Best of 2017: Best Writers

Best Writers

In such a collaborative medium as comics, it can be difficult to say where a writer’s influence on the story ends, but there’s no question on where it begins: words on the page. Whether they thrill, elate, chill, or deflate, the best writers create characters, settings, and situations we want to return to, again and again. These are our top 10 writers of 2017.

10. Kieron Gillen

(Star Wars, Star Wars: Doctor Aphra, The Wicked + The Divine)

The fact that Kieron Gillen managed to keep the twists that closed out 2017’s issues of The Wicked + The Divine a secret alone should earn him a spot on this list; that Gillen managed to keep the series moving steadily towards its endgame without ever losing steam, consistently revealing more and more about its characters even as they languished in self-inflicted Hells, is just as impressive. Over in the Star Wars universe, Gillen continued to expand Doctor Aphra’s world before bringing it all crashing down around her, and he dug into the new lore created by Rogue One with relish. Clearly Gillen operated in many different modes this year, but they all continued to be as carefully planned, clever, and downright cool as we’ve come to expect Gillen’s work to be.

9. Simon Spurrier

(Angelic, Godshaper)

Simon Spurrier may just be the best world-builder working in comics today. Each new series he launches creates an entirely new experience, with worlds that feel unique and far more expansive than readers ever get a chance to fully see thanks to distinctive dialect, lore, and consistently excellent artistic partners. Despite his world-building skill, though, Spurrier remains focused on character and theme above all else, using the environments he’s built to deliver powerful stories and pointed messages about religion, wealth, and man’s search for answers. No two Spurrier stories ever feel the same, but they’re all united by their fervent desire to see justice done, and to call to task those who obstruct it. It’s a sentiment that’s hard not to get behind, no matter what form it takes.

8. Saladin Ahmed

(Black Bolt)

When the two main Inhumans series (Uncanny Inhumans and All-New Inhumans) dissolved, the Royal Family was left in a bit of a lurch. They were set on their own free-wheeling space adventure, but Black Bolt was tragically cut out of it, replaced by his evil brother Maximus the Mad. If that sounds like a lot of crazy concepts bouncing off each other, brother, you ain’t seen nuthin’ yet. Saladin Ahmed found the heart of Black Bolt’s loneliness under circumstances too bizarre for most of us to even comprehend. Moreover, Ahmed breaks so many of the rules that normally dictate what Black Bolt can and cannot do — he speaks for the majority of the series, and he’s surrounded by a makeshift “family” that isn’t his normal crowd of Atillanians. Ahmed stripped away all the superficial qualities that we previously thought defined the character and built him back up from scratch.

7. Jonathan Hickman

(The Black Monday Murders, East of West)

2017 was a bleak year, and nobody does bleakness better than Jonathan Hickman. Moreover, Hickman seemed particularly poised to comment on our times: between the apocalyptic struggles in East of West and the economic ones in Black Monday Murders, his work brushes up against our ongoing political concerns without ever falling into open parallels or parody. And while those series are undoubtedly bleak, what had us most thrilled by them this year were the little moments of hope embedded within every issue. Whether it was Doma’s secret affair with the Widowmaker or Dane’s secret affair with Daniel, there was dignity and beauty to be found in the private lives of underlings, even as their leaders were content to let the world burn. That’s a powerful lesson at any time, but couldn’t be more apt in 2017 — especially when delivered with Hickman’s signature confidence.

6. Dennis Hopeless

(Doctor Strange, Jean Grey, Spider-Woman)

The final few issues of Spider-Woman (one of our favorite series of 2016) were bittersweet, mixing the joy of Jess and Roger’s happy ending with the pain of, well, the series ending. Thankfully, Dennis Hopeless crafted a fun follow-up in his brief Doctor Strange run, one that managed to bring Jessica and Ben into the world of Secret Empire, and more into the Marvel Universe at large. Between Strange, the final issue of Spider-Woman, and his run on Jean Grey, this was a prominent feature of Hopeless’ work this year as he mined consistent laughs, lessons, and insightful character beats out of a cavalcade of guest stars. The fact that Jean Grey also closed out the year on a beat that managed to shock and surprise even the experienced readers here at Retcon Punch shows that, even with his breakout series concluded, Hopeless hasn’t lost his touch.

