Top Ten Best Comics of 2010

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I’m actually getting this thing out on time? It’s a Kwanzaa miracle! This is my list for the top ten stories of 2010! Woo hoo! Now, before we get to all the fun of me voicing my opinions and you disagreeing with them, I have to get a few rules out of the way.

1. These are the top ten stories/arcs/whatever. Not comic in general, not trade, but best stories (What can I say, I’m trying to be somewhat unique).

2. These are stories that ended in 2010. They could begin at any time, but as long as they concluded in 2010, they’re eligible.

3. I tried to keep the list as diverse and reader-friendly as possible. I love certain writers, but it would be boring if it was three Morrison books, two Ennis books, etc. So, a writer/artist will only appear once on the list. I tried to spread the love evenly. You will see Marvel, DC, and even Indies on this list.

Wow, with all those rules, how did I come up with a great top ten? Well, I hope I did. Anyway, let’s begin the fun!

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The Unread Canon #7: The Punisher MAX: Mother Russia

Everyone has a set of entertainment by which they’ll swear, the ones they’ll eventually convince every friend to watch/listen to/read.  Sometimes, those suggestions are echoed time and again all over the place, and even the most jaded, world-weary or dirt-poor fan of the medium has to get curious about just what all that fuss is for.  That’s why I’ve started The Unread Canon, my attempt to experience a great deal more of comics than I already have and take a look at the books that, over the past few years (or, in some cases, decades) have achieved passionate, vocal critical and fan supporters that have nevertheless managed to slip by me and to try and look at how they grew, how they aged, why they work, or why they might not work so well anymore.

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The Unread Canon: The Punisher MAX: Kitchen Irish

Everyone has a set of entertainment by which they’ll swear, the ones they’ll eventually convince every friend to watch/listen to/read.  Sometimes, those suggestions are echoed time and again all over the place, and even the most jaded, world-weary or dirt-poor fan of the medium has to get curious about just what all that fuss is for.  That’s why I’ve started The Unread Canon, my attempt to experience a great deal more of comics than I already have and take a look at the books that, over the past few years (or, in some cases, decades) have achieved passionate, vocal critical and fan supporters that have nevertheless managed to slip by me and to try and look at how they grew, how they aged, why they work, or why they might not work so well anymore.

Continue reading

Top Ten Best Comics of 2009

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Better late than never, eh? This is my list for the top ten stories of 2009! Woo hoo! Now, before we get to all the fun of me voicing my opinions and you disagreeing with them, I have to get a few rules out of the way.

1. These are the top ten stories/arcs/whatever. Not comic in general, not trade, but best stories (What can I say, I’m trying to be somewhat unique).

2. These are stories that ended in 2009. They could begin at any time, but as long as they concluded in 2009, they’re eligible.

3. I tried to keep the list as diverse and reader-friendly as possible. I love certain writers, but it would be boring if it was three Morrison books, two Kirkman books, etc. So, a writer/artist will only appear once on the list. I tried to spread the love evenly. You will see Marvel, DC, and even indies on this list.

Wow, with all those rules, how did I come up with a great top ten? Well, I hope I did. Anyway, let’s begin the fun!

Continue reading

The Unread Canon: The Punisher MAX: In The Beginning

Everyone has a set of entertainment by which they’ll swear, the ones they’ll eventually convince every friend to watch/listen to/read.  Sometimes, those suggestions are echoed time and again all over the place, and even the most jaded, world-weary or dirt-poor fan of the medium has to get curious about just what all that fuss is for.  That’s why I’ve started The Unread Canon, my attempt to experience a great deal more of comics than I already have and take a look at the books that, over the past few years (or, in some cases, decades) have achieved passionate, vocal critical and fan supporters that have nevertheless managed to slip by me and to try and look at how they grew, how they aged, why they work, or why they might not work so well anymore.

Continue reading

Top 10 Writers Of The 00’s!

Welcome!  As the decade comes to a close, just about everyone under the sun begins to bust out their BEST OF THE DECADE lists.  Best books, best TV shows, best movies… well, we here at Read/RANT are nothing if not trend-followers-setters!  So, with that in mind, and with a few weeks left in 2009, we bring you the first of three BEST OFs.

