telling an entertaining story that never feels decompressed, while offering the requisite cliffhanger that keeps things moving forward. Collected as a trade, it reads even better. Someone needs to sign this guy up and let him devote 70 hours/week to telling his story as a comic book because Dark Horse’s Star Wars comics shouldn’t be the best-selling sci-fi on the shelves. Slap an Image logo – or better yet, Graphix’ – on this baby and you’ve got a smash hit! – Guy LeCharles Gonzalez
THE WORLD’S GREATEST SUPER-HEROES HARDCOVER SLIPCASE, by Paul Dini and Alex Ross (DC): More so than any of the various Absolute books released by DC this year, this collection of stories by Paul Dini and Alex Ross deserved, maybe even needed, the oversized hardcover treatment. The original giant-sized single-issues that make it up were clumsy additions to any collector’s longboxes… but this super-sized slipcase is something any self-respecting fanboy would love to add to their shelves. It’s my favorite just on the principle that it features the best DC characters, and my favorite artist unleashed to render them all in full force. At almost 400 pages, you get all of the DC Icon giant-sized single-issues, plus a few extras (promotional art, sketches, art done for DC Direct product, etc). You simply can’t go wrong with fully painted adventures starring Superman, Wonder Woman, Batman, and the rest of the Justice League of America. The only way this collection can be topped is if the current Ross-painted mini-series, Justice, gets the same deluxe treatment in 2006. – Matt Bergin
BEST NEW SERIES
DESOLATION JONES, by Warren Ellis and J.H. Williams III (DC/Wildstorm): Everything I like about this series reminds me of Brian Michael Bendis and Michael Gaydos’ stellar work on Alias. Warren Ellis and J.H. Williams’ creepy, not-quite-a-detective procedural has a wonderfully filthy charm, with its cast of physically and mentally scarred ex-black ops types, a quirky collective of former spooks who mingle in the Los Angeles underground. Occasionally, Ellis and Williams employ the classic 9-panel grid style that gets a lot of attention in Ellis’ other buzz book, Fell. I think it’s a shame that Fell is getting so much positive attention, even from Ellis himself, while Desolation Jones is barely a blip on most radar. The one “strange-but-true” issue of Fell that I read (#2) was actually rather dull, a generic detective tale with a gross-out ending, whereas Desolation Jones is about an ex-spook tracking down missing Hitler porn! Isn’t the better choice obvious?!? – Matt Bergin
DOC FRANKENSTEIN, by Larry & Andy Wachowski and Steve Skroce (Burlyman Entertainment): The sibling writer/director duo behind the Matrix trilogy teamed up with their storyboard artist, Steve Skroce, to launch Doc Frankenstein under their own Burlyman Entertainment imprint. Mixing Mary Shelley’s creation with “Doc Savage”-style high adventure, the Wachowskis’ newest genre-blender recasts the tortured homunculus as a high-tech monster hunter, a hero to millions whose worst enemy isn’t the giant creatures he regularly fights, but a Vatican who sees his existence as an affront to God . Unfortunately, this Vatican has a high-tech army to back up their divine will. Although plagued by shipping deadlines (only three issues were released in 2005), Doc Frankenstein is always a treat when it does arrive, thanks to the larger-than-life imagination of the Wachowskis, and Skroce’s slick, cinematic visuals. – Dave Howlett
DMZ, by Brian Wood and Richard Burchielli (DC/Vertigo): Only two issues old, Brian Wood’s latest yarn outshines his fine independent efforts on DEMO and Local. Manhattan island is a De-Militarized Zone locked in a civil war between the “free states” and the United States. It’s a wild, chaotic notion that works through the eyes of a journalism intern who may get the chance to report the hottest story in the country. While Young Avengers is sure to get multiple deserving nods, I just can’t ignore this new Vertigo series. – Ernie Estrella
SKYSCRAPERS OF THE MIDWEST, by Joshua W. Cotter (AdHouse Books): Skyscrapers of the Midwest is one of the most unique, but totally relatable, comic books being published today; an engaging blend of poetic and artistic genius that manages to never come off as pretentious or condescending. Joshua W. Cotter beautifully communicates the raw emotion and vivid imagination of childhood, both in his words and his woodcut-style art. Where the first issue is an anthology of loosely related stories, a varied collection of poignant short and really short stories primarily featuring young anthropomorphic cats experiencing some of the worst moments of childhood, the second issue is a more ambitious, multi-threaded, Robert Altman-esque tale with a strong spiritual undercurrent. Subtitled “A Beacon in an Otherwise Dark World,” Cotter deftly weaves together three separate narratives for a cynical, emotionally resonant tour de force of poetic impressionism. What they all have in common is his remarkable ability to communicate emotion and atmosphere via pictures, with and without words, and its overall effect is simultaneously heart wrenching and thought-provoking. Both issues taken together represent comics taken to its peak, and without a doubt, some of the best work of 2005. – Guy LeCharles Gonzalez
BEST B-LIST SERIES
RUNAWAYS VOL. 2, by Brian K. Vaughan, Adrian Alphona, Takeshi Miyazawa and Craig Yeung (Marvel): Originally launched as part of Marvel’s ill-fated (and unfortunately named) “Tsunami” line of titles, Runaways struggled through eighteen issues of excellent reviews and sagging sales before its inevitable cancellation. However, thanks largely to its success as a series of affordable digest-sized trades, the House of Ideas relaunched Brian K. Vaughan’s tale of teenaged rebellion earlier this year. Like a television series that returns from summer hiatus with a vastly-improved second season, Runaways Volume Two hit the ground running, catching up with the children of the Los Angeles-based supervillains known as the Pride, as they seek out the mysterious teen who is destined to destroy them all. Vaughan keeps the plot twists, teen melodrama, and witty dialogue coming, and rookie artist Adrian Alphona shows immeasurable improvement with his stylized work on Volume Two. – Dave Howlett