5. Brian K. Vaughan

(Paper Girls, Saga)

Both Saga and Paper Girls are high concept series that have blown way past exploring their initial conceits. Vaughan took 2017 to double down on the themes of loss previously established in Saga, pitting Marko and Alana in a race against the clock to get their miscarried son out of her body. And while that reads like some truly ghoulish storytelling, that’s just the tip of the iceberg. Vaughan’s actual work on Saga is simultaneously more monstrous and more sympathetic than any sensationalist slugline could ever hope to capture. But that’s what’s so powerful about the beautiful, crushing world Vaughan has created. Paper Girls handled its aging premise by relying on the magnetic personalities of its core cast. Whether they Girls are flung into prehistory, or Y2K nightmare, it’s the connection between them that buoys the series to such high quality.

4. Nick Spencer

(Captain America: Sam Wilson, Captain America: Steve Rogers, The Fix, Secret Empire)

Last year, Nick Spencer was the easy number one pick for the Best Writers list. His appearance on this year’s list is an obvious continuation of his stomach churning accomplishments through Secret Empire. All three of the main series around the event were written by Spencer, as his horrifying vision of the United States usurped by fascists could not be fucking contained by meager monthly ambitions. Spencer gave his readers a way to process what exactly was happening to us, spending whole issues focusing on the gaslighting and press-silencing techniques that were playing out in the real world with startling accuracy and prescience. Meanwhile, The Fix offered a somewhat more lighthearted take on corruption, as crooked cops Mac and Roy bumble their way between imminent danger and another easy payday.

3. Greg Rucka

(Black Magick, Lazarus, Lazarus X+66, The Old Guard)

As ever, Rucka’s work this year has been so eclectic that it’s almost impossible to summarize. Lazarus X+66 alone brought us everything from small family dramas to international espionage. Actually, the huge contrast between the smallest and biggest moments in each series might be the best way to typify Rucka’s writing. Black Magick found Rowan facing down an ancient enemy while trying to hold things together at work. Lazarus found Forever facing down one of her biggest threats in battle, even as the even larger question of her place in the family bubbles away in the background. And The Old Guard found quiet moments for its characters to share, even as they’re fighting for their own freedom and peace of mind. The point is, even within his series, Rucka keeps us on our toes, changing things up such that we can never really guess what’s coming next.

2. Kelly Thompson


We’ve been following Kelly Thompson since long before she wrote her first comic — her thoughtful, often incisive articles and podcasts never feared to go into the kind of depth that appeals to us around here. That made her first forays into comics writing must-reads for us, and they all featured the kind of depth (and sense of humor) we’d come to expect of her work. But there’s little doubt that Hawkeye is her breakout hit. Combining noir styling with Kate’s irreverent sense of humor — and, more often than not, her incompetence — Thompson has crafted a series that manages to be a spiritual successor to Matt Fraction and David Aja’s run without ever retracing their steps. Indeed, the focus on Kate allows Thompson to deal with issues like toxic masculinity and the male gaze in ways that Clint never really could. The result is a series that really only Thompson could write, revealing just how valuable her perspective is.

1. Tom King

(Batman, Mister Miracle)

There’s little doubt that Batman is one of the highest-profile gigs in comics — and one of the most stressful. Between the tastes of fans, the expectations retailers (and DC) have for sales, and the demands of a double-shipping schedule, it’s a tall order even for the most seasoned veteran. Coming from smaller, more oddball (though undeniably fantastic) series, there was room for doubt that newcomer Tom King was right for the job. But he found his footing this year, breaking new ground on Batman’s relationship with Catwoman while also taking some time for a flashback story that had us all saying “Hell yeah!” Meanwhile, he launched Mister Miracle, a maxi-series that combines all of King’s formal control and emotional sensitivity in bold new ways. Either one of these series would earn a writer a spot on this list, but the two together make King our favorite writer of 2017.

The conversation doesn’t stop there, because your list is almost certainly different from ours. Who were your favorite writers of 2017? For more of our Best of 2017 coverage, check out our Best Covers and Best Issues lists!

14 comments on “Best of 2017: Best Writers

  1. As ever, the final list differs a bit from my personal one, but I’m pretty happy with this. I do wish we had found a way to get Warren Ellis up there (between Karnak 6, Injection, and Wild Storm, he had a lot of great stuff this year), and I was also pulling for Tom Taylor, though I think All-New Wolverine was the only series of his I read this year. What else would be on your personal lists?

  2. I think this is the list I’m happiest with overall, in terms of getting just about everybody I think needed to be on it this year on it. I agree with Tom Taylor, and Ellis no doubt deserves a spot too, even if I’m finding Wild Storm almost impossible to actually follow as a story (it’s still a blast to read regardless).

