By Jeb D., Eric Cordo, Graig Kent, Max Patterson, Russell Paulette and Devon Sanders

We at Thor’s Comic Column (and our spawn site, Rack Raids which is updated almost daily with new reviews) are fortunate to have the best group of comic book reviewers on the internet, with a team bristling at nine members. Each of us have our own busy and demanding lives, families and careers, but we still find time to read our comics and tell you as honestly and insightfully as possible about them.

During this recent holiday season, many of us found the time to tear ourselves away from everything that was going on and sift through the many comics and trades and online thingies we read, not to mention going over our plentiful reviews to bring you lists as individual as our writers. You may have read of these, others you may have overlooked, but in our eyes our selections are the cream of the 2007 crop.

Enjoy, and let us know what you think on the message boards.

Jeb D.

I wonder if 2007 will be remembered in comics as the year the wheels started to come off the Big Two superhero universes. At a time when the comic marketplace seems to demand more and bigger crossover events, both DC and Marvel demonstrated themselves woefully inadequate to the task of keeping their product lines co-ordinated enough that these epic stories could be properly told. Late books caused storylines to run wildly out of synch, or to be abandoned altogether, only to limp lamely home months later in stand-alone books already out of continuity with their main title. Of course, sales are pretty good right now for the Big Two, better than they’ve been in a while… but in comics, sales always lag behind the market (given the fact that retailers have to order far in advance for product that will often have an effective shelf life of less than a month), so that story’s far from told. Wars and Crises and Invasions will remain the order of the day for the time being, but if they cannibalize the monthly books, the Big Two might just be eating their own seed corn.

Anyway, just from a reader’s point of view, it was a pretty decent year. Any number of series gave me enough pleasure that they might have been included on this list including, in no particular order:

  • Captain America
  • Potters Field
  • Thunderbolts
  • Crossing Midnight
  • Fear Agent
  • X-Factor
  • American Virgin
  • Newuniversal
  • Umbrella Academy
  • The Immortal Iron Fist
  • Astonishing X-Men
  • Buffy Season Eight
  • Nova
  • All Star Superman
  • Atomic Robo
  • Black Summer
  • Powers, Runaways

There were even new Age of Bronze, Nexus, and Kabuki issues, all the more welcome for their rarity. We also got a bumper crop of new Alan Moore: I found Black Dossier more clever than compelling, and let’s just say that Lost Girls isn’t my thing, and leave it at that. Still, it’s nice to have one of the industry’s titans continuing to challenge himself in his work, rather than exploit past successes (like another All-Star title one couldname…).

But I’m supposed to settle on just five for the year, so here they are:

15. I Shall Destroy All The Civilized Planets!, reprinted Golden Age comic stories written and drawn by Fletcher Hanks, compiled by Paul Karasik, with an additional story by Karasik. (Fantagraphics)

The first Fletcher Hanks story I ever read was the second one in this collection. It features a blond jungle goddess named Fantomah, who differed significantly from the other blond jungle goddesses that flourished in comics’ Golden Age: she didn’t wear a skimpy animal-skin outfit, had no figure to speak of… and assumed the frightening visage of a greenish-hued skull to pursue evildoers. And she didn’t just pursue them–she would visit retribution suitable to an offended deity: miscreants would be chased by menacing pink hands, eaten by an octopus, or savaged by gorillas. This collection focuses onstories featuring Fantomah and the space-borne superbeing Stardust, who had the same dim view of crime, and was fond of leaving hoods and mobsters in some state of torment without end, where they would perpetually rue their folly, unto the end of time. Hanks’ bad guys were usually grotesque mobsters whose aim was invariably apocalyptic, frequently involving planes bombing cities to rubble. These stories of weird justice were illustrated in a style of studied primitivism that seems to mix Basil Wolverton with Grandma Moses. And while the best way to discover Hanks is the way I did–in Golden Age comic reprints, sticking out like a weird sore thumb in between the adventures of tough-guy lugs like Shark Brodie and Hooks Devlin–the concentrated dosage in this collection is still a fascinating picture of a truly one-of-a-kind artist whose view of existence as a perpetual penal sentence was evidently borne out by his miserable life and bleak death on a cold park bench. As the story that concludes this volume makes clear, Hanks’ work is a prime case of trusting the art, not the artist: while Hanks may not have been an exemplary human being, he was driven by a force of imagination that few of his era could match.