YOUNG AVENGERS, by Allan Heinberg, Jim Cheung, Andrea DiVito and John Dell (Marvel): I’d give this book my vote for best new series if not for the fact that I dropped it from my pull list at issue #9. But I will still give credit where it is due. In a year that saw the apparent return of Bucky Barnes from the dead, and Rick Jones from obscurity, Marvel may have finally figured out a fresh and entertaining way to get the concept of kid sidekicks over with its readers. This series will be around for a while, with or without me buying it each month. – Matt Bergin
BEST INDEPENDENT SERIES
100 GIRLS, by Adam Gallardo and Todd DeMong (Arcana Studio): Arcana Studio’s critically acclaimed series about Sylvia Mark, a teenage prodigy who’s just a little bit different from her peers – among other things, she has 99 sisters, all of whom can kick your ass – is one of the best comic books being published right now, and yet Jeph Loeb’s lame Supergirl revamp is the one selling over 100,000 copies. The hell? Writer Adam Gallardo has established an intriguing setup that creatively combines familiar sci-fi and government conspiracy tropes with Marvel’s patented mutant template, stitching it all together with actual character development and believable dialogue. The overall tone is not one of a black-and-white, good vs. evil world, but a multi-faceted place where many of the “bad guys” are just regular people doing their jobs without any bad intentions. Artist Todd Demong’s graffiti-like artwork gives 100 Girls a unique visual appeal, slightly cartoony but firmly grounded in reality. His teenagers look like teenagers; his “bad guys” look like regular people doing their jobs; and his layouts are energetic and fluid, no doubt influenced by the fact that he does storyboards for a living. There are many gems buried in the back of Previews, and 100 Girls stands head and shoulders above the majority of them. – Guy LeCharles Gonzalez
SAMURAI EXECUTIONER VOL. 4-8, by Kazuo Koike and Goseki Kojima (Dark Horse): Readers cannot find a better way to stretch their hard-earned dollar than Dark Horse’s pocket Manga books: $10 for 330 pages. Samurai Executioner is the prequel to Lone Wolf & Cub, following the saga of Kubikiri Asa, AKA Decapitator Asaemon. It’s crime-fighting, bloody bushido-style, and an unsung masterpiece in genre comics and epic storytelling. – Ernie Estrella
MOST UNDERRRATED
GOTHAM CENTRAL, by Greg Rucka, Ed Brubaker, Stefano Guadiano, Kano and Steve Lieber (DC): DC recently announced that the fortieth issue of the Eisner and Harvey award-winning Gotham Central would be its last. It’s a damn shame, since it’s often the best Batman-related title on the stands each month. Until now, the ongoing police drama survived perennially poor sales and the loss of original co-writer Ed Brubaker (along with original artist Michael Lark), getting a creative shot in the arm from new penciller Kano. A tighter link between Gotham Central and DCU continuity, in the form of issue #37’s Infinite Crisis tie-in, was a well-intentioned gesture that came too little and too late. Perhaps if DC had employed the successful Vertigo method of quickly releasing cheap trade paperbacks of this series, more people might have caught on. That argument is now sadly academic, but hopefully the rave reviews this series regularly received will ensure that the entire 40-issue run of Gotham Central is collected in trade paperback form some day. – Dave Howlett
NAT TURNER, by Kyle Baker (Kyle Baker Publishing): Nat Turner is the very definition of underrated comics. Biographies normally never do well in sales unless they’re telling the life of Bruce Wayne. Osama Tezuka’s Buddha has gone vastly unacknowledged, as has Kyle Baker’s interpretation of slave turned hero/martyr, Nat Turner’s, based on The Confessions of Nat Turner: The Leader of the Late Insurrection in Southampton, Virginia by Thomas R Gray. There is no American comic book being published today that has more horror, punishment, power, and sadness than this. It is Baker’s most serious work to date, and, perhaps, his most ambitious. – Ernie Estrella
NEW THUNDERBOLTS, by Fabian Nicieza, Kurt Busiek, Tom Grummett, Bill Sienkiewicz, Cliff Richards, Gary Erskine and Karl Kesel (Marvel): While New Avengers has received all of the attention from fans and retailers alike, with debates raging over the merits of Brian Michael Bendis’ high-profile revamp of Marvel’s signature team and its consistently landing amongst Diamond’s Top 5 best-sellers, Fabian Nicieza has quietly been writing one of the two best team books in Marvel’s lineup, the other being Young Avengers. New Thunderbolts takes the reformed villain concept and makes it both fun and accessible while apparently being firmly rooted in current (and convoluted) Marvel continuity. From the Purple Man’s post-Disassembled manipulations that pit the Thunderbolts against New York City – into which Nicieza deftly incorporates a House of M crossover that actually works – to the government’s forcing them to take down the New Avengers, each issue has been an object lesson in new school compression, character development and plot momentum. There’s also a welcomed sense of humor that’s sorely missing from most of the corporate superhero fare these days. A genuine pleasure to read each month. – Guy LeCharles Gonzalez
SLEEPER: SEASON TWO, by Ed Brubaker and Sean Phillips (DC/Wildstorm): Ed Brubaker’s super-spy thriller, set in the Wildstorm Universe, left us in the best way possible… wanting more. Still, I wish the sales had been higher or the marketing support stronger so that I could look forward to more of the twisted noir adventures of Holden, Miss Misery, Lynch, and Tao. – Matt Bergin