This decade was undeniably good to comics.  Besides seeing old favorites like Grant Morrison, Neil Gaiman and Alan Moore return in some drastically new capacities, we also saw an awful lot of breakout talents.  Masterpieces were produced.  Internet outrage was shouted from the rafters over everything from implied rape in a Spider-Man comic to Final Crisis being strange.  Both Hal Jordan AND Barry Allen came back to life, while both Batman and Superman left the planet.  Marvel’s ULTIMATE line grew, flourished, weakened, literally drowned, and was reborn only months ago.  Captain America became a vital character.  It was, all things considered, a busy, crazy, wonderful decade of comics.

Who are our Top 10 writers this decade?  Well, read on…

10. Gail Simone

Gail Simone is certainly one of the decade’s breakout creators.  While her name doesn’t pull in the same numbers as a few other creators on (and even off) our list, her creative output still stands up to scrutiny.  Simone’s stories tend to be a little quieter, a little smaller in scale, than many of her counterparts on the list, focusing instead on a bizarre, character-driven combination of humor – sometimes incredibly dark humor – and action.  Books like Birds of PreyAgent X and Secret Six perfectly exemplify these trends, attracting loyal cult fan bases and critical praise.  At her best, Simone is capable of switching from laugh-out-loud to heartbreak without any warning, and without detracting from either.  Despite an uneven run on Wonder Woman – and even that is leagues above most folks’ handling of Diana – Simone has improved a great deal over the course of the decade.  While a number of her books ended earlier than they deserved (The All-New Atom and Welcome to Tranquility, to name two of the strongest examples), none of them have been anything less than a pleasure to read.  In an era dominated by high-concept, big-action blockbusters, Simone’s quiet humor and obvious love for the craft have been an oasis.

9. Greg Rucka

Greg Rucka, it’s safe to say, has a ‘type’, a fact that quickly became evident this decade.  Filling your books with savvy, ass-kicking female heroes is a surefire way to flop in today’s market, but Rucka has proved time and again an exception to this rule.  Whether it’s writing one of the strongest runs Wonder Woman has ever seen or trusting fans to understand Renee Montoya’s progression from a cop in Gotham Central to P.I. in the excellent 52 on through her new superheroic identity in two or three more books, Rucka spent the years finding increasingly fresh ways to help his heroines grow, change and find an audience.  Meanwhile, over the course of the decade, Rucka also wrote nearly 40 issues of the excellent Queen and Country with Oni Press, netting him an Eisner and a dedicated fan base.  His increased profile is evident from his latest assignment: he’s the first writer ever to simultaneously write DC’s flagship titles, Action Comics and Detective Comics.  Astonishingly prolific, timely and with a gift for espionage and crime comics, Rucka has been a defining voice for the decade’s heroines, as well as a damnably fun writer to read.

8. Matt Fraction

Only writing in the latter half of the decade, Fraction has already proved himself as a cut above the rest.  His breakout work, Immortal Iron Fist, ended up becoming one of those great, character redefining runs that only come around every five years, if that. Besides making Danny Rand cool, Fraction successfully reintroduced Frank Castle into the Marel U proper. Realizing that the Punisher’s not meant for such a zany world, Fraction avoided the grim & gritty. Instead, Frank fought absurdly stupid villains, with hilarious results. Immediately following those successes, Fraction took the Uncanny X-Men reigns, producing the finest work that title has seen in over a decade. And, last but not least, Fraction helmed Invincible Iron Man, following the wildly popular movie. He managed to easily match the quality fans expected after seeing Favreau’s film. So much so, in fact, that Jon Favreau actually consulted with Matt Fraction for Iron Man 2. As if all that wasn’t enough, Fraction’s independent comic, Casanova, is one of the finest works of the decade. Fraction has a fresh, powerful voice, unafraid of filling his comics with women and, most importantly, fun.