    Also, Drew, I LOVE the header for this

    • Yeah, Wild Storm is insanely dense. One of those “you have to re-read every issue before the next one comes out” kind of series.

      Glad you liked the header! I’m thinking something similar for the best artist’s list, though I’ll need to account for artists who didn’t do covers for series with their interiors.

  3. Love seeing Thompson this high. She’s really rocketing to stardom. I think for honorable mention, etc., I would throw out there Jeff Lemire, whose level of output continues to amaze, and I also think we’re at a point were G. Willow Wilson can be forgotten/under-rated at times. Would love to see her pick up a second book and stretch herself creatively.

    • Wilson is a great pick — the writing on Ms. Marvel is so consistently good, it’s too easy to take it for granted. I’d love to see her on more stuff!

      • I’m wondering if the “end game” of some Ms. Marvel plots in the second half of 2017 would be the creation of a spin-off character/book from that corner of the universe. Obviously she’d be great writing that, and it would the pay off of always having compelling supporting characters that she’s built up over years now.

    • I’m with Chris for the Lemire pick. I LOVE Hickman, but we’ve covered less than half of his ongoing titles this year, and everyone knows that when he’s mediocre, he’s GREAT, but for his two titles which we’ve covered on this site (as interesting and dense and perfectly drawn as Black Monday Murders is, it is very incomplete and East of West is great but also so much part of a whole that I need to see more before I really understand entirely) I would almost suggest Lemire for his depth and bredth of coverage, again, this year. Lemire does something which so many brilliant writers can’t do, which is work with his artist to make a wholly coalescent body of work.

      And Ellis is amazing, but I’m hard on him because I love him so much, so take that as you will.

      • I feel like I/the site haven’t followed much of Lemire’s stuff this year, outside of the always great Descender. We lost track of Royal City at some point, though I definitely wanna go back and catch up on that personally — I wonder if the first trade is out yet? What else has he worked on this year? There’s gotta be a lot of books because the dude is second only to Soule in juggling projects, but I feel like we lost track of them somewhere.

        As much as I enjoy and appreciate Descender, it’s a book I always think about in terms of art first and story second (I think I’ve nominated Nguyen for best artist every year since Descender launched, which hasn’t worked yet). I probably do take Lemire for granted a little in that regard. But, at least personally, he wasn’t a writer with a large footprint on my 2017

  4. Gillen, Hopeless, Vaughn and Thompson are great picks. Though if Thompson can get a (well deserved) place for a single book, I think Jeremy Whitley also deserves a place for Unstoppable Wasp. That book easily went head to head with Hawkeye.

    Ellis certainly belongs for Injection and Karnak, even if the idea of Ellis returning to an old property he already defined bores me to tears.

    Christopher Priest certainly belongs. Inhumans: Once and Future Kings was a rich interrogation of the Inhuman backstory, looking deeply at the ALpha Primitives (the dirty secret Marvel generally tries to sweep under the rug) and finding real complexity in Inhuman politics. His way of finding real humanity it all of the characters is amazing, creating a cast with texture no other comic had. Especially Maximus and the Unspoken, who were turned into truly human figures fully of richness.
    Meanwhile, he is the one shinng light of DC. Not onyl is he making good comics for DC, he is making great comics. Deathstroke and Justice Leasgue are honestly great books. Again, he finds real humanity, basically breaking every ideal of Rebirth to isntead focus on creating something good.
    Though I really don’t like his way of giving voiceless characters devices that let them speak without issue. Feels like a far too convenient way for work around disability

    Ahmed feels like I would give him an honourable mention. I love Black Bolt, but I’ve been feeling that Ahmed struggles a little with the shared universe elements. I think, as a writer from outside comics, he feels too pressured by those elements, which have caused some issues post-prison as he feels the need to address events from other comics that don’t actually have anything to do with his story (the most recent example is Steve Rogers suddenly appearing for no reason to talk about Secret EMpire). He is great, just has this one flaw that he needs to overcome.
    Though he is so, so close to making it, I will happily give him a parade. Certainly one of the most exciting voices, and looking forward to his new Exiles book.

    I think Wilson should be here. Ms Marvel is so consistently good, ti can be so easy to forget. But she is always great. And Ms Marvel probably had its strongest year yet. Certainly should be there.

    I refuse to consider Lemire on principle. That would be like me considering Mark Waid. Lemire’s work has never, ever worked for me.

