10 Of The Decade's Best SF Comics

Illustration for article titled 10 Of The Decades Best SF Comics

It's been the decade where comic culture took over pop culture, and superheroes became movie stars. But what are some of our picks for the best comics from the last ten years? We're glad you - okay, we - asked.

If it's the end of a decade, then it's time for multiple Best Of The Decade lists. This isn't exactly one of them, though, despite what it looks like; for one thing, even if it was, you'd all disagree with it and complain that we left off something essential - although anyone arguing for the inclusion of Ultimatum, we believe that can be disproven through the use of science and charts - and for another, we've not read every single thing published in the last decade, so for all we know, there's something really obvious that we'll have somehow overlooked through accident instead of malice. Instead of The Ten Best, then, these are Ten Of The Best (Click on the titles for our explanations why and, in some cases, runners-up to the list that we couldn't help but sneak in):

100% by Paul Pope (DC/Vertigo)
All Star Superman by Grant Morrison and Frank Quitely (DC Comics)
Black Hole by Charles Burns (Pantheon)
Casanova by Matt Fraction, Gabriel Ba and Fabio Moon (Image Comics)
Laika by Nick Abadzis (First Second Books)
Planetes by Makoto Yukimura (Tokyopop)
Pluto by Osamu Tazuka and Naoki Urasawa (Viz Media)
Scott Pilgrim by Bryan Lee O'Malley (Oni Press)
We3 by Grant Morrison and Frank Quitely (DC/Vertigo)
Y The Last Man by Brian K. Vaughan, Pia Guerra and many more (DC/Vertigo)


(Thanks to Lauren, David Brothers, Jeff Lester and all who offered advice and good reasons why we were entirely wrong in some original choices.)

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I know one can only list so many Grant Morrison titles (or maybe not) on a single Top Ten list, but I'd also throw my vote in for Morrison's New X-Men. In light of the many, many boring takes on the X-Folks, Morrison's remains one of the more thoughtful, smart, and even tender runs in the history of the series. Moreover, it's full of fun, mindfuck scifi moments, from wacky mutant powers—"No Girl" had the power of being purely conceptual, another students at Xavier's wasmade only of gas—to a story arc that took place in a dystopian future that was actually interesting. It has some problems, sure, but Morrison actually pushes, problematizes, and lovingly resituates the stakes and questions posed by the X-Books instead of just regurgitating character tropes and churning out mutant melodrama and flashy (if unsatisfying) crossovers. As an added bonus, the art (except when Kordey does fill in) was exceptionally good.