Welcome to the Multiversity Year in Review for 2022! We’ve got over 25 categories to get through, so make sure you’re checking out all of the articles by using our 2022 Year in Review tag.
There are dozens of ongoing series that were somebody’s favorite that didn’t make it onto our top ten. But these were the comics that brought us together. Lots of us read them, lots of us loved them. We stayed up late debating them, and got into heated debates about what was going to happen next. Here are our ten favorite ongoing comic series of 2022.
10. She-Hulk
2022 was the year MCU fans fell in love with Jennifer Walters (and Tatiana Maslany) in She-Hulk: Attorney at Law. But those of us who have been reading Rainbow Rowell and Rogê Antônio’s “She-Hulk” series that kicked off in January . . . well, we knew that all along.
The best parts of Jennifer Walters are not when she’s being a superhero, but when she’s navigating that line between superhero and real-world life: practicing law, dating, friendships. And Rowell and Antonio capture this perfectly in lighthearted, fun stories, full of color and life, with just the right amount of angst. Thanks to the appearance of someone from Jen’s past that has quite the effect on her present and perhaps future, Rowell blends the superhero side of Jen with the lawyer side of Jen effortlessly, writing a kind of series that is not one you see on shelves. But she doesn’t totally leave out Marvel canon, diving in with fun Easter eggs for the fans. Add in Rogê Antônio and Rico Renzi’s art and colors that play up to script and character beautifully, and you have a series that is unabashedly different and beautiful, all at the same time. This She-Hulk is totally Marvel and totally unique, taking Rowell’s novel-writing experience and translating it to the comic realm effectively and gloriously.
Will we get a second season of She-Hulk: Attorney at Law? Jury’s still out on that. But will we get more of She-Hulk in the Marvel Comics Universe? If this series is any indication, the sky is the limit. – Kate Kosturski
9. Amazing Spider-Man
Marvel’s “The Amazing Spider-Man” kicked off in 2022 with the finale of the epic ‘Beyond’ storyline. The ‘Beyond’ era was a great moment that thrived off of subtly to flesh out the fascinating dynamic between Peter Parker and Ben Reilly. Marvel boldly decided to drop the plot thread with Reilly for several months while writer Zeb Wells and artist John Romita Jr. kicked off a brand new volume of “The Amazing Spider-Man.” Wells and Romita Jr. started the run with an intriguing hook that saw Spider-Man go off in a huge fight against Hammerhead. “The Amazing Spider-Man” ships numerous times a month and has been able to cover so much ground. The art in these issues from Romita Jr. evokes some of his great work with the character from decades past. Romita Jr. has done a solid job streamlining his style and focusing more on character anatomy. In recent work, Romita appeared to be too focused on rendering characters as opposed to telling a coherent story, this is thankfully not the case on recent issues of Spider-Man! “The Amazing Spider-Man” #6 from Wells and artist Ed McGuinness was an incredibly impressive anniversary issue that introduced so many tense fights and moments for Spider-Man.
Spidey’s candor with J. Jonah Jameson was an incredible hook for the issue to kick off on. Following this issue, “The Amazing Spider-Man” is a can’t-miss series. Wells focused deeply on the interpersonal relationship between Peter Parker and Norman Osborn. In the middle of introducing several other Goblin characters to the Marvel Universe, Peter had to navigate an Osborn who is trying to reform his villainous ways. As soon as Peter is able to develop a rapport with Norman, Wells starts to tease the return of Ben Reilly as the villainous Chasm. Despite the fact that “The Amazing Spider-Man” carries a bombastic narrative the series has been able to leverage plot to evoke a great sense of quality. The incredibly climactic and bombastic issue of “The Amazing Spider-Man” #14 by Wells and artists Terry Dodson, Kyle Hotz and Michael Dowling cemented this title’s position as one of the best comics published by Marvel in 2022! – Alexander Jones
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8. Batman/Superman World’s Finest
Mark Waid’s proper return to DC Comics teased our minds all year with its placement in the current “canon.” With Dick Grayson in the Robin role, it was clear that the series more or less began in some nebulous Silver Age setting – an anomaly if you consider how DC tends to handle their current line of in-continuity titles, especially if they mean for them to have an effect on the current metanarrative. But who better to break the rules for than Waid and series artist Dan Mora? The fun of shared universe comics is feeling as though all books are proverbially rowing in a similar direction; or at least in directions that do not actively fight against each other. The truth is that none of that matters if the book is no good. “Batman/Superman: World’s Finest” might be the best ongoing series DC has to offer.