24. Scott Pilgrim Gets It Together, written and drawn by Brian Lee O’Malley. (Oni Press)

I’m bored with slacker characterizations in the moviesor on TV, and since I walked away from an expansion level of Duke Nukem years ago, I’ve never played a video game, either. Which makes me a less than ideal candidate to appreciate Brian Lee O’Malley’s pop-culture-infused slice of Canadian life. And maybe that’s why Scott Pilgrim consistently makes my year-end best lists: Scott’s travails with his friends, his band Sex Bob-omb, and his boss-level showdowns with Ramona’s evil ex-boyfriends ought to leave me with little more than a shrug, but there’s something completely genuine that comes through in these characters that transcends specific life experience or expectations. O’Malley’s stories eschew the pithy and the wise, and he just lets these characters be silly, vain, self-absorbed, generous, and real. If you don’t know the world of Scott Pilgrim yet, just pick up all four volumes and set an evening aside. You’ll thank me.

43. The Punisher. Written by Garth Ennis, art mostly by Lan Medina and Goran Parlov. (Marvel MAX)

As Garth Ennis gets ready to bid farewell to the only work-for-hire character that he’s ever made his own, I thought it appropriate to take a moment to reflect on what has been, for the past few years, the most consistently excellent series that either Marvel or DC have published, and this year’s storylines (including, among other things, the gleefully badass Barracuda, and a surprising addition to Frank’s family) were among its best. While it features many of Ennis’ blood-soaked trademarks, it avoids the smugness that mars some of his other current series like The Boys, or Wormwood. He took the walking cliché of The Punisher and turned him into the flesh-and-blood Frank Castle, whose war on evil is the brutal exemplar of the quote attributed variously to Winston Churchill or George Orwell: "We sleep soundly in our beds because rough men stand ready in the night to visit violence on those who would do us harm." It should also be mentioned that, as readies himself to bid farewell to one of his finest characters, Ennis (along with artist John McCrea) also revisited his past with a highly entertaining new Tommy Monaghan story, JLA/Hitman, easily my favorite DC book of the year.

52. The Goon: Chinatown and The Mystery of Mr. Wicker. Written and drawn by Eric Powell. (Dark Horse)

It takes some major cojones for writer-artist Eric Powell to risk the nascent audience he’s building by ditching the Mad Magazine-style grossout humor that’s been The Goon’s principal selling point, in favor of this straight-ahead two-fisted noir story of a tough guy with a broken heart of gold, and the violenttragedy that follows in his wake, shaping the character we’ve come to love. Of course, when you strip away the zombified silliness, there’s always been an undercurrent of strong storytelling propelling Powell’s amazingly moody artwork, and here he gets down to business with a dark tale of crime, punishment, failed redemption, doomed love, and flying fists. Just like Jake Gittes, The Goon has always had a dark "Chinatown" secret in his past, and nine times out of ten, actually telling a story like that (rather than leaving it to our imaginations) would leave the character diminished and the reader disappointed. Here, though, Powell never sets a foot wrong, and the ghosts of Alex Toth, Jacques Tournier, Lon Chaney, Will Elder, Raoul Walsh, Jim Thompson, Boris Karloff, Wally Wood, and Robert Mitchum haunt these pages. Anyone who can follow up Satan’s Sodomy Baby with something like this is… well, even in the off-the-wall world of comics, he’s damned unique

11. Strangers In Paradise, written and illustrated by Terry Moore. (Abstract Studio)

Over the latter part of its run, I felt that there were maybe two years’ worth of issues of Strangers in Paradise where the series seemed to be spinning its wheels, revisiting a bit too often the familiar conflicts between and among Francine, Katchoo, and their various friends, associates, and gangsters. That still leaves more than a decade’s worth of some of the best relationship writing American comics have ever seen, illuminated by black and white linework that’s as alive with characterization as The Sopranos or The West Wing. That may seem an odd analogy, but writer-artist Terry Moore was able to give his characters the kind of life that we’ve come to expect from great ensemble acting troupes. This year, issue #90 brought it to a funny, touching, silly, and fitting conclusion (and how many writers would have had the restraint to stop that close to #100 and not push the story to a more rounded "landmark" conclusion?). To capture personality with a few strokes of a pencil is a gift given to few, and none today exceed Moore in that respect. Topping this series will be a challenge (that might be why his next few projects appear to be work-for-hire scripting jobs), and I don’t blame him for taking a break before trying to do so. Just not too long a break, I hope.

