What makes Blackest Night one of the best event comics of the past 10 years is that it seems real. Not in the sense that dead superheroes wanting to eat your heart could actually happen, but in the sense that it’s one of the most organic crossovers ever written. Because it was borne from another series that slowly began to escalate into a line wide conflict, Blackest Night never feels like an annual gratuitous crossover, as many event comics do. It makes sense that something as encapsulating as the War of Light or the Blackest Night would invariably affect the rest of the DCU, and because the crisis is injected into the rest of the DCU with such precision, the Blackest Night comes off as being a much direr situation than previous event crises. Blackest Night never feels complimentary or lifeless because it was the natural progression of what Geoff Johns was building to on Green Lantern. But as we praise Blackest Night as the seminal comic event, let’s not forget that it all really started with Alan Moore.