    The discussion of Taylor confuses me. I still stand that All New Wolverine’s first issue was perfect, but I’ve been really struggling with Wolverine lately. It is missing too much. He had some great issues (The outbreak storyline had some really beautiful parts) but the book is to often struggling with not enough character or time. Not onyl are we in the middle of another ‘Laura is sad about killing her mother’ storyline so shortly after Enemy of the State II, but Taylor has done such a terrible job with the Kinneys. None of them feel like characters. Especially Laura’s mother. It really limits the book

    Spencer certainly doesn’t deserve to be there. Steve Rogers was a bad book, that existed solely to build up Secret Empire and never worked on its own terms. The fact that a number of issues didn’t even have climaxes because they were being saved for casual asides in Secret Empire was astounding.
    Sam Wilson was much better, but a book that got sabotaged by Secret Empire. Too many key plot points got dropped because Spencer didn’t care about them when he reached Secret Empire. The Fox News guy that was essentially the villain of the run joins HYDRA and then is never seen again.
    Secret Empire started really strong, but so obviously did not have a second half. And the finale was a disaster, and that disaster really hurts nearly all of Spencer’s work this year. Sam Wilson’s story ends miserably, because his big climactic story treats him as a meaningless afterthought. The real possibility for depth in exploring Steve ROgers through the reality rewrite is ruined by the fact that Spencer ultiamtely doesn’t have anything to say. Basically, the climaxes of all the stories he had to tell were really bad. I do like Spencer’s work, but he had a bad year this year.

    King certainly doesn’t deserve to be there either. His Batman run is dire with its major problems. War of Jokes and Riddles was laughable in its try hard edginess. The Riddler was hilariously stupid, it had some of the most poorly considered pages around and the big twist was a recycling of a Batman trope that is far, far too old. And King, who used to give us great female characters like Virginia and Viv Vision, Princess Kalista, Scrapps, Helena Bertinelli, and Sofia is now writing a series of objects in the place of women. Which kills any chance of a romance story actually working. King’s Batman run is a shocking failure. Some of the most basic, essential elements of the story he is supposed to be telling is missing, because the book quite simply doesn’t care about writing women as people. Which, again, is the only way a romance is going to work. King’s Batman run is defined by constant failure at execution.
    Meanwhile, Mister Miracle has placed form far above function. King has always been a man who uses heavy and complex amount of form, but always to the benefit of the story first and foremost. Things like Grayson: Future’s End’s spiral structure or the ways that the Vision or Omega Men would use the very panelling to create cramped, claustrophobic feelings designed specifically to make the oncoming splash page either freeing in its space or horrifying in its scope is masterful, but designed to be subtle and invisible, so that the effect on the narrative is key. Mister Miracle breaks that subtlety to constant brag about all the tricks that it is doing and how arty a particular scene is – which ultiamtely means that the scene is about the use of form, not the story.
    It is honestly textbook Oscarbait. Designed to be awardworthy more than something that actually works by itself. There is a line about that Oscars that says that every Oscar award is more accurate if you replace Best with Most. Essentially, that the Oscars go to the person that can show off the most instead of actually using what it uses to best dramatic effect. That’s how you get things like Birdman or Three Billboards Outside Ebbing, Missouri. And that’s Mister Miracle. Constantly showing off, and creatign a story that is al about showing off instead.
    Honestly, my favourite pieces on this site are the ones I disagree with. To me, any piece that shows me something I hadn’t seen before is a good piece, and when I disagree, they are often the ones where I get the most out of. As much as I blasted the idea that Taylor deserves to be on this list, it is for that reason that some of my favourite pieces are about All-New Wolverine. But I think you guys’ pieces on King this year have been among your weakest. For people who so often do an truly amazing job going beneath the surface, too many of your King pieces have very superficial arguments. Like Drew mentioning how only someone who also dresses up in a silly costume could be Bruce’s love, which fails to take into account how many people in the DC Universe dress up in silly costumes and how many of them, using that argument, would appear to be a better match for Bruce than Selina (since they aren’t supervillains). Or getting caught up in Stan Lee parallels instead of focusing on the psychology and themes that Mister Miracle is supposedly about.
    King used to be so exciting, but he’s had a truly terrible year, marked by failure. He’s turned into a parody of himself, or comics’ own Alejandro González Iñárritu. A tragedy, considering all the potential he once had. Hopefully, he’ll recover. Hopefully, he’ll stop valuing indulgence or form over function and start telling the strong stories that let him take the world by storm during DC YOU. But he is far, far away from belonging on this list at the moment

    • You know, I kind of resent the notion that our praise of these issues have been superficial — I tend to think that you’re readings of our arguments are necessarily superficial because you haven’t read the issues at hand. As ever, you’re welcome to read whatever you like, but I’ve really lost the patience to entertain your critiques of our critiques based on the caricature of these series you’ve painted in your head. We get it. You don’t like these series. There’s no need to rehash your argument every time a new issue comes out.