Eric Cordo

The year of our Lord, two thousand and seven, was quite the year in the comic book industry. And, of course, by that I mean it was a bit stagnant and lame. But, beggars can’t be choosers, and while I have purchased cake, I have been advised to not eat it as well. This is to be a list of sorts, but instead of listing the "biggest" things of the year I’m just going to tell you guys what was important to me, because I’m kind of a big deal. So in no particular order, besides the logical one I’m going to create, here are the five things that stood out to me in 2007: Favorite New Book -

This is probably going to be on a few people’s lists, but Scalped was the comic of the year to me in terms of storytelling and character development. Not only did it deliver one of the biggest badasses to hit the scene in quite some time in Dashiell Bad Horse, it also introduced us to its creator and writer, Jason Aaron. It’s one of the few books that is a must read for me on its release date, and with it now in the midst of a new story arc I don’t see any signs of slowing down from this title. And if anything, it’s deterred my interest in visiting the Seminole Hard Rock Hotel and Casino.

Runner Up: Booster Gold 

1Favorite Collection – Absolute Sandman Vol. 1 and 2

Until these were released, it had been years since I dove into the world of Sandman, and with the help of these oversized novelty hard covers I was able to rekindle my love of all things Neil Gaiman. These are the Lord of the Rings Extended Editions of graphic novels, and in my opinion the Absolute format is the best way to read any of your favorite books. With the extras and color touch-ups, it was as if I was reading it all over again for the first time, and being a bit older than the first time I read them I only appreciated them more. If I could give one recommendation, it would be to not attempt the reading of an Absolute format book while going to the bathroom. It’s unpleasant to say the least.

Runner Up: Captain America Omnibus 

Most Interesting Announcement – Mark Bagley & DC

I’m still not 100% sure on how I feel about this. Mark Bagley achieved something that few comic book artists have been able to in recent memory due to the constant rotating bullpen of creators: he’s typecast. By the time he and Brian Michael Bendis began on Ultimate Spider-Man he was already an accomplished and good artist, but it was over the next few years where he discovered his signature style that we are all accustomed to now. It’s been rumored that there’s a possibility he could be taking on the task of penciling DC’s new weekly series, but I feel that it would be a better idea to start him off on a regular monthly book so the first work he does in this era of DC isn’t rushed right off the bat. But, then I wonder where would he fit? The only book that comes to mind given his style is Teen Titans, or possibly Robin. The more I think about it, the more I feel this could just be a non-issue, and I will continue to hold out hope that he will be the artist on Ultimate Bat-Mite. A boy can dream.

Runner Up: JMS wanted his name off of OMD 

1Favorite Single Issue – Civil War: The Confession (DC)

I hated Civil War. With the exception of Peter’s unmasking (which may have already been undone), not a single thing happened between issues one through seven. With the absolutely obnoxious number of tie-ins, to the constant delays, the "event" series was nothing more than a prelude to the real story: the death of Steve Rogers. While I didn’t care much for the mini-series, I do care for the characters, and with a broken Tony Stark finally getting the chance to explain his view on what had transpired to a lifeless Steve Rogers was as emotional as a mainstream superhero comic can get. It was in that instant that we all went from hating Tony, to sympathizing with him, and I know I did. It was easy too, seeing as though his life and my life are so similar. It’s like looking into a mirror.

Runner Up: New Avengers #35

And now for a more dubious moment in comics that has stuck in my mind like… something that sticks in minds.

1Worst Issue of the Year – All-Star Batman and Robin #7

A great reviewer once gave a terrible movie the score of "F*ck You out of Ten", and I whole-heartedly understand where he was coming from. If we were doing a wrap-up of our entire lives, this may take the victory in the race for the worst comic to ever be transcribed, penciled, inked, published, distributed, then read. I really can’t think of anything else to say about the comic book that caused world hunger, and every asteroid in our universe to hurl on a collision course with Frank Miller’s head. If you like this book, please let me know, because I like to update my list of people to pray for every so often. May god have mercy on our souls*.