7. Garth Ennis

In the beginning of the decade, Garth concluded his magnum opus, Preacher. Most creators take a break after completing something so brilliant. Not Ennis. He just keeps on writing, immediately moving onto another great project. I’m talking about Garth’s Punisher run, of course. Frank Castle’s been around and loved since the 70’s, but nobody’s left a mark on him like Ennis. Hell, both Punisher movies and a video game were inspired by Ennis’ work. Writing around 100 issues with the character, Ennis took Frank to dark, humorous places, creating one of the most reliable comics of the decade. Never missing a beat, when Ennis stopped writing Punisher comics, he already had a start on his next popular series, The Boys. Ennis’ writing is well-known for its intense, human drama, so it’s only natural that Garth’s passion, War Stories, would be so damn good. Utilizing extensive research, Ennis always writes fabulous recreations of often-unknown battles. There are several worthwhile pojects I haven’t even mentioned. Garth Ennis is a true professional, writing great comics month after month.

6. Brian Michael Bendis

Easily one of the most influential writers of the decade, Bendis IS Marvel, and it all happened in the 00’s. Exploding at the start of the millennium,  Bendis wrote several great works that will be remembered: Alias, Daredevil, Powers, and Ultimate Spider-Man. Bendis’ Daredevil is the best work Murdock’s seen since Miller in the 80’s. Ultimate Spider-Man broke the Lee/Kirby longevity record, and it gave Spider-Man fans a reason to get out of bed in the morning. Sadly, Bendis’ work in the latter half of the decade is hated by many, and rightly so. But even if the poor characterizations and decompression are bringing you down, Bendis can still be admired for his wonderful ideas. There’s a reason why he’s been behind nearly every Marvel event this decade. His high concepts are exciting and ambitious. With Bendis’ return to Powers, Ultimate Spider-Man surviving Ultimatum, and that Daredevil project on the horizon, Bendis may have another great decade ahead of him.

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5. Robert Kirkman

Breaking onto the comics scene at the birth of the new millennium, Kirkman took the world by storm with Battle Pope! Ok, maybe not, but a couple people at Image liked it, and after a few years, Kirkman was given the chance to write two ongoing books for the company in 2003. Invincible, an amalgam of every superhero trope in the benday dot covered book, and Walking Dead, a George Romero-inspired zombie epic, eventually became two of the most successful Indie books ever. Then, like all fresh-faced comic writers, Kirkman spent some time at Marvel, penning books like Marvel Team-Up and the insanely popular Marvel Zombies. Also like many writers, Kirkman grew tired of Marvel. However, few leave in such intriguing fashion. Along with that startling video came the news that Kirkman was made a partner at the company he loved so much. That was only a year ago, and already Kirkman’s been instrumental in making Image cool again.  Teaming up with Todd McFarlane to create the monstrously successful Haunt, and reuniting all the Image founders on Image United, Kirkman’s like the young D’Artagnan, inspiring the old Musketeers.

4. Brian K. Vaughan

Brian K. Vaughan was a relative unknown at the start of the decade, having penned a few single issues here and there.  In the early 2000s, he was still working on a string of small arcs, jumping from book to book, though the profile of the books – Wonder Woman, JLA, X-Men, Batman, Detective Comics – had risen significantly.  Still, it wasn’t until 2002 that he really broke out.  With the release of Y: the Last Man, Vaughan proved himself.  60 issues later, one of the defining comics of the decade came to a conclusion with a few of the most heartbreaking moments we’ve seen.  If Y were all he achieved this decade, it would still be a rock solid body of work, but Vaughan also created Ex Machina over at Wildstorm, an impressive post-9/11 political superhero story, and the powerful Pride of Baghdad.  He also had a successful time over at Marvel Comics with the enjoyable (if ultimately unsuccessful) Dr. Strange: The Oath and Logan, and the vastly more successful The Hood.  Finally, he did something that has become nearly impossible in today’s stagnant modern environment: he created a successful new franchise for Marvel in Runaways.  Vaughan’s work has run the gamut from teenage rebellion to the end of life as we know it, and throughout, he’s kept it honest, emotional and fun.