      I also think the notion that Birdman was just insubstantial Oscar bait is kind of a superficial reading. Yeah, I get how the single shot thing can feel like a gimmick if that’s all you want it to be, but the movie uses it it as often as an interesting limitation as it does a flashy show-piece. It was a movie about a play, and all of the elements, from the absence of cuts to the slightly over-the-top performances help sell the theatricality of the story (which is why I freaking love that fake wire snatch when Michael Keaton finishes flying and walks back into the theater).

      And I’d extend a similar defense to Mister Miracle. It may have the veneer of that kind of Oscar bait-y storytelling, but that’s an illusion that demands an incredibly superficial reading. That might be easier for you to maintain, since I doubt you’re reading the series, but anyone whose actually read it knows that there’s real substance, real emotion, real craft going into every issue. Yeah, I only talked about the Kirby/Lee stuff in my writeup, but that really shouldn’t be taken to mean that that’s all that was going on in the issue — those pieces are supposed to be short, and I had already exceeded my word-count talking about just that one detail. Every single scene in that issue could have supported a piece just as long; I chose the one I did because it immediately jumped out to me.

      • I haven’t read all of King’s Batman and Mister Miracle, but I’ve read a lot. I keep an eye on them because I still hopes thing turn around (even if Creature of the Night made that part of me take a massiv ehit). But as much as I respect King for being one of the few writers with ambition, and think his works a quite clear worse than series like Superman. Execution trumps intent, and King screws up his execution so badly all the time that there are so many DC series that are more worthy of placement.

        Honestly, I feel a big problem is that King is now dealing with a large stage, instead of being the little guy everyone ignores. I think the pressure of being comic’s biggest star makes him feel the need to make sure he is pleasing the fans, and sabotaging his own story with indulgence plays.

        It would take a long time to go through all the faults with Batman – I think War of Jokes and Riddles hit nearly every bad prequel trap, often to indulge. But King keeps sabotaging his own ideas with the need to ‘give the Batman people want’. Often through the invocations of tropes that are long past their due date and had the last decade, at least, spent deconstructing.
        Currently, most obvious manifestation is the treatment the treatment of women in the book and how they exist merely as props, so that King can instead indulge fully in the fantasy of Batman. Make sure the book never abandons what the fans ‘want’, no matter how badly it hurts the book. THough it would be important not ignore the characterisation of Batman himself, the indulgent centrepoint of so many problems that would take a lot of time to explain.

        And Mister Miracle feels like King wants to make sure that his craft is noticed, because he feels if he is going to be exposed as a fraud. Like every scene is written with the question of ‘How arty can I make it?’
        Like the nine panel grid. A truly fantastic tool, that can be used for great things – including King in Omega Men. But what it presents, especially when used as strictly as Mister Miracle. THe technique creates such a strong sense of control and stability, on a character that has none of that. My every attempt to get into the head of Scott Free is by forcing myself through the nine panel grid, because the mental state of a man in a depressive episode does not fit the sheer, meticulous care of King’s use of the nine panel grid.
        Or how every scene is written and designed to feel like it is meaningful. The sheer overtness is a problem, as it distracts from the actual storytelling (I don’t want to go into Birdman too much, as I have been very busy lately so don’t have the most time. But Birdman’s problem isn’t the single take gimmick. It is how the cinematography of it and the Revenant focus on showing off the artiness instead of the storytelling. And the fact that the script is written to appear meaningful rather than be meaningful). Where a book like Omega Men or the Vision was really arty, especially, Omega Men, it would do so in a way that essentially invisible. You could write a giant essay on the strengths of a particularly arty choice, but it never felt like that choice fought attention away from the story, just elegantly supplemented it.
        But the other problem with the ‘every scene is meaningful’ thing is that again, it just hurts our ability to connect with Scott because that isn’t what he is experiencing. Purposeness is not the primary feature of Scott’s life. His life isn’t crammed packed with meaning in every panel. And the more and more that King layers on form, the more and more distant I get from Scott.
        As pure examples of form, it is great. As a tool used for the function of storytelling, it constantly gets in my way of the actual story. There are many other examples of form that I could discuss but again, I’m busy.
        But what Mister Miracle does remind me a lot of is Multiversity: Pax Americana. The whole point of Pax Americana is that the universe is not a meticulously designed watch and that any comic that is is inherently artificial and fake. That for a story to be real and true, it needs to reflect the chaos and meaningless of the world. Which was Morrison’s takedown of Watchmen, but seems to apply greatly here. This should be a story of a man drowning, struggling to grab onto any hand hold. Instead, it is the watch. The completely artificial piece of design that Morrison was criticising Moore for.