Waid is nothing if not a DC historian to go along with his writing chops, so he deftly drops new characters into old settings, brings age-old versions of Teen Titans characters into the fun, and even repurposes some surprising (and a couple maybe not so surprising) villains. Half of the beauty of this comic is that Mora gets to apply his artistic vision and clean design work to these characters. It’s almost like Waid is packing more and more into the book just to see what Mora does with it. As the series ran on through the year, it became clear that the story has more to do with the forthcoming landscape of DC Comics than we could have known initially. It seemed unlikely when it began, but suddenly the first quarter of 2023 will be spearheaded by an event spun from this title. With any other writer, this may seem like an indulgence, but Waid is well-traveled, savvy enough, and “World’s Finest” has been good enough that it instead feels like an injection of energy into DC’s line. It’s the first ongoing title in a while at DC that truly makes it feel like their entire history matters. – Vince Ostrowski
7. The Flash
Jeremy Adams took on an assignment on “The Flash” that was a daunting one: don’t just make Wally West the center of it, but use the pages to say a lot about DC’s speedsters, tell some family stories, and don’t let fans say “I wish Barry was the star.” Two years in, Adams has done all of that and more, effectively tying in to multiple events, some of which have not exactly been up to the standard of his own book, and reminding people why no one really complained when Wally West was the Flash for 20+ years.
“The Flash” has not shied away from using multiple speedsters, or confronting the weirdness inherent in its characters, like “hey, how do we get Wally and Wallace West to coexist?” There’s so much that Adams has done to bolster the Flash corner of the DCU that, for the first time in over a decade, there is a sense of ‘hey, maybe this needs a spinoff title.’ But DC’s solution is to have the book double ship in 2023, allowing readers to get twice as much of “The Flash” as they did this year. That’s not something that happens often nowadays, and it specifically isn’t something that happens to non-Batman books. “The Flash” has established itself as the cornerstone of what the ‘Infinite Frontier’ era of DC is all about.
And, not to throw some weird shade while praising it, it has done so without consistently great art. 2022 was a huge upgrade over the title’s first year, with Amancay Nahuelpan coming on midway through the year and giving the book some art worthy of its script. Don’t get me wrong, there were good visual moments before then, but the book always felt like its artists were’t doing enough kinetic work or giving the title a consistent enough look. That’s a further testament to how well the book has worked, when you can read an issue and say “That was great, even if the art was a little static for a Flash title.” With the ‘One Minute War’ starting in January, “The Flash” has a chance to soar to even higher heights. Don’t say we didn’t tell you to pick this up. – Brian Salvatore
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6. Department of Truth
Martin Simmonds and James Tynion IV’s exploration of misinformation and conspiracy theories is still poignant and masterful. After last year’s introduction to the world, it’s characters and the main story, the book was ready to fully enter into its second act, the confrontation; Instead, we took a detour.
The first part of the year, we got to read, in issues 14 to 17, four “deviations” with art from guest artists: John J. Pearson, David Romero, Allison Sampson, Jorge Fornés and Jordie Bellaire. These stories follow Lee in different times of his life. That time he learned about the Babalon Working; the story of how the introduction of “strange flying objects” accidentally created monsters like Mothman; Lee taking drugs with a woman, an event that forever changed him; and Nixon learning about the Department and the Russian Ministry of Lies.
