You voted and we continue with the results for your picks for the top comic books and graphic novels of the 2010s.

60. Dark Nights Metal

Dark Nights Metal was a reunion of the acclaimed Batman creative team of Scott Snyder, Greg Capullo and Jonathan Glapion. The series introduced the concept of an evil flip version of the Multiverse known, appropriately enough, as the Dark Multiverse. We all know Batman is the guy that you want on your side, so imagine what will happen if you suddenly have to fight a team of the most evil versions of Batman from the Dark Multiverse? That's the key dilemma of Dark Nights Metal...

The series introduced the villainous Batman Who Laughs, who has become a major villain in the DC Universe in the years since (and really, the whole Dark Multiverse concept has been big for DC). The series was notable for how many awesomely outlandish moments that Snyder and Capullo put into the series, as it seemed like they would just constantly one-up themselves until Batman is riding a giant Joker dragon.

Snyder explained to CBR just how much fun the over-the-top adventure was, "I hope it comes across how much fun everyone is having on this, because we really just got to a point where we decided we had to just do it for ourselves. Once we got to Baby Darkseid -- or, honestly, once we got to the Justice League Voltron, which is so early in the series, I was like, "Alright, we're just doing it. We're just jumping these sharks, I don't care." It's just really been that -- jumping over sharks. And if everybody wants to jump with me and like it, great. If they don't, that's cool -- I'll just keep jumping over them."

Dark Nights Metal basically broke the very concept of the DC Universe and Snyder has continued that to great effect in his recently completed Justice League run.

59. Exit, Stage Left!: The Snagglepuss Chronicles

Exit, Stage Left! tells the story of how Snagglepuss came from working in theater to becoming a cartoon icon. Mark Russell explained to Salon the two basic foundations that he built the series upon, "I think that once you commit to that path as a writer, you have to see it through to the end. Story ultimately needs to emanate from the characters in a way. That the characters you create — you understand their backstory, you think about what it would be like for them. It's really an act of empathy, of understanding what it would be like to live in a world that they lived in, in ways we do not normally see in popular media. What would it be like to live in a world behind the scenes from the cartoons and the other ways in which we've gotten to know these characters through popular culture? You build the story from there.

For 'The Snagglepuss Chronicles,' the two pillars that I built that story around were, first, I know that he is a gay icon. Second, Snagglepuss has a background in theater, because all of his catchphrases such as "Exit stage left," "Heavens to Murgatroyd," they're all theater references.

That got me thinking about why Snagglepuss would have left theater in the first place and also what it would have been like living as a gay man in New York during the 1950s, before he got into the cartoon. The whole story just builds itself upon those two basic assumptions."

Snagglepuss is an impressive character. Russell further explained what makes him such a hero, "Snagglepuss is a hero because he did the most daring thing that a man in his position could do back then. And that was simply to live. He chose to live his life in a way that made sense for him, and that felt authentic to him. I think ultimately that's what every act of heroism is. It is an act of authenticity. It's an act of stepping out of the roles and expectations that other people have for you and doing something that feels right to the voice within, that inner voice.

I think that too much of our lives is spent acting on incentives — and the incentives are usually for us to shut up and do as we're told and to go along with things that we don't necessarily believe in. That benefits us in the short term.

Snagglepuss is a hero because he chooses authenticity. He steps out of the incentives that have been laid out for him and chooses something that makes no sense on a purely instrumental immediate level. But his decision allows him to be true to the core of who he is."

There's a wonderful sequence in the fourth issue (by Russell, Mark Feehan, Mark Morales and Paul Mounts) where we see Snagglepuss and his friend, Huckleberry Hound, struggling with their closeted lives while a government agent is conspiring against Snagglepuss...

The ending of the issue is tragic and beautiful, in two very different ways.

58. Brian Azzarello and Cliff Chiang's Wonder Woman

Brian Azzarello and Cliff Chiang's run on Wonder Woman, following the New 52 continuity reboot, began with Wonder Woman coming to the aid of a young woman who is being hunted down by the gods themselves. They learn that it is because she is pregnant...with the baby of Zeus! Wonder Woman must then vow to protect her against the other children of Zeus who want her dead before her baby is born. The fight goes to Paradise Island, where the Amazons are turned against each other by Zeus' daughter, Strife. Wonder Woman stops her, but in the process learns a shocking secret about herself that she is Zeus' daughter, as well!

This was a shocking revelations about the nature of the Amazons. Wonder Woman's heritage was a major change, as well, and it has become a major part of her character in the films. She shows off her inherited power when she has to defend a young woman pregnant with Zeus's child from the rest of Zeus' offspring.

The problems of the gods was a major part of the series, as Azzarello explained to CBR, "Yeah! It's funny; when those myths do get interpreted the humanity is sort of left out of them. The raw human emotion really drives those stories, both for good and for bad" and Chiang added, "There's so much: there's love, there's anger, there's jealousy, there's pride. These are all things you can use to describe the stories in "100 Bullets" as well. These are real human emotions that all these stories are pinned on so all of this is incredibly fertile for material.

