So incredibly late on these, but I will catch up soon. Never fear! I read 27 comics in May, and these were the best.
5. Walking Dead #72
It’s been awhile since Walking Dead made this list, mostly because the book hasn’t been shipping much lately, but this issue is so damn good. Last issue had the terrifying revelation that Rick could indeed be devolving into the Governor, but this issue carries on like business is usual. Andrea continues to cope with the loss of Dale, and Michonne and Abraham have their own touching moments that proves they’re not the heartless bastards we once thought they were. And, by the end, we’re smacked in the face with the same horror we felt reacting to last issue’s revelation. It’s a brilliant bit of craft from Kirkman.
4. Astonishing X-Men: Xenogenesis #1
Due to its horrible delays, Ellis’ brilliant Astonishing X-Men run is going unnoticed. But it continues, and remains top-notch mainstream work. This time, Kaare Andrews is onboard. He doesn’t provide interior work often, and it seems that his unconventional art has startled many, but if you actually give it a chance, you’ll find that Andrews’ style is a breath of glorious fresh air.
3. American Vampire #3
You can find my collected thoughts here. Snyder, King, and Albuquerque continue to produce stunningly good entertainment, with Snyder and Albuquerque beginning to carve their way into comic-book-stardom.
2. Hellboy En Mexico
With the release of this comic and the Machete trailer, I can’t think of a better Cinco de Mayo in recent memory. If you’re one who feels the movies are enough Hellboy for you, please, give this issue a try. It’s completely self-contained, and just about as good a singular Hellboy story as you can get. Expect to see drinking, sorrow, vampire wrestling, heroism, and more drinking. And all of it is masterfully rendered by the great Richard Corben, still puttin’ all the whippersnappers to shame.
1. Batman: Return of Bruce Wayne #2
I rambled a bit on this one, but the bottom line is: Frazer Irving digitally paints the hell out of this, producing arguably his finest work to date, and Grant finds the perfect marriage between intricate, Morrisonian ideas and a strong, emotional core.