Then, the rest of the year we got issues 18 to 22, where we follow our main protagonist, Cole, as he has to deal with both Black Hat and the slow destruction of his marriage at once. This arc explores a very controversial and interesting idea: What happens when the lie has to fall apart, is it better for the country and the world to know the truth? The same also applies to our loved ones, can you trust that your partner is telling the truth? What happens when the contrary is revealed?
“The Department of Truth” is still strong, it’s message about the power of belief and the fragility of the truth is more resonant than ever; in a world where a billionare can buy a social network and control the narrative with obvious lies, how far from reality can this book be? In a country where a corrupt president encouraged an insurrection and can still be a candidate the next election, how easy is it to break the truth?
We seem to be getting closer to the climax of the story, but we could easily have two volumes more with the story of Cole and the Department of Truth, however long it lasts, this book won’t disappoint next year. – Ramon Piña
5. Daredevil
“Daredevil” being included on this list almost feels like a given, considering the quality we’ve been getting from the comic ever since Chip Zdarsky’s run began. His last run took Matt Murdock on a journey that tested his faith in every way, including his faith in the justice system, before building up to “Devil’s Reign.”
With that event over, Chip continued on with a new issue #1, bringing Matt and Elektra together as Daredevils (and more recently as husband and wife) to fight The Hand while stretching the limits of their moral boundaries. All the while, Rafael de Latorre’s artwork and Matthew Wilson’s colors just bring every page to life with stunning composition, framing, fluid motion, and detail. The dark coloration matches and sets the atmosphere, while Rafael’s illustrations bring the characters to life.
And every issue is awesome.
The comic takes us into the heads of multiple characters, so we can see what drives them, what questions or concerns plague them, and what they hope for. It humanizes these characters even when they begin pulling off superhuman feats, and lets us understand why they do what they do as they get precariously close to crossing lines. But we also see them struggle with loss, question their ideals, and clash with each other. And yes, those clashes are often physical as well, as there’s no shortage of great action pieces and fight scenes, beautifully illustrated with all the rugged detail and harsh impacts they deserve.
As long as this keeps up, “Daredevil” is going to keep deserving a place on this list. – Robbie Pleasant
4. Saga
You can bet that any time “Saga” returns, it will have a spot on the best ongoing list. Finally, after a four-year hiatus, one of the most visually exciting and original comics has returned. It doesn’t feel like Brian K. Vaughn and Fiona Staples have missed a beat as they continue the coming-of-age space opera that explores being a rebel and making sacrifices for those you love. Vaughn has a way of capturing his character’s different voices, from the precocious Hazel to the damaged (but still badass) Alana, as they try and keep a low profile and make some money to escape their past. But Vaugh and Staples also give us a fun cast of pirate rock stars, new threats from Landfall’s secret service, and returning favorites like The Will to round out the cast of characters.
Continued below“Saga” also looks completely different from any comic coming out. Staples is an endless font of creativity as each page bustles with unique characters and creative ship designs. From a pirate ship that is literally a flying skull and crossbones to a pet store owner as aquatic as the fish he sells, you’re always in for a visual treat when you open the pages of “Saga.” But the continued emphasis on Hazel’s coming-of-age story continues to make “Saga” one of the best books on the market. This is best captured in Hazel’s monologue about music in “Saga” #55, that magical experience when you find some piece of music that is totally yours, a discovery you made on your own. It’s such an outstanding thesis for this chapter. It’s a section about the creation of identities, art, and the desperate measures some will go to preserve the status quo. But once an idea is out there, the world will never be the same once someone discovers it. This is why “Saga” is remarkable and will always come back with great enthusiasm. – Joe Skonce
3. Nightwing
Tom Taylor and Bruno Redono’s “Nightwing” has been an absolute beacon of light in superhero comics. The premise of the series is simple but stunningly effective: what if a hero with a lot of money used it to really help people? Nightwing fights crime, sure, but Dick Grayson has made it his mission to solve problems. Be it creating safe, clean spaces for community building or just giving money to people that need it, this series has done strong work at rooting its story in Dick’s sense of duty to take care of the people around him. Maybe even more importantly, it’s a series about Dick being fearless in facing off against entrenched power in Blüdhaven. This is a series with corrupt cops and politicians and people with money and power trying to get even more money and power. While people like this being antagonists isn’t exactly new ground for comics, few mainstream series have ever been so explicit in approaching these as systems of power instead of set dressing.
