While historically ‘best of’ lists are best suited at year’s end, the reality is that waiting until then actually leaves some doubt throughout the year itself what is considered great as it’s happening. With that in mind, throughout 2021, I’ll be regularly updating Comic Book Herald’s best comics of 2021 guide, so that the work can function as a check-in for your next series to read, and by year’s end, a summary of everything we recommend.
Related Best Of Lists:
Below you’ll find all the best comics released primarily in 2021. See a graphic novel or series you love missing from the list? Let us know in the comments!
The Best Comic Books of 2021!
I’m blown away by the confidence, focus and creative synergy in The Department of Truth, the Image Comics series from James Tynion IV, Martin Simmonds, Aditya Bidikar and editor Steve Foxe. The series tackles the nature of conspiracy theories, in a world where belief in various real-world conspiracies transfers to manifesting those false ideas into reality. So flat-earth rallies lead to helicopter rides to the true edge of the world, and false flag school shootings lead to one of the most heartbreaking and chilling comics I’ve read.
To keep conspiracy from overtaking truth, there’s The Department of Truth, one part Men in Black, one part Planetary. Creating a platform to explore the insidious nature of conspiracy in modern culture is one thing, but managing to make it horrific, entertaining, mysterious, and engaging? That’s some good comics.
Check out Comic Book Herald’s full review of the Best New Graphic Novel!
Ice Cream Man has been on some version of my best of lists since 2018, and from 2020 on the title of Comic Book Herald’s favorite ongoing series is Ice Cream Man’s to lose. W. Maxwell Prince, Martin Morazzo, and Chris O’Halloran are simply the most inventive creative team in comics on an issue-by-issue basis.
Elsewhere, Haha is very much a spiritual spinoff, with writer W. Maxwell Prince shifting his unique brand of surreal philosophy from cosmic Ice Cream Men to all manner of costumed clowns. The darkness of the Ice Cream Man universe certainly follows, although Prince and his new-artist-per-issue collaborators play the stories a bit straighter, less reliant on a conceptual hook, or interconnected supernatural flavor of the day.
For more, check out my interview with W. Maxwell Prince!
‘The Portrait of Dorian Gray’ looms large in my memory, one of those classics of literature that I simply read at the right point in my most curious voracious consumptions of high-minded college art. A Picture of Everything Else from Vault Comics builds on the foundations of that Oscar Wilde classic, portraying high society art scenes interuppted by paintings that can destroy, and perhaps the literal Devil himself.
While I’m sure I would have enjoyed Scarenthood years ago, the post-kids experience definitely sends this four issue miniseries from Nick Roche and Chris O’Halloran soaring up my favorites. Equal parts the comedy of getting to know other parents at daycare, and the horror of unleashing an eldritch evil underneath their school (ok, only one of those is particularly familiar), Scarenthood is immaculately constructed and one of the most charming comics I’ve read this year.
Getting into Canto from David M. Booher, Drew Zucker, Deron Bennett & IDW Publishing is one of my favorite moves of the entire year. The sophisticated all-ages fairy tale follows the clockwork knight, Canto, as he attempts to free his people from the magical enslavement of The Shrouded Man. The irony that Canto and the clockwork knights have had their hearts replaced with ticking clocks is not lost, as Canto’s bravery and sheer fortitude in the face of the impossible is delightfully charming. Canto draws inspiration from “The Wizard of Oz,” and Dante’s “Inferno,” but in modern comics terms, it’s very much in the conversation with Bone, Amulet, and Klaus.
Who would want to live forever? Stillwater’s far from the first time anyone’s asked the question, but it’s one of the most memorable answers in recent memory, distilling the prospect down to a single small town, and their mysterious never-ending, never-changing lives. Chip Zdarsky’s post Sex Criminals comics career is off to a fascinating start, with the strong opening of a run on Stillwater, plus the continued intrigue of his classic-in-the-making work on Daredevil (not to mention, TONS of other projects).
You don’t have to say more than “punk rock haunted house” to get my interest, but a creative collaboration between Dan Watters, Caspar Wjingard, Adita Bidikar and team certainly doesn’t hurt. early in the run, Home Sick Pilots is a brilliant blend of teenage angst, found family, and supernatural legacy begging to welcome you inside.
When I interviewed Steve Orlando about Kill A Man mid 2020, he mentioned an upcoming creator-owned work riffing on DC’s Crisis on Infinite Earths, and a multiverse of superheroes, and I immediately wanted to do nothing but read that comic and ask him questions about it. Lo and behold, the work is Commanders in Crisis, and it has lived up to my high expectations with a Morrisonian spin on a multiversal gathering of Presidents as Earths around them are eradicated due to mysterious forces.
Apart from the explosive conceptual ideas, the queer spin on Commanders in Crisis helps elevate the series into a less familiar pastiche of the well trod genre. At its best, the series reminds me a lot of Morrison’s Action Comics and President Superman.
Recommendation #2: My interview with writer Tate Brombal on all things Barbalien!