3. Ed Brubaker

Ed Brubaker’s pre-2000 work largely consisted of a string of mostly unknown independent single issues.  In the late 90s, however, a few small Vertigo projects apparently got him enough attention to net him a few small issues on Batman, Robin and Detective Comics, and it wasn’t long before Brubaker took off from there.  An impressive array of noir-influenced crime superheroics followed, from his surprisingly successful and critically acclaimed relaunch of Catwoman to his collaboration with Greg Rucka on the stellar Gotham Central.  Meanwhile, over in Wildstorm, Brubaker began to push things in a different direction.  Ideas like Point Blank and the following Sleeper began to take a more active interest in meshing the superhero genre with the pulp criminal underbelly.  There, he could push things further and do what he needed to do to his brilliant cast of dark characters and he managed to shape the Wildstorm Universe for a good few years.  His move to Marvel seemed at the time to be a strange fit, but no one can deny that his relaunch of Captain America has been the single most successful take on the character in years, and he proved an inspired choice to follow Brian Michael Bendis on the surprise hit Daredevil.  Working with Matt Fraction, he turned The Immortal Iron Fist into a successful franchise that lasted beyond the creative team’s departure.  And, finally, he reunited with the gifted Sean Phillips to lend some much-needed gravitas to Marvel’s ICON imprint with two books: the pulp supervillain story Incognito and the superior critical darling Criminal.  Following a loosely-connected group of crooks in exciting, heartbreaking standalone arcs, it is almost hard to believe that Criminal has gone on as long as it has, but it remains an impressive accomplishment, and one of the decade’s most enjoyable books.

2. Warren Ellis

Warren Ellis came out of the last decade on an impressive high note: halfway through his stellar Transmetropolitan and having just completed his brief, game-changing run on The Authority.  Transmet was a near immediate success, being taught in Political Science courses, a rare mainstream success for comics, and it would have surprised no one if he’d channelled that success into more high profile, mainstream work at the Big 2.  Instead, he used his new pull to launch a string of relaunches and creator-owned projects that ranged from good to absolutely stellar.  Nextwave was a gloriously fun satire on the genre.  Global Frequency was a brilliant combination of sci-fi and horror, and if the premise didn’t entirely make sense, the execution more than made up for it.  His creation of The Authority in 1999 and run that lasted well into 2000 quite nearly defined how mainstream action comics would work.  Meanwhile, he repeatedly launched increasingly impressive array of books with Avatar Press, from the gritty supernatural Gravel books through the dark examination of super-heroics in Black Summer and No Hero and on into glorious sci-fi worldbuilding books like Doktor Sleepless and Anna Mercury.  Very few writers have displayed the sheer versatility that Warren Ellis has, and the decade saw him gather an impressive array of titles under his belt.  It’s my humble opinion that he could’ve made the list off of nothing but Transmetropolitan and Planetary, but Ellis is hardly the type to rest on his laurels.

1. Grant Morrison

I don’t think it’s a secret that we’re all big Morrison fans. We could produce a “Top Ten” list using Morrison’s work alone, and that list would have more quality than half the lists you’ll find on the Interwebs. Kicking off the decade with the most radical X-Men run ever produced, breaking away from the dusty, old Claremont mold and replacing it with a new shadow for the franchise. Many fans prefer the safe, crowd-pleasing Whedon run, which is amusing, since Whedon’s run couldn’t really exist without Morrison’s. Before leaving Marvel, Morrison wrote Marvel Boy, a wonderful Marvel love letter, while maintaining that Morrison freshness. Many people have forgotten it, especially since Noh-Varr has recently been bastardized, but Marvel Boy is a great example of what Marvel’s Ultimate Comics line should’ve been. Returning to his beloved DC, Morrison produced the experimental Seven Soldiers, a bold comic introducing several great, new characters. Moving into the latter half of the decade, Morrison began his run on Batman, pitting Bruce Wayne against madness, Satan, and his bastard son, Damian. Morrison also helmed his first major company event, Final Crisis. It’s a summation of nearly every Morrison work to date, and it was too earth-shattering for many to handle, but it’s one of the finest events ever produced. Though Morrison’s known for being odd and extreme, few could complain about All Star Superman, a work so tender and pure. Not only is it Superman’s finest adventure, it somehow enriches every other Superman comic. So much accomplished, and I haven’t even gotten to Morrison’s fabulous Vertigo work, which includes We3, The Filth, and Seaguy. Morrison remains one of the strongest, boldest voices in the medium, and his enormous amount of successful output makes him a perfect candidate for best writer of the decade.