*But not on Frank Miller’s

Runner Up: All-Star Batman and Robin #8

Graig Kent
 
A Year Of Frustration

Richard Donner and Adam Kubert’s incomplete storyline on Action Comics (a retread of Allan Heinberg’s stint on Wonder Woman), Dwayne McDuffie’s unfortunate falter as new writer on Justice League of America (there’s no way I should enjoy Brad Meltzer’s work more), the rolling plague of mediocrity that is Marvel Zombies, a single issue of Stephen Colbert’s Tek Jansen (wha’ happened?), Boom Studio’s lack of scheduled shipping, the surprise final issue of The Flash: Fastest Man Alive (or the worst idea DC had, that is until…), the atrocity that is Countdown… *shudder* The oppressed world of "Indie" They’ve got the goods (and aren’t shy about sharing)

New talent showcase A proper top 5 for 2007

Max Patterson - Best New Series of 2007

1#5 Xombie Reanimated (Devil’s Due)

First off, major props to Xombie Reanimated creator James Farr for putting his work up on www.pullboxonline.com for digital download. The big companies bitch and moan about internet piracy, throwing cease and desists without capitalizing on an untapped market. Get a clue guys; the music industry’s already figured it out, its time comics did the same. Nothing’s going to replace the good old fashion paper and ink, but for someone like yours truly, with limited space, digital distribution is a great way to get a comic fix without having to wait for the TPB. Of course all this wouldn’t matter if Xombie Reanimated sucked, so it’s a good thing it doesn’t. It’s a zombie (sorry, xombie) tale with both heart and humor. as well as zombie gorillas, zombie dinosaurs, zombies with guns, zombies with…(actually, if I didn’t get you after zombie gorillas, this probably isn’t the comic for you). All told, a worthy successor to the excellent Flash series. Hold off on that ABBA single, and use your .99 cents to give Xombie a try.

2#4 Midnighter

Although this series definitely peaked with its 7th issue, its initial run was good enough to warrant it a spot on this list (and had it remained true to form, likely would have nabbed it a higher spot). I’ve always liked Midnighter as a character, and it’s nice to see a gay character who’s defining characteristic isn’t his tendency to make out with dudes (rather the focus is on his tendency to beat people into a fine paste, then make out with dudes). This is a guy so mean, he kidnaps a villains childhood self to use as a hostage, kills the guy, then sends the kid back so he can do it again. Kind of makes Batman seem cuddly. Of course this kind of character is old hat for initial writer Garth Ennis, and he handles it with his trademark dark humor and propensity for violence. Still, the real highlight of the series thus far is undoubtedly Brian K. Vaughan’s issue #7. I won’t spoil it, but suffice to say it tells a story in a way only comics can. Sadly, there are undoubtedly those who will be put off, and will likely skip this series without giving it a chance simply because of the character’s orientation.  All I can say is grow up, get over it and embrace the fact that as far as super-hero couples go, Midnighter and Apollo are a perfect fit.  

3#3 Scalped (Vertigo)

So you may have noticed a trend in this list towards comics which, while not totally action orientated, tend to require little in the way of mental heavy lifting (except Doktor Sleepless, which makes my head hurt). If I wanted complicated and depressing, I’d read real books, or at least watch more Indie films. Yet Scalped is a comic that demands to be read, no matter how grim it may be. This isn’t the over the top depravity of a comic like The Punisher, but rather the bleak and all too familiar grimness of reality. Jason Aaron’s characters are people, flawed and petty, and their world is often one of poverty and misery. This is a story which demands a lot from the reader, an emotional investment greater than mere attention or fandom. That’s not to say Scalped is hard to understand; rather, it forces the reader to look at their own lives and re-think the world around them. Powerful stuff, and something I can hardly do justice with my own words.  

