ComicsAlliance’s Best Of 2016: The Best Horror Comic of 2016

Black Magick, the stunning Image Comic from the Wonder Woman Rebirth team of Greg Rucka and Nicola Scott, tells the story of Rowan Black, a witch and Portland PD detective. This series features some of the most haunting beautiful (dare we say magical?) artwork in any comic being published today, perhaps ever. It's dark, haunting and beautiful. This gothic horror story is one for the ages. [Tara Marie]

Dark Mansion of Forbidden Love is giving me so many things I want out of horror and rarely get anymore. It’s spooky and atmospheric and gorgeous and romantic. It makes you think about what it might feel like to be dead, but also what it feels like to be in love. It has a comfortable relationship with camp (as the title implies) without ever being a joke. And like all great horror, it’s powerfully, unapologetically queer. It’s the best thing Deadman has been a part of in decades, that’s for sure. [Elle Collins]

Insexts is the kind of gory Gothic story that Guillermo del Toro could only dream of getting his hands on. In teaming up with talented artist Ariela Kristantina, Insexts writer and creator Marguerite Bennett dives deep into the darkness of Victorian society. A melodrama that deals with the intersections of sexuality, race, class, and gender in Victorian high society, the series also serves up a bloody feminist tale as the widowed Lalita Bertram and her maid/lover Mariah go up against monsters — mythological and otherwise. [Zina H.]

You’re forgiven if you forgot this title — a ‘60s period piece about everyone’s favorite teenage witch —  existed, given the crushingly long wait between issues due to writer Roberto Aguirre-Sacasa’s busy schedule. But when a new issue arrives, it’s worth it. Aguirre-Sacasa’s straight-horror-with-just-enough-camp scripts coupled with Robert Hack’s beautiful artwork that leaps from the covers of vintage paperbacks is a knockout punch every time. A collected trade paperback is finally available, so don’t deny yourself what might be one of Archie Comics’ best experiments of the last decade. [Tom Speelman]

It only makes sense that a series about a hero who constantly lives life on his own terms would have ended on its creator's own terms. While stories about Hellboy's life set in the past will continue, his afterlife is presumably at an end following this beautifully executed series about Hellboy denying his destiny as the Beast of the Apocalypse once and for all. Mignola's vision of hell adeptly combines visions from classical artists and folk tales with the artist's own signature moody, minimalist, heavily-blacked style. [Benito Cereno]