… and there you have it!  Our TOP 10 list has what I’m sure many people will consider to be some significant omissions.  Like any Best Of, it’s limited by what we read, how we assessed it, the context in which is was read.  It was limited by the consistency with which they produce their best material, and how much we keep talking about it, months or even years later.

So, anyone who’s interested: what’s your Best Of list look like?  Who were comics’ strongest writers, this decade, and why?

Join us next week as we bring you our Top 10 Artists of the decade, and have yourselves a happy holiday season!

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Bruce Castle’s Mini-Reviews

I’m down, but not out!

Blackest Night #2

I was right there with Lebeau on the first issue, and you can find a bigger, better review of this issue from him. Johns definitely decreased the needless exposition this time around, but it’s not enough. This event is still moving at a dead snail’s pace. He spends too much time relishing in ghastly, deceased heroes terrorizing live ones. However, you can still find scenes to enjoy here, especially if you’re already fond of Johns’ particular brand of fun. Nightmarish sharks devouring Atlanteans here, a two-page, vertical splash of a resurrected Spectre there. The most impressive element of Blackest Night so far has been the images rendered by Ivan Reis. He’s officially a superstar.

Grade: C+

The Boys #33

Why is John McCrea drawing this? Shouldn’t he be drawing Herogasm? I’m not complaining. Carlos Ezquerra’s art has been sloppy the last few issues, and while McCrea is no Darick Robertson, his work here, and especially on Herogasm, is more than satisfying. Although, he’s still not the right artist for the job. This is a dark, violent arc of The Boys, and McCrea’s images are too cartoony. Ennis’ writing, however, is still top-notch. This issue was a blast. Watching Butcher systematically take down the Boys-filtered Avengers was very entertaining. The fact that this arc is so action-heavy makes it all the more upsetting that Robertson is absent.

Grade: B-

Hellboy: The Wild Hunt #5

It’s nice to have Hellboy back. The reason for the delay was Duncan Fegredo’s, and the wait paid off. I re-read the previous four installments before this one, and Fegredo’s work is simply stunning. The Wild Hunt has featured a fight in just about every issue. It makes each chapter stand on its own as an episodic action series. Fegredo draws the hell out of the battle scenes, while Mignola crafts a menacing threat for Hellboy in the background.

Grade: B+

Ultimate Comics: Avengers #1

Off the heels of the biggest event in the Ultimate Universe’s history, at the start of a brand new status quo, is this issue exposition-heavy? @*&# NO!!! In true, Millar style, he kicks this series off in summer blockbuster fashion, featuring an extended fight scene, and a last-page shock to punch you in the face! As I mentioned with The Boys, if a comic is action-heavy, you have to provide pretty pictures. Well, Carlos Pacheco, in his glorious return to Marvel interiors, is just the man to provide such pictures. He handles all of the action, including some tricky helicopter scenes, with professional ease. Looking for pure, pop bliss? You got it!

Grade: A-

The Walking Dead #64

Dale’s situation provides a wickedly funny beginning. Then we get a typical and sentimental revelation from Dale’s lover, Andrea. I say typical because we’ve seen a lot of it in The Walking Dead, but it is a natural reaction to grief, and we’ve sure seen plenty of that in this series. The rest of the issue is mostly spent planting seeds for future events that culminate in a tremendously badass moment for Rick. Another enjoyable issue, for sure, but this is mid-arc. So, it does suffer from the necessary plot-building.

Grade: B

Uncanny X-Men #514

We’re two issues away from this crossover’s conclusion, and I don’t think it’s the event anyone was really expecting. This isn’t mindless Dark Avenger-on-X-Men action. No, with Matt Fraction at the helm, we’re getting a highly developed and well thought-out story that presents realistic situations for these characters to deal with. The downside to all that is that we’ve had more set-up than payoff, but with an oversized, Mike Deodato-drawn conclusion in the near future, I’m sure we’ll get the carnage that we crave soon enough.

Grade: B

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