Taylor has done strong work surrounding Dick with a strong supporting cast including Barbara Gordon (who Dick has finally settled down with), Maggie Sawyer, and Melinda Zucco. Maybe even better, Dick frequently relies on his friends and family for help. This year has seen “Nightwing” arcs featuring teamups with Jon Kent and Wally West as well as the entire Bat-family. The idea that we’re stronger when we know how to get help is lovely and sorely needed in superhero comics.
But this isn’t just a good comic because of its messaging— this is just great superhero writing and art. Heartless and Blockbuster make for great, menacing villains and foils for Nightwing, making for formidable antagonists. And Redono’s artwork has been one of best parts of “Nightwing” since its first issue. Redono is one of those artists whose style perfectly compliments the project he’s working on. His extremely clean linework is evocative of the classic DC house style but he brings a propulsive energy to the whole affair, meaning the style of this series is remarkably reflective of the character of Nightwing himself. Action is exciting, energetic, and fluid and you can always see the fact that Dick is putting on a performance the he fights. Calm moments, too, work incredibly well, especially when Renodo is working with Dick and Barbara as a pair. The rest of the art team is incredibly strong as well, imbuing the series with bright colors and strong inking that round out the visual language of “Nightwing” beautifully.
Tom Taylor, Bruno Redono, and co. have put together a remarkable comic in “Nightwing.” Familiar in all the right ways while bringing new perspective and energy, this is a series that’s built to leave a legacy. – Quinn Tassin
2. Immortal X-Men
After walking away from his last Marvel series, Kieron Gillen said that he would only come back if he “could do something completely new.” Last year, he returned to the self-proclaimed house of ideas to write “Eternals.” And now, here he is writing “X-Men.” Again! Whether “new” or not, the series still managed to earn its place in our best of the year, and deservedly so. Focusing on the Quiet Council of Krakoa, “Immortal X-Men” is the sci-fi political thriller we were promised in “House of X/Powers of X.” It’s been electrifying. We’ve gotten the joy of seeing Gillen return to characters he helped define, list Mister Sinister, Sebastian Shaw, and Hope, and also lend some depth to characters like Exodus, Destiny, and Mystique. With an approach that blends sensitivity and dark humor, “Immortal X-Men” is nothing less than the definitive tour through the rulers of Mutantkind.
Continued belowIt’s also a book that could have been incredibly dry. Conversations can be exciting, but they are hardly the most dynamic sort of scene to include in a zap-pow comic book. Lucas Wernick has been doing the odd issue or miniseries at Marvel for a while now, but he absolutely exploded out of the gate on this series. Wernick’s style is one of the more realistic in the X-line, but he has a movie director’s eye. He can always find the right angle, and draw his characters subtle facial expressions. A page crammed with a grid of the same couple of characters yelling could mostly tell its story through dialogue, but Wernick’s every image id worth thousands of words. He also delivers the big moments, like making a kiss really feel like the end of an epic romance. “Immortal X-Men” is casually putting out masterpiece stories every month, and it continues to make the X-line relevant for another year. – Jaina Hill
1. X-Men Red
Al Ewing is a kid at play with one of comics’ greatest toy boxes. If there is one thing for certain about Jonathan Hickman’s tenure on the X-titles, it’s that the status quo shakeup was so dynamic and so complete that subsequent writers and artists have been allowed to dramatically re-align mutants and their role within the Marvel Universe. The results have been largely spectacular, with the mutant nation of Krakoa and the new mutant resurrection protocols opening strange, beautiful new areas for writers to explore. The 2021 event “X of Swords” also gave us the mutant nation of Arakko, a group of mutants also descended from Apocalypse, but long ago stranded in Otherworld, and have become a fierce nation of hardened warriors engaged in an endless battle. When that nation was transplanted to “our” world, it brought these strange, compelling mutants and their alien ways to a world that now feared mutants more than ever. They were subsequently given a home on Mars – the “Red” of “X-Men: Red” – a terraformed soil to call their own, conveniently removed from the world who already had ample mistrust of their kind.