Azzarello also explained their approach to the book as, "[W]e're treating magic like reality. I don't think we even mentioned that her lasso is magic" and Chiang added, "The approach is that you know who Wonder Woman is, you know what her powers are, and then where's the story? The story is in all these other characters around her who are manipulating her and pushing her to do things. You can accept all the fantastical elements because everybody else in the world does. If there are monsters running around, why can't she have a magic lasso?" Azzarello followed up by noting, "Right. And, more importantly, that monster is an asshole and he treats people poorly and we know someone like that! [Laughs] It's getting these characters recognizable emotionally and motivationally. Motivations you can understand -- you don't have to agree with them, but you understand why they're doing them."

Wonder Woman was still reeling from the truth of her parentage when she continued to look for the kidnapped child of Zeus, while having to fend off attacks from other children of Zeus while dealing with the aid of OTHER children of Zeus (all while the villainous First Born was introduced). The highlight of this arc was the classic #0 issue by Brian Azzarello and Cliff Chiang done in an H.G. Peter esque style that shows the first encounter that young Diana had with Ares...

Wonder Woman's continuing battle with the forces trying to kill the Last Born child of Zeus brings her into conflict with the First Born, with Orion of the New Gods playing a major role, as well. This storyline also ended up with Wonder Woman having to take up the mantle of the God of War.

Brian Azzarello's run then came to a close with an epic battle between Zeus' First Born and Zeus' other children, including Wonder Woman.

57. Rainbow Russell and Kris Anka's Runaways

With the release of a TV series adaptation of the Runaways, Marvel decided to do a new Runaways series by Rainbow Russell and Kris ANka, even though the team had been broken apart for quite some time, which is what Russell explained to CBR was a key part of the series, "Kris and I are really focused, in this first arc especially, on how these characters have been shaped by their experiences and relationships. They were brought together by the greatest trauma – losing their parents – and then they lost each other.

Nico feels like she’s lost everything. All she has left is her magic. And she’s never had a comfortable relationship with that power. It’s not like Nico woke up one day and realized she could fly, you know? Her power has always been associated with pain and limitation.

The Nico we see in this story is tired of hurting. She’s looking for ways to push back."

The team is pulled back together, including pulling one of their members out of the past. They have some trouble, though, with getting their youngest member, Molly, back from her grandmother and her grandmother's...cats?!?!

Recently, the team has been flirting with full-blown superheroics. It's a clever mixture of nostalgia mixed with realism about how the way life moves forward, whether you want it to or not. Of course, these are such great characters that their interactions still sell the book so well. Russell and Anka are a great team.

56. Injection

Injection is a series by Warren Ellis, Declan Shalvey and Jordie Bellaire about a group of geniuses brought together to help further mankind. Their plans, though, involve creating an artificial intelligence that combines magic and science and introducing it into the world. It goes really poorly. Years later, the intelligence is back and the world is besieged by these weird mixtures of magic and folklore, all with a scientific background. The geniuses are some of the only people who can stop these attacks.

Ellis explained the inspiration for the series to Talk Nerdy With Us, "The ideas of 'future shock' and a rise in 'novelty' have always interested me. In the case of “future shock” – people terminally alienated or damaged by the onrush of the future — it never really happened? It was a very interesting idea, but I’m not convinced that broad swathes of people experiencing shock from things happening too fast is one that stands up to the test of time. Humans are fundamentally more adaptable than that. We have to invent things that exist only in the potential future to get worked up about, like strong AI.

I should note here that I’m an edge case — I deal with the feeling of things not actually happening fast enough.

So what happens when you put five people like me in a room, with brains a hundred times better than mine, with the space to do something about that?

At the same time: I’ve spent the last few years doing public talks about the relationship between folklore and technology, and science and magic. The magical method is actually the basis of the scientific method — they were substantially the same thing until the time of Newton. And we use folkloric terms to describe our technologies — “daemon” for a program that runs in the background process, for example. Steve Jobs’ central metaphor for the iPad was “magic” — we point at a magic mirror with our finger like a wizard and things just happen. Technology is the aspiration to replicate the condition of magic.

So you roll all these things up together, the magic and the science and the future shock and the fear of AI and the haunted future and the past under our feet and ready to grab our ankles at any moment — and you get five people summoning a terminal case of the weird because they were bored and because they were arrogant and because they could.

And this lets me talk about all these things. The world becomes paranormal and I get an outfacing way to talk about the ties I see between the world of ghosts and spooky action at a distance, and the way we prepare for or try to bring on outbreaks of the future, and also people who put terrible things into sandwiches."

Shalvey and Bellaire do an amazing job bringing these mad ideas to life...

The series is currently on hiatus, but it will hopefully continue again soon. Maybe in 2020?

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