4#2 Atomic Robo (Red 5)

I like to consider myself a fairly cultured comic fan. I’ve read the Ghost World’s and the Watchmen, and even have a copy of Maus sitting on my shelf (granted, it was for a class, but I still own the thing dammit). Comics are an incredibly broad medium, one that can be used to convey topics in a manner both serious and dramatic. Sometimes though (and by sometimes, I mean always) you just want to see a wise-cracking robot punching Nazis in the face, and in that regard, Atomic Robo delivers in spades. A beautiful marriage of Indiana Jones-esque pulp and B-movie science fiction, this is a series that puts the fun back in gratuitous violence. Yet as great as the action is (and let me reiterate, it’s great), the series is not without its serious moments. When the ageless Robo receives a letter from the granddaughter of an old friend telling of his death, it’s as poignant a moment as I can remember. Amazingly, this seriousness doesn’t dampen the fun, but merely serves as a counter-point, lending weight and nuance to what could have been one-note character. Simple and bold, this is a comic stripped to its bare essentials and polished to perfection. I can’t say this comic is better than the sum of its parts, because none of its parts are lacking; this is comic making at its finest, and my only real complaint is that it isn’t an ongoing series. Clevinger, Wegener and Pattison have a bona-fide masterpiece here and I can only hope it achieves the success it deserves.  

5#1 Terror Inc. (Marvel)

Wow, #1. It’s rare that I have to justify my taste to anyone, much less to a public audience, and I’m afraid I don’t really know what to say. Patrick Zircher’s art on this book is fantastic, and matched perfectly by June Chung’s colors. David Lapham’s writing is great, with dialogue and story that are both fresh and exciting. Yet the same could be said of any comic on this list. All these books are well drawn and well written, and I can’t honestly say that Terror Inc. is head and shoulders above any of them. I suppose that ultimately, my decision comes down to the fact that of all the comics, Terror Inc. is the coolest. Of course "cool" is a very subjective term. While there do exist certain universal standards for cool (James Bond, The Fonz, Dean Martin), it is for the most part a nebulous term, and one which I hesitate to use often, yet here I feel no other word applies. Perhaps it’s the fact that Terror is as much villain as hero, his tendencies kept in check only by the influence of the woman in his life. Perhaps it’s the sardonic nature of the character, reminiscent of some of my favourite anti-heroes like Deadpool or Midnighter. How about the fact that his power is one of the most gruesome (and intereseting) gimmicks to come down the pipe in some time? Having gone into this series with zero expectations (thanks in part to the horrible original series), I was amazed at just how good it really was. Every part of this book comes together to form a whole that works. It’s noir, it’s horror, it’s action; this is the kind of book the MAX label was created for and everybody (16 and older) should own this book. It’s as simple as that. 

Honourable Mentions

  • Nova (Marvel) The current Nova series is proof that a great creative team can turn any hero (even a C-Lister like Nova) into a legitimate hero. Bonus points for the talking Russian dog!
  • Doktor Sleepless (Avatar) About as weird as comics come, the latest from Warren Ellis is a trippy tale of science, mysticism and, uh, science. I’m still not sure if I like it, and I definitely don’t understand all of it, but I can say with certainty it’s probably awesome.
  • Foolkiller (Marvel) While Foolkiller may come across as a Punisher rip-off, the execution is impeccable. I suppose all great artists borrow, so well call this an excellent homage.
  • The Highwaymen (Wildstorm) If action movies these days were as good as this, I’d probably be reviewing them instead. Shane Black would be proud.
  • Simon Dark (DC) My first ever review pretty much sums up my feelings for this title, and it’s only gotten better since then. Look past the goofy name and give this title a shot.

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Russell Paulette


I wasn’t the only one agog over Cliff Chiang’s art on Brian Azzarello’s brilliant Doctor Thirteen: Architecture and Morality, it’s too bad that Green Arrow/Black Canary really isn’t high or creative enough a profile for him to really stand out. I wasn’t sure what to expect with a book hyped as coming "from the writer of  the Academy Award-Winning Film Ray, but James L. White has proven himself stellar at using the medium to its maximum effect (and not just as storyboards) with Boom Studios’ more-gripping-with-each-issue Hunter’s Moon.  Timothy Green II has been kicking around comics for years, but his stint on the Annihilation: Conquest tie-in, Star-Lord, has certainly propelled him to (hopefully) loftier status, and deservedly so. Red 5’s Atomic Robo and Dark Horse’s Umbrella Academy are both new character highlights for 2007, while DC’s endeavour at appealing to teenaged girls with their Minx line has yielded a couple highs, like the Re-Gifters and Good As Lily.