        ANd when I’m criticising your King coverage, I am comparing it to your coverage of books by writers like Waid, Lemire, Waid, Soule, Waid, Slott and Waid. The chances of me liking a book from them is pretty low. Soule sometimes, but usually with massive reservations. Others, very rarely. You guys love them a lot more than I do, and I know that how opinions are very rarely going to match. But I feel that I get a much stronger argument from your pieces on those writers than I am currently getting on King. And considering that none of those writers are on your list, I do think it is a problem that I feel I get stronger, smarter, deeper arguments than I do the supposed best writer of the year

        • I think, more so than any series/project in years, you pretty much have to consist King/Gerads the co-writers of Mister Miracle. From what I’ve read of their working relationship and from what I see on the page, where so much trust in King’s apparent vision is on Gerads’ shoulders in wordless panels, that book is as deep of a symbiotic relationship as you can get. To me, Gerads is the star. This isn’t The Vision-level brilliance of writing and call-backs and double meanings. This is a story being told, literally, in Free’s eyes. And I’m buying it. Now if that knocks King down a notch on the 2018 writers list, so be it, but the book is absolutely working for me.

  5. A couple thoughts (since I didn’t make my own list):

    Kieron Gillen: It still cracks me up that you guys love Gillen and ignore Uber. It would have been on my top ten list if I’d had it for the whole year. It’s not cool Gillen, this is WW2 research Gillen and I think he’s doing war comics as good as Ennis, and that’s saying something.

    Si Spurrier: I loved Godshaper, I’m really having a hard time with Angelic. It’s another comic (like Godshaper) that is VERY cartoony, but I got into the cartoon world immediately and here I’m not. The language also is a pretty big hindrance to me – the slang isn’t funny and just isn’t adding anything to the story for me. I’ll read a couple more issues, but I’m a bit more sour on this than you guys.

    Hickman: I didn’t even know he was still writing East of West. And I wish Black Monday Murders came out with regularity.

    Hopeless: I wish I’d liked Jean Grey more, but his work ending Spider-Woman and filling in on Doctor Strange was outstanding.

    Nick Spencer: I’m probably never going to reread Secret Empire. I won’t reread Captain Rogers, and without those two titles, Sam Wilson isn’t as essential either. Secret Wars fell flat to me and kept the other two titles from being everything they could have been. He would not have been on my list.

    Greg Rucka: I couldn’t get into Lazarus when it came out. I liked the first trade of Black Magick. I hated hated hated The Old Guard. I thought there was so much to do with that and it was just a murder spree gore fest that left me hating everyone. I really liked his Wonder Woman though, and that was for a good part of ’17, wasn’t it?

  6. And lastly…. Tom King:

    I dropped Batman after 15 or 17 issues (Night of Monsters or whatever that abominable piile was called was putrid and I didn’t like the Bane story either).

    I tried reading Mister Miracle and I just don’t get it. Maybe you need to give a crap about any of those characters going in, maybe I just like linear stories, but I read three issues and I still don’t think I even knew what the comic was about. I have no idea who any of those people are/were, but they all seemed to suck. Which doesn’t make for a super interesting story.

    I’m just amazed that he is top of the list. I know you guys have been raving about his stuff all year and I just don’t see it.


    On the other hand, I’d have put Robert Kirkman (Invincible’s last year was amazing, The Walking Dead continues to be compelling, and… umm, I don’t read Outcast, but people seem to dig it).

    I’d also have considered Donny Cates for God Country and the start of Doctor Strange.

    And Jeff Lemire should be on there for Black Hammer alone. Couple that with Descender? Damn, I just now realized he had two comics in my top 5 of the year. I should have brought this up earlier than in the very bottom of a week old post. Jeff Lemire, writer of the year.

    (PS, do yourself a favor and read Black Hammer.)

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