But back to Ewing, who, along with primary artist Stefano Caselli, has used the various shake-ups and new interpersonal dynamics within the mutant line (and beyond!) to not so much shake all the toys out of the toybox and begin smashing them together, but to carefully arrange interesting pieces on a board, and letting the game of nations unfold. See, Ewing has a plan – and this plan (initially orchestrated in his run on the underrated book “S.W.O.R.D.”) is both a thrilling, grandiose meditation on the struggle for power and dominance, but also an insightful character study on the types of men (and mutants) who would seek that power, and control. One the one hand we have Storm, now Regent of Arakko, and Magneto – both mutants who feel little desire for power, but yearn to help guide the Arakki people in the shaping of their new nation, a purer form of the dream once held for Krakoa (especially in the eyes of Magneto). On the other hand is Abigail Brand, the mutant/alien spymaster who craves to control the machinations of all parties, Krakoan, Arakki, and humans alike for the sake of the protection (and dominance) of the entire Sol system. In Brand, Ewing has a perfect villain of Iago and Littlefinger-ian proportions, who sows chaos as a means of control. Brand’s personal form of chaos is Vulcan, the third (and decidedly least popular) Summers brother – former ruler of Shi’ar and looking for a second go at being Emperor. With the Shi’ar and Kree truce destabilized, Brand looks to put the Sol (Earth) system at the top of the food chain.
Enter Sunspot, Cable, and the Agents of S.W.O.R.D – Ewing’s own little chaos engines – fan favorite characters who shine in Ewing’s hands, and who seem less inclined to play by anyone’s rules, but simply look to make sure the tendrils of power are not clutched too tightly around the throats of innocents. And don’t get me started on Nova’s surprising and fantastic inclusion in this title! Ewing hits all the right notes writing Sunspot/Roberto Da Costa, the same sort of casual charm Batman dons in his Bruce Wayne persona, with only a fraction of the self-awareness and wisdom. Sunspot knows there is a game being played that’s bigger than he is, and rather than have any big plans on how to control the pieces, he leans in to the punches, surviving on little more than a great powerset and bravado, and an understanding that he could be immediately resurrected if he screws up! This served him well early in the series, as a brilliant gambit against Itasca the Unbeaten, a mutant who has the ability to “not lose” ensures a victory for Magneto in the Great Ring, and a seat on the Arakki council. Sunspot’s neck was abruptly snapped when Itasca realized the ruse, but it was a great character beat from a mutant who realized death is but little obstacle and minor inconvenience in the great political struggle he’s a part of.
As we convened this year, discussing our favorite titles and moments from this year’s fantastic lineup of ongoing series, one title stood head and shoulders above the rest – this fantastic series from Al Ewing, artist Stefano Caselli (whose Storm redesign is a sight to behold!), and a team of collaborators working at the top of their game. Ewing is engaged in really long-form, Claremont-worthy storytelling and world-building, pulling story threads together from across decades of beloved continuity and adding wonderful moments of characterization of his own that will be lovingly tugged on by writers further on down the continuity line. The bizarre, wonderful culture at the heart of “X-Men: Red,” that of the strong, resilient mutants of Arakko, is the dynamic heartbeat by which this book sings. It sings of a people embracing change, but remembering the past while forging a destiny of their own. It is Al Ewing and the creative team’s dream for mutants, and each month the team here at Multiversity have been happy to dream along with them. – Johnny Hall