Rory McConville, Joe Palmer, Chris O’Halloran and Hassan Otsmane-Elhaou team up for an incredible effective, impossible to put down tale of two brother hitmen trying to wrap up one last job before retirement. I gave this graphic novel a peek just to see if it would be up my alley, and an hour later I was wrapping up the entire affair. The worlds of organized crime families will ring true for fans of everything from Fargo to Boondock Saints, but it’s McConville and Palmer’s characterization throughout that sells this is a lot more than an “another” crime drama. The cover for the graphic novel is by Declan Shalvey, which honestly makes a lot of sense considering 2020’s Bog Bodies is one of the most recent comparisons that stood out to me as well.
I’ve never been a boxing fan, and honestly, that’s a big part of the appeal of learning more about Muhammad Ali through this experimental work of comics and photojournalism. The graphic novel from Titan Comics combines the comics work of Jean-David Mornaz and Rafael Ortiz, and merges it with rare photos by Abbas of Ali’s fight against George Foreman in Zaire, 1974, aka “The Rumble in the Jungle.” The end result is a unique work of varied histories, culminating in one of the biggest sporting events of the 70s. I’m not sure how additive this book would be for an Ali or boxing fan – or for an Abbas fan for that matter – but as someone with limited knowledge of either, I found it completely fascinating.
The really incredible thing about the Chip Zdarsky era of Daredevil isn’t just that it’s fantastic, but that – especially when combined with series regular Marco Checcetto – it’s perpetually making a case that it’s the very best Marvel Comic in the entire house of ideas. The build from issue one to twenty-five, with an astounding “One More Day” annual thrown in for good measure, is just a masterclass in rising stakes, thematic evolution, and character work. 2021 issues of Daredevil kick off with King in Black tie-ins, a possible death-knell for an ongoing run, yet Zdarsky and company simply don’t miss a beat, integrating the Venom-based insanity of the main event seamlessly into their tale of Daredevil, Kingpin, Elektra and Hell’s Kitchen.
For more, check out my interview with Chip Zdarsky!
Honestly, at a certain point, I’m borderline embarrassed with how many Vault Comics new series launches I want to include on year-end best ofs. I’ve been called a ‘Marvel Shill’ (I wish!), but I have this weird internal resistance to promoting literally everything Vault does as potential year-end best of quality. I’m my own free-thinking pound of beefcake, ya know?
And yet, Vault’s internal quality filter is insanely good, and the reality is the publisher simply knows how to combine some of the best creators in comics with excellent concepts, and in the case of I Walk With Monsters, subtle, twisting horror. I already knew I liked Paul Cornell’s writing an awful lot (what’s up, Captain Britain & MI13!), but Sally Cantirino’s art that completely blows me away, and sells me on yet another Vault book on the best of 2021.
David F. Walker and Marcus Kwame Anderson’s historical graphic novel is an essential dive into the nuance and depth of America’s Black Panther Party. Personally, I had a very limited understanding of what the Black Panthers actually did, with my perception of the party shrouded mostly in vague ideas of militancy and violence. Which, as I read this graphic novel, is also exactly the intent of then FBI Director J. Edgar Hoover, and the government’s cointelpro operations destabilizing and diminishing the party at every turn.
The history of the Panthers is not easy, and Walker and Anderson do a great job painting a full picture, warts and all, while highlighting the underdiscussed social good, the irrefutably complicit role of law enforcement, and extremely relevant points the party was founded on. As Walker writes in the afterword, “It is perfectly fine if, after reading this book, you’re not sure how you feel about the Panthers or you have mixed emotions.” This was my experience, but crucially, I have a lot more information to inform these emotions now.
I’m not surprised that I like SWORD by Al Ewing, Valerio Schiti, Marte Gracia and their X-Men line collaborators, but I am surprised how rapidly the focus on Marvel’s mutant space program launched into my absolute favorite comics. The first issue of SWORD packs a punch like the finest moments of House of X / Powers of X, and Ewing is firing in 2021 in a way he never has before (which is saying something for a storyteller known for the likes of Ultimates and Immortal Hulk!). Not to mention, SWORD pulls off the remarkable feat of (nearly) launching straight into a linewide Marvel crossover event (King in Black), and still retaining its core purpose and sense of story. Al Ewing and team are somehow pulling double duty on establishing a new Marvel Space Age and fitting into the grand scheme of Hickman’s X-Men, and honestly, I couldn’t be more impressed.
My expectations for After the Rain were absolutely blown away, as this adaptation of a Nnedi Okorafor short story is an exceptional graphic novel, kicking off the incredibly promising Megascope line of comics curated by John Jennings. As scripter and colorist here, Jennings and artist David Brame convert Okorafor’s afrospeculative fiction into a creeping, encroaching, Swamp Thing esque horror story about a young woman’s transition from America to her African roots. Brame and Jenning’s art and panel layouts are mind-boggling yet natural, and worth the price of admission alone.
For more, check out my conversation with John Jennings on After the Rain.