  • Dr. Thirteen: Architecture and Morality (DC) – the craziest, most entertaining meta-superhero comic ever.
  • The Nightly News (Image) – will you find yourself for cheering for the terrorists…? Potent stuff with groundbreaking visuals and design, changing how comics can be read.
  • Gutsville (Image) – I ‘m hesitant to include this (as it’s third of six issues has yet to see light of day( but based on the strength of those first two issues this is glorious insanity, a civilization built in the belly of a beast.
  • 2Guns (Boom) – Stephen Grant’s cop/mobster spin ala Infernal Affairs/The Departed… just damn enjoyable.
  • Super Spy (Top Shelf) – Matt Kindt presentss 42 interlaced short stories about spies from different countries during World War II.  Exciting, touching and mind-blowingly intricate.

Jonathan Hickman closed out the last four issues of the brilliant The Nightly News in ‘07 and squeaked in his enthralling  new series, Pax Romana on the last new comics day of the year. Artist Jamie McKelvie (with writer Keiron Gillen) dropped the closing issues to the now-legendary Phonogram this year and returned with the charming Suburban Glamour.  Frazier Irving (with writer David Hine) submitted an intense political superhero mini-series (screw Civil War) in Silent War while returning later in the year with Sy Spurrier on the mind-blowing Gutsville. Jeff Lemire dropped a duo of subdued but incredibly affecting graphic novels with the first two volumes of Tales From Essex County.

Diamond Comics seems almost hell-bent on making sure that the creators of "indie" books (or, essentially, anyone that isn’t a "premiere" publisher like DC, Marvel, Image or Dark Horse) are going to have a tough go at it, from order minimums needing to be met to the additional expense of bar-coding their books. There’s a part of my mind that says "only the strong should survive" but at the same time this isn’t even affording some the chance to get started, basically forcing them to enter into the medium only through existing companies rather than forging ahead on their own. It’s a spirit killer. While these measures may weed out a plethora of crappy books that need not see the light of day to begin with, it also may eliminate the fresh writers and artists this industry needs to survive and grow (so we’re going to see more novelists, TV writers and animators instead).

Sitting down to do the 2007 year end write-up, I find myself at a loss. For one of the first times in recent memory, I find myself staring down an empty, saloon-lined street while tumbleweeds spin off into the distance. Which is not to say I didn’t buy lots of comics this year — because, checking the emptiness of my checking account, I certainly did — but this was the first year in recent memory where personal facts and priorities began to take precedence.

I promise I’ll never let it happen again.

So, instead, after staring long and hard at the too-tall "to-read" pile, and staring with sad longing at the far-too-short "already-read" pile, I feel a little remiss at coming up with a Top 5, or 10, or any other number which indicates a hierarchy of some kind. Because, chances are, things which deserve to go on that list are in the far-too-tall pile, and anything else worth mentioning will be mentioned by those more eloquent than myself.

So, no, no Top 5 from me. Instead, I choose to write a list of five superlatives - to chronicle some moments which stick out in my head as defining 2007 and the world of comics as I anemically saw it. Here’s hoping this works.

Best Snatch of Victory from Defeat’s Jaws Award

Must go to the DC Comics writing team of Geoff Johns, Grant Morrison, Greg Rucka, and Mark Waid, for finishing 52 this year. The final third of that run, which began the year, had its ups and downs, but the payoff was a spectacular display of craftsmanship, storytelling, and seemingly effortless fun, and went a long way towards restoring my faith in the greater DC Metaverse.

Best Example of a Train Wreck Which Wasn’t as Bad as Everyone Says Award

Goes to the J. Michael Straczynski-scribed-then-disowned Spider-Man Fall event, "One More Day." Excusing delays which boiled away any momentum the story had, and forgetting the fact that in order to solve the "problem" of the Peter/MJ marriage they had to resort to telling a story that was both a purely Spider-Man story, and not-at-all a Spider-Man story, the net result was a story which hit on some emotional beats and placed the characters in an impossible choice, and wrung some truly heartfelt melodrama out of it.  Did it work?  Maybe-to-probably-not, but it’s not the steaming pile of excrement everyone’s making it out to be. That judgment’s reserved to the sticking-with-it-’til-the-bitter-end-out-of-spite Countdown series.

Just Read His Damn Books Already Award

Ed Brubaker. He killed Cap, put the Daredevil identity genie back in the bottle without Mephisto’s help, shot X-Men on a slingshot course to the Shi’ar empire and back, and — most importantly - showed us that a comic book about lowlifes and reprobates can be awesome while also not being called 100 Bullets.  Read his Captain America, Daredevil, Uncanny X-Men, and Criminal [and Immortal Iron Fist - ed.] and tell me this is not a writer at the top of his game who is employing some of the best pure craft in comics, and I’ll bite my thumb at thee, sir.

The Against My Better Judgment Award

While this might be a 2006 holdover, somehow Johnny Ryan and his Angry Youth Comix really won over my heart this year. Even in third grade, I never thought the crudely penciled marginalia which emphasized impossible genitalia and horrifying scatology was my cup of tea but somehow, magically, twenty years later, I get the joke. That Ryan has managed to craft - and I meant that, craft - such unblemished, unapologetic juvenalia and actually transport it to a level which I might be willing to concede is art, all while having it revolve around characters with names like Boobs Pooter, just makes me love comics all the more.

The My Shelves Can’t Take All This Weight Award

Goes to all publishers, particularly DC Comics and Top Shelf Productions, for the recent love-affair with high-end, top-dollar, high quality hard cover collections. Sure, you’re looking at one-hundred bones and up for some of these things, but a big-fat dictionary-sized collection of Frank Miller’s Daredevil material? Yes. Fat tomes with Kirby/Lee Fantastic Four that you can bludgeon a burglar with? Absolutely. The Absolute Sandman editions are simply gorgeous; that fat, slipcased Lost Girls in intimidating and wonderful; the Kirby Fourth World collections are stunning; and seeing the oversized Segar Popeye collections makes my cockles all warm and fuzzy. Um, if you will.  So, yeah, premium hardcovers are where it’s at — you keep publishing them, companies, and I’ll keep seeking low-interest credit cards to max-out.

So, there you have it folks. A highlight, a smattering, a snapshot of a year spent keeping up with comics.

Devon Sanders

1Blue Beetle (DC)

Put simply, I adore this comic. It’s a comic that does it all. It makes you laugh, cheer, admire, gasp and most importantly, want to come back for more.  Blue Beetle crackles with a vibrancy long missing in superhero comics. It continually surprises. It asks you of you this: imagine what type of hero would you be as a teen if an all-powerful ancient scarab grafted itself to your body? From its top-notch supporting cast, to its brilliant uses of teen-speak, writer John Rogers has created a world where his lead, Jaime Reyes can flourish and grow as a grounded teenager thrust into a very non-conventional role as protector of one of The DC Universe’s greatest legacies. 

2Justice Society of America (DC)

2007 saw the re-emergence of "the hero." Characters who stand upright and live so, too. Writer Geoff Johns takes control of  comics’ grandest heroes and asks them to inspire a younger generation of hero, like say…a Superman or a Batman.  Johns’ JSofA is based on a simple premise: what would happen if men raised up and treated one another with dignity? Would that world better a better place? It does and the results often inspire the awe inherent in believing a man can fly.  

1Immortal Iron Fist (Marvel)

Fists fly, bones break and the former Blaxploitation sensation, Luke Cage is the voice of reason. That is what I love about this comic.  Immortal Iron Fist takes what you know about a white guy raised in a mythical Asian city and has the ability to forge his Chi into a deadly weapon and asks you to look at his life with fresh eyes.

Doctor Thirteen: Architecture & Mortality (DC)

Do you remember DC Comics’ encyclopedic 80’s series, Who’s Who Writer Brian Azzarello does and twenty years later gives us Doctor Thirteen: Architecture & Mortality, one of comics’ best surprises. Nine of DC Comics’ forgotten heroes are targeted for extinction and are in for the fight of their lives against…writers who can’t or won’t justify their continued existences. Artist Cliff Chang beautifully illustrates.

1Green Lantern: Sinestro Corps War (DC)

War is declared and we all win. Long-time Green Lantern foe, Sinestro grants en masse upon the universe’s vilest, yellow rings powered by the ability to instill fear. Green Lantern bodies litter the universe, Green Lantern Kyle Rayner is turned into The Sinestro Corps greatest weapon, a rogue Superman allies himself with the thing that destroyed everything he knew to get what he wants. The universe is up for grabs and all that stands between annihilation and hope is simple willpower. This is what superhero comics are all about.