You voted, and now, after over 1,000 ballots were cast (precisely three more ballots cast than four years ago), here are the results of your votes for your favorite comic book creator runs of all-time (this is the FOURTH time we've done this countdown. We're on an every four year schedule)!

To recap, you all sent in ballots ranking your favorite runs from #1 (10 points) to #10 (1 point). I added up all of the points and here we are!

4. Frank Miller and Klaus Janson's Daredevil – 1591 points (15 first place votes)

Daredevil #158-161, 163-167 (Frank Miller as artist, with Klaus Janson inks), #168-176 (Miller as writer/artist, with Janson as inker), 177-184 (Miller as writer/co-artist with Klaus Janson), #185-190 (Miller as writer, with Janson as artist), #191 (Miller as writer/artist, no Janson as inker)

Frank Miller was already a reasonably up and coming artist (well, good enough that he was likely going to get a regular assignment on SOME title, at least) when he took over the penciling duties on Daredevil, under writer Roger McKenzie, with the book’s inker, Klaus Janson, staying on to give the book some continuity. Soon, the book began to get a buzz around it due to Miller and Janson’s impressive artwork, which managed to give a totally different look to the book despite McKenzie’s fairly standard plots (not that McKenzie was bad, just that his style did not necessarily match the style Miller and Janson were going for). Miller was promoted to the writer of the book, as well, and the book boomed in popularity. It was initially a bi-monthly book at the start of Miller's run and it went monthly within a few issues of Miller's stint as writer/artist of the book.

His first issue as writer dramatically changed Daredevil, especially the introduction of Matt Murdock’s college love, Elektra, who was now an assassin.

Another change in Miller’s run was that Daredevil was now a lot more like a ninja than ever before, including introducing Stick, the man who mentored Murdock in the ