THE BEST OF 2013 - The Best GAMES Of The Year

THE BEST GAMES OF 2013:

- It was a strange year for me and videogames. I was more backlogged than ever when it came to games. Sitting in my bookshelf were games like Bioshock Infinite and Tomb Raider, just begging to be played. And yet, due to a combination of factors, I probably played less videogames than ever before. Am I just getting old? I'm not yet married and don't yet have kids, but I'm finding it harder and harder to immerse myself in the kinds of late-night gaming sessions during which I traditionally get in the bulk of my play time. I'm not any less interested in gaming. I still love games, and I still am passionate about the industry and the artform. 

What I realized is that games are *hard.* And I'm not talking difficulty level. I'm talking about hard to fit in within increasingly compartmentalized lifestyle. Like many of my fellow pop-culture junkies out there, the only way I can fit in all of the media I'm into in my life is to very carefully budget my time. If I have 22 minutes to spare, then great, I can fit in a new episode of Parks and Recreation. If have 44 minutes to spare, then I can squeeze in an episode of Justified or The Walking Dead. On a Sunday morning, I can allow myself a half-hour to read through a couple of chapters in a book, or a few new comic books, before getting out of bed and starting my day. But games? Games don't quite fit into a neatly-planned routine. To me, they're best enjoyed when you can set aside a few hours, forget about all outside distractions, and just play at your own leisure. Unfortunately, those precious evenings when I've got all the time in the world come few and far between these days. And when they do come, I (sadly) all too often find myself asleep on the couch before I've even scratched the surface of a new game. 

What's strange is that games I loved as a kid would actually be much more amenable to an adult's busy schedule. I could breeze through a level of Mega Man or a world of Mario before dinner, and within a week I could play through a whole NES game. But today's games are giant, sprawling, seemingly never-ending affairs. I've barely got time to get through The Last of Us, let alone see every nook and cranny of Skyrim. 

To that end, I'll more and more find myself gravitating towards quick-play games like this year's WWE2K14. I can get home from a long day at work, fire up the game's "30 Years of Wrestlemania" mode, and move on to the next battle in ten or fifteen minutes. Similarly, fighting games are a great way to get a sense of accomplishment in a short burst. Especially when the games have an involving story like this year's Injustice. This year, I often popped Injustice into my PS3 instead of something like Tomb Raider, because it was easier and less intimidating to knock out a couple of quick rounds of superhero fighting than embark on Tomb Raider's giant-sized quests. 

And yet ... big, immersive, cinematic games like Tomb Raider and The Last of Us are among my favorites. When I think about the possibilities of the medium, these are the games that seem to be stretching the limits of what videogames can do. I want games to continue to present us with multidimensional characters, innovative storylines, and fully fleshed-out worlds to explore. To me, The Last of Us is the kind of game that (hopefully) represents where the medium is going, not Angry Birds.

But why can't we have the best of both worlds? I think it's time that game developers figured out how to deliver these great, involving, epic games in more manageable portions. Think about a great TV show like Breaking Bad. It's consumed in 44 minute installments, but it all adds up to a much larger whole - a long, epic storyline, but told episodically. Games right now are not designed to be consumed in digestible chunks. We're starting to see more episodic releases - like Telltale's Walking Dead game. And man, I loved The Walking Dead and named it 2012's Game of the Year. But one "episode" of that game was still a multi-hour commitment. At the movies, we deem a movie too long if it stretches past the two-hour mark. Games that go for 15, 20, 30 hours just seem extravagantly lengthy - especially now that we're not kids with whole weekends to waste away. 

More and more, I hear people talk in terms of gamers vs. non-gamers. To me, that's a little silly, and sort of sad. When I was an eight year old kid playing Super Mario Bros. on my NES, I didn't go around proclaiming myself a gamer. I just loved videogames, as did everyone else I knew. But now, the people who grew up playing games are playing less and less. Why? Because the games industry has increasingly ghettoized itself, making gaming into a hobby that can only be kept up with by the hardest of the hardcore. People who have lives and jobs and families find time to fit in movies and TV shows, but games tend to take a backseat because they are, now, more of a commitment than ever. I am case in point - I love games and have definitely not lost interest with age. But I have lost a good deal of interest in 20+ hour mega-games that require months of one's life to complete.

What's interesting is that games are, more than ever, emulating movies and TV in terms of their presentation. But they are still stuck in the 90's where there's that mentality of "more=better." I think it may date back to when CD-based games boasted of the amount of content that was packed onto the disc. I remember before then, it'd be the rare game like Final Fantasy or other JRPG's that boasted about length. Now, every game does it. 

Mark my words - when a great game on the level of a Mass Effect or Uncharted comes along that delivers compelling, immersive content in TV episode-style, half-hour or hour-long chunks, it will catch on like wildfire. 

Anyways ... I thought that 2013 was a really good, really interesting year for games. The sheer number of great games that came out for the last-gen consoles was pretty staggering, and it sort of made the shiny new systems a tough sell. After all, was there really anything this year on the PS4 or XBOX One that could compete with The Last of Us, Bioshock Infinite, or Grand Theft Auto V? 2014 is going to be all about the new consoles, and I think we'll start to see heavy conversion next holiday season. But for now, a lot of people (like me) are still making their way through all the games that came out for our several-year-old systems in 2013. 

Going forward, it remains to be seen if Sony or Microsoft will pull away with a clear edge in the next-gen console race. History has shown us that the tide can often turn halfway through a product lifecycle, but we'll see. Since I'm a Sony fan, I wouldn't mind seeing them gain some ground on the competition this go-round, and it seems like they're doing so, so far. Again, I think this is a good thing because it means bigger audiences for Sony-exclusive franchises like Uncharted. And man, Nintendo is starting to get to a pretty perilous place. They've finally got a well-reviewed Mario game out for the Wii U, but one game alone does not sell a system. It feels like the PS4 and XBOX One have just leapfrogged right over Nintendo in this generation, and Nintendo is really going to have to pull out something special to avoid falling into serious trouble. 

More so that ever before though, a lot of the best stuff going in gaming is happening on the fringes. Indie games, digital-only games, retro games, and more experimental games are making a lot of noise these days, and I think that will continue to be the case in 2014. Expanding on my earlier point, I think a lot of gamers are looking for something new and different beyond the big blockbuster franchises, and have had their fill of Call of Duty or Assassins Creed. The indie game movement is filling the void that's there in the retail space - where the offering feels increasingly homogenized and limited.

Perhaps the most exciting thing in 2014 will be seeing what new franchises emerge as the next-gen system sellers and must-haves. What will be the next Mass Effect, the next Uncharted, the next Bioshock? Hopefully, the next gen brings with it just as many groundbreaking new games as the last one did.


DANNY'S BEST GAMES OF THE YEAR: 


I didn't play anywhere near as many games as I'd like to have this year. And of those I did play, I often didn't get to play as much as I would have liked. Much of my gaming time in 2013 was spent still playing some of the previous year's big titles - The Walking Dead, for example.

But my Game of the Year for 2013 is an easy choice: 

1.) The Last of Us

- To me, Naughty Dog is the best development team in the business. They combine great gameplay with immersive storylines and eye-melting graphics like no one else. They've done it through three Uncharted games, and now they upped the ante even more with The Last of Us. The Last of Us was reminiscent of last year's The Walking Dead in that it made you deeply care for its characters, and the gameplay became all the more intense and involving because you were playing not just to succeed and progress, but because you wanted to do everything in your power to help the characters on their journey. This game was also just plain scary and creepy. The zombie-like "clickers" had to be some of the most pulse-quickening enemies ever in a game, and the game crafted some truly nightmarish scenarios for you to navigate - made all the more intense because you - playing as middle-aged Joel, wanted desperately to keep your teenage charge Ellie out of danger. The post-apocalyptic environments in the game were gorgeously rendered. There was so much lived-in detail here that it was almost scary. Ultimately, Naughty Dog - as with Uncharted - found a way to seamlessly merge cinematic storytelling into a compelling gameplay environment. The story unfolded with you playing it, not via static cutscenes. It's an art that most games have not yet perfected, but Naughty Dog is leading the charge. The Last of Us may have arrived late in this generation, but it quickly became one of this era's defining, definitive gaming experiences.

2.) Bioshock Infinite

- Disclaimer: as of this writing, I've still only just scratched the surface of Bioshock Infinite. But I already feel confident in declaring it as an all-time great game, on par with the original Bioshock. Like that game, this one has atmosphere to spare, dropping you into an alternate-reality city in the clouds that is both visually striking, and the setting for some fascinating, politically-charged storytelling. The guys at 2K Games have, again, knocked it out of the park. The way they make their games into true experiential journeys is truly amazing.

3.) Tomb Raider

- I was a fan of the old-model Tomb Raider games, but this series reboot really succeeded in taking the storied franchise to the next level. Borrowing heavily from Uncharted, this new iteration of Tomb Raider gave us a much more human and relatable version of Lara Croft, and a much more cinematic experience than in previous games in the series. Whereas previous games were about exploration laced with hair-pulling puzzles, this one was much more of a roller-coaster ride. I dug it. And man, it looked incredible, with some of the best graphics ever on the current-gen systems.

4.) Injustice: Gods Among Us

- This one-on-one fighting game is a fanboy's dream - pitting a who's who of DC Comics heroes and villains against each other in Mortal Kombat-esque battles (and in fact, the game was developed by MK's Neversoft). The gameplay was sharp and on-point, and the fighting fast and furious. But what made this something really special was, surprisingly, the well-written, well-acted storyline - a super-fun yarn about a Superman who turns to the dark side, leaving only a ragtag band of revel heroes between him and world-domination. 

5.) Ducktales: Remastered

- A straight-shot of nostalgia. There were better games this year, I'm sure, but none brought a goofy grin to my face like this HD remake of the old Capcom-published NES game. Nothing beats classic Capcom 2D platforming, and this game delivers it in spades. The crystal-clear cartoon graphics are a joy to behold, and the redone soundtrack and voice-acting (with the original cartoon cast!) are also fantastic. The funny thing is that playing this game was a reminder of just how hard these old platformers could be (better do pre-play finger stretches - you're going to need 'em). But in a world of overly complex games that challenge patience more than reflexes, this reissue is an awesome blast from the past - a reminder of a simpler time in gaming.

THE BEST OF 2013 - The Best COMICS Of The Year

THE BEST COMICS OF 2013:

- What began in 2012 continued into 2013. Yes, last year I dove knee-deep into the digital comics revolution, and as I predicted, the way that I've enjoyed the medium has continued to evolve. More and more, it's easy to sample less mainstream comics, and more and more, publishers like Image are monopolizing a lot of the best talent and stories in the business. In 2013, creators who once split their time between established superhero books and creator-owned comics went full-blown indie. The best writers in the biz - Rucka, Brubaker, Vaughan, Lemire, Snyder, Hickman, Fraction, and more - were all doing amazing work this year on 100% original books. Sure, guys like Snyder and Lemire and Hickman were still doing some excellent books for DC or Marvel, but it feels to me like the beating heart of the comics industry has officially shifted from the established superheroes to original characters whose stories comprise a variety of genres - sci-fi, romance, noir, horror, Western, and more. These types of books always seem to bring out the best in their creators, and it was a thrill to see new books like The Wake, Lazarus, and Trillium quickly rise to the top of my must-read list this year.

Interestingly enough though, it was the Big Two that produced some of the most interesting experiments in digital-only comics this year. In 2013, some of the best superhero stories I read were weekly, digital-only, out-of-continuity comics. If you haven't sampled Batman '66, you've got to give it a look. Written and drawn in the style of the old Adam West TV show, the comic is absolutely hilarious - reintroducing classic villains from the old show, and also intermixing some ideas from more modern Batman interpretations. Even cooler, many issues of Batman '66 take advantage of the digital format with semi-animated panels and more digital-friendly storytelling devices. The experience of reading on an iPad is just plain fun. DC scored another weekly digital hit this year with Injustice, based on the videogame of the same name. On paper, I never would have thought that a digital comic based on a game would be anything special. But I was proven wrong - writer Tom Taylor produced the best DC Comics big-event story of the year - an exciting, twist-filled yarn about a world in which a grieving Superman snaps, and decides to rule the earth with an iron fist - crushing any remaining heroes who would dare oppose him. Taylor came out of nowhere to quickly become a writer to watch. More and more, it felt like some of the best superhero stories being told were in the digital format. In addition to Injustice and Batman '66, digital-only comics like Adventures of Superman and Legends of the Dark Knight gave an assortment of top creators the chance to tell one-off Superman or Batman stories free from the constraints of DC's regular continuity. The result was some fantastic stories. Increasingly, I can see these sorts of digital-only comics becoming the norm, and becoming the best place to find great stories.

Of course, a big discussion point this year among fans was gender politics. With more and more female readers getting into comics, it stands to reason that there is now a lot more scrutiny on the industry as a whole. This isn't a new phenomena, but fans were more vocal than ever in their desire to see strong female characters, as well as to see high-profile books written and drawn by women. The major publishers are getting better at this than before. Many of this year's best books - Lazarus, Trillium, Saga, The Wake, Sex Criminals, and more - featured great, compelling, well-written female protagonists or co-leads. There is still a lot of work to be done - especially with the superhero books - but it does feel like there is starting to be much more diversity in the stories being told, and much more diversity in terms of the top-selling and most buzzed-about books, that reflects a new and more-diverse-than-ever audience. Hopefully things continue to improve to an even larger extent. But, going back to the ongoing theme of how digital comics are changing the industry, the ease by which comics can now be bought and read is going to be, I think, a huge factor in that continued diversification of material and readership. A quick glance at Comixology's current best-seller list shows books like Locke & Key and Saga selling neck-and-neck with Batman and Justice League, so as you can see, the times, they are a-changing.


DANNY'S BEST COMICS OF 2013:

1.) The Wake

- The Wake has been an awesome read month-in, month out since it kicked off earlier this year. And that's no surprise, as it comes from a comics dream team of writer Scott Snyder and artist Sean Murphy. Snyder has become one of the best and most prolific writers in the biz over the last couple of years, but The Wake might actually be my favorite thing he's done to date. It started out as an ultra-intense, ultra-mysterious sci-fi/horror adventure - a page-turning mix of The Abyss, Alien, The X-Files, and HP Lovecraft. The book, thus far, has been about a team of scientists brought down to a top-secret underwater military base, to study a new species of human-like creatures discovered in the deep. Of course, things begin to go very wrong, as the creatures are not happy about being held captive and studied. What gives the book an extra layer of intrigue though is the brief flashes we've seen to the far future - a post-apocalyptic earth submerged in water. Presumably, the events in the present will result in this strange future, but how we get from Point A to Point B is going to be a hell of a ride. Meanwhile, the art by Sean Murphy is amazing - the guy does gritty, atmospheric drawing like no one else. Act One of The Wake just wrapped up this past month, setting the stage for a new chapter that promises to take the story in a whole new direction. I can't wait.


2.) Trillium

- I was really sad to see writer/artist Jeff Lemire's last book for DC's Vertigo imprint, Sweet Tooth, end at the beginning of the year. Sweet Tooth was one of my favorite comics of the last several years, and its spectacular final issue made it ending all the more bittersweet. But hey, that loss was more than made up for by the launch, a few months later, of Lemire's latest Vertigo book, Trillium. As with Sweet Tooth, it mixes high-concept ideas with a hefty dose of humanity. Trillium is a sci-fi romance, in which two explorers - one from the early 1900's, another from the distant future, meet thanks to a strange portal that traverses time and space. With innovative storytelling and imaginative art, Trillium has already wowed me, but I feel like it's only just revving up. The next year's worth of issues should be something special.


3.) Saga

- Now in its second year, Saga continues to be the gold standard for ongoing comics. Brian K. Vaughan is the master at writing real-world characters in extraordinary settings. Even though Saga is an oftentimes mind-bending story involving intergalactic warfare, sinister robots, feuding bounty hunters, and giant monsters, the dialogue and characters are 100% of this world. Vaughan worked a similar sort of magic with his seminal Y: The Last Man, and as it goes on, Saga keeps inching closer to that high watermark of quality. It doesn't hurt that Fiona Staple's art is amazing and utterly unique in the comics world. Her streamlined, iconic images make Saga consistently one of the most eye-popping comics you'll find.


4.) Lazarus

- This new book from writer Greg Rucka and artist Michael Lark is like Game of Thrones but in a near-future apocalyptic setting. Rucka deftly imagines a world not too far removed from our own, in which the 1% has evolved into a ruling class of five families. All others serve the families, and all others live in poverty and oppression. There's some great, intriguing world-building going on here, and it's all very-much based off of current politics. The hero of the book, however, is a young female soldier known as a Lazarus - a genetically engineered super-soldier designed to protect her "family's" interests. But what happens when this soldier begins to rebel against not just her family, but the whole system? Watching this world get uprooted is going to be a lot of fun in the coming year. Rucka is doing top-notch work on this one, and the gritty pencils of Lark are always appreciated.


5.) Fatale

- Here's another favorite from last year that kept on impressing me in 2013. Ed Brubaker's Fatale reached new film-noir heights this year, as it delved more into the backstory of its cursed protagonist Josephine - an immortal woman caught up in a dangerous conspiracy. A flashback issue taking place in the Old West was a highlight, as has been the current storyline that inserts Jo as a sort of Yoko Ono-like figure in a 90's-era grunge band. Each new chapter of Fatale reveals more about the strange circumstances of Josephine's life, while at the same time furthering the book's mysterious, Lovecraftian mythology. And no other comic is more densely atmospheric - you can practically smell the gin and cigarettes as you read each issue.


6.) Animal Man

- Jeff Lemire's take on the classic DC Comics B-lister has been one of the true highlights of the New 52 DC reboot. The book has been incredibly consistent, and had a great year in 2013. From the epic "Rotworld" saga, to a major death-in-the-family, to the gripping current story-arc involving villain Brother Blood, Lemire has delivered a great mix of Alan Moore-esque heroes and horror that keeps me eagerly awaiting each new issue. Recently, it was announced that Animal Man will be ending in 2014. It's a shame - this has been DC's best ongoing book for the last two years. But when all is said and done, Lemire will have given us one of the all-time classic superhero book runs.


7.) Injustice

- This is, easily, the most unlikely pick on this list. Like I said above, I never imagined that a weekly digital-only comic that also happened to be a videogame tie-in would be among my favorite reads of the year. But I, and a lot of others, jumped on the Injustice bandwagon when it became apparent that this was, believe it or not, the best big, epic, superhero book that DC was putting out. How did that happen? For one thing, writer Tom Taylor took what could have been a throwaway assignment and made it his own. He imbued Injustice with smart dialogue, well-drawn characters, and most of all, epic twists and cliffhangers that often paid tribute to fondly-remembered moments in DC Comics lore. While the main-line New 52 books were trying their hardest not to call back to the pre-reboot storylines, Taylor was clearly having a blast playing in the DC sandbox. I gave the book a try on a whim after enjoying the game, but quickly found myself chomping at the bit to read each new weekly installment.


8.) Batman

- Scott Snyder continues to nail it with his work on Batman. Earlier this year, he wrapped up the dark, ultra-intense Joker story "Death of the Family" in fantastic fashion. Since then, he's done a great job of making "Zero Year" - a reimagined look at Bruce Wayne's first year as Batman - into a must-read storyline. As much as it frustrates me to see origins endlessly retold, I'll give Zero Year a pass simply because it's so darn good. Snyder and artist Greg Capullo simply know how to do the big, cinematic moments to perfection. At the same time, the book has a darkness and a grittiness and intensity that calls to mind the Christopher Nolan movies. With Snyder at the helm, Batman continues to be one of the must-read books in DC's stable.


9.) The Walking Dead

- The Walking Dead hit a bit of a slump for a while, but it's been roaring back thanks to the ongoing "All Out War" story-arc - a multifaceted, unpredictable saga that sees Rick's makeshift community join with other neighboring villages to take down the tyrannical psychopath Negan. Negan is sort of a controversial villain among Walking Dead fans - in some respects, he does feel a bit like a retread of The Governor. But I give Robert Kirkman credit - Negan is his own wholly unique brand of crazy, and he's been built up to be so evil, so horrible, that man, rarely have I ever been so desperate for a villain to get his comeuppance. I'm slightly behind here, as I continue to read The Walking Dead via collected editions, but I can't wait to see how "All Out War" wraps up. Kirkman is the master of the jaw-dropping, holy-$#%& moment, so I have faith he'll deliver yet again.


10.) Batman '66

- Holy comebacks, Batman - in 2013, the 1966 Batman was back with a vengeance! Here's another one that turned out improbably good. New stories set in the universe of the old Adam West Batman TV show? I was skeptical, but curious. As it turned out, this digital weekly is one of the craziest, funniest comics I've read - it takes the old show's psychedelic campiness and cranks it up to eleven. The unlimited budget of the comics format means that the dynamic duo can have more out-there, far bigger adventures than they ever did on the small screen. And writer Jeff Parker masterfully captures the mannerisms and humor of Adam West, Burt Ward, and the rest of the old cast, amping up the ridiculousness to even greater and more hilarious heights.

THE NEXT BEST:

11.) The Manhattan Projects

- Jonathan Hickman's insane alternate history mind-bender - in which real-life scientists like Albert Einstein and Enrico Fermi work in secret on all manner of space-age government projects - continued to entertain this year.

12.) Sex Criminals

- Still only a few issues in, but Matt Fraction's oddball book - about a couple who can freeze time whenever they get busy - is one of the best new comic debuts of the year. It sounds strange, sure, but the writing is spot-on and the characters are well-drawn.

13.) All-Star Western

- The ongoing adventures of scarred Old West bounty hunter Jonah Hex took a strange turn this year, when Hex was time-warped into the present day. What could have been cheesy has actually turned out sort of awesome, as writers Jimmy Palmiotti and Justin Gray have used the device to satirize and explore modern society vs. that of Hex's native wild west.

14.) Time Warp

- For the last couple of years, Vertigo has been releasing a series of oversized anthology specials, packed with thematically-linked short stories from all manner of top talent. My favorite yet was this year's Time Warp special, a collection of time-travel themed stories from a bevvy of talented writers and artists. My favorite? A fun, twisty time-loop story from Lost showrunner Damon Lindeloff, in which time-travelling hero Rip Hunter must continually save his younger self from certain death, creating a never-ending paradox. Keep these anthologies coming, Vertigo.

15.) The Adventures of Superman

- Yet another digital weekly comic that makes the list. Whereas the main-line Superman titles have been a very mixed bag this year, the short story arcs in this weekly series have been by and large fantastic. These are simple, continuity-free tales that give us classic, iconic Superman stories without the baggage of whatever's going on in the main storylines. So far, that includes a wonderful riff on "Flowers For Algernon" starring Bizarro, a harrowing tale about a busy day in the life of Superman, and a fascinating "what-if" about a Superman who decides to get tough on crime by moonlighting as a Punisher-esque vigilante.

RUNNERS UP:

FBP: Federal Bureau of Physics
Detective Comics
Judge Dredd
The Phantom Stranger
Batwing
Fables / Fairest
Swamp Thing
Justice League Dark
Batgirl
Green Arrow
Batman & Robin
Earth 2
Kick-Ass 3
Infinity
Jupiter's Legacy
Talon

SPECIAL MENTIONS:

- Geoff Johns' final issue of GREEN LANTERN in May capped off a several-year run on the title that marked a modern-day renaissance for the character. While the title had had its ups and downs over the last few years, Johns delivered a memorable finale - tying up years worth of plot threads and character development into an action and emotion-packed send-off. Johns' work on GL, in its prime, was absolute must-read stuff, with story after story that was an instant classic - from the epic Sinestro Corps War to Blackest Night. Johns expanded the GL universe, introducing an entire spectrum of ring-wielders and coalescing decades of continuity into one giant, sprawling mythology. Under Johns, GL was grand space opera - the Star Wars of superhero comics.

- Similarly, I've also got to note the end of Grant Morrison's several-year long Batman saga in the pages of BATMAN, INC. Morrison first began writing ongoing Batman stories years ago, later making waves by introducing Damian Wayne, the son of Bruce Wayne and Talia Al Ghul, and having him become the latest to assume the name of Robin. While other Bat-books rebooted as part of the New 52, Morrison's increasingly self-contained saga continued, with things coming full-circle. Batman and his allies had to fight a global terrorist network - Leviathan - fronted by Talia, and Damian was caught in the crosshairs. And so, Morrison's story again wove back into the greater DCU, as he penned the tragic death of Damian. Robin, once again, was dead. It's hard to know how to rate this final run on Batman, Inc., because it was so weird, so insular, and so uniquely Morrison. But the legendary writer deserves props for writing a globe-trotting, psychedelic Batman saga in an age where grim n' gritty Batman was par for the course.

- I continue to follow INVINCIBLE in trade-paperback format, and still count myself as a huge fan of Robert Kirkman's modern spin on classic superhero fiction. I'm behind enough on the current storylines that I didn't feel I should include this one in my Best-of-the-Year list. Suffice it to say, it remains one of my favorite reads.

- Speaking of which, LOCKE & KEY will undoubtedly go down as one of the best comic book series of this decade. Earlier this year, I read through Volume 5 of the series, and was completely blown away by the story that author Joe Hill had built towards. I've yet to read the series' final issues that came out recently, but I've read the glowing reviews and have seen them atop many year-end lists. I'll be picking up the sixth and final collected volume when it's released in February, but I had to give this book a shout-out now. It really has been the best comic book going for the last few years, and I hope that Hill has something new up his sleeve in the not-too-distant future, because I and many others will surely be going through Locke & Key withdrawal.


WRITERS OF THE YEAR:

1.) Scott Snyder (Batman, The Wake)
2.) Jeff Lemire (Trillium, Animal Man, Green Arrow)
3.) Brian K. Vaughan (Saga)
4.) Ed Bruabaker (Fatale)
5.) Greg Rucka (Lazarus)
6.) Tom Taylor (Injustice, Earth 2)
7.) Robert Kirkman (Walking Dead, Invincible)
8.) Jeff Parker (Batman '66)
9.) Jonathan Hickman (The Manhattan Projects, Infinity)
10.) Matt Fraction (Sex Criminals)

ARTISTS OF THE YEAR:

1.) Sean Murphy (The Wake)
2.) Fiona Staples (Saga)
3.) Jeff Lemire (Trillium)
4.) Jason Fabok (Detective Comics)
5.) Greg Capullo (Batman)
6.) Patrick Gleason (Batman & Robin)
7.) Sean Phillips (Fatale)
8.) Nick Pitarra (Manhattan Projects)
9.) Ivan Reiss (Aquaman, Justice League)
10.) Michael Lark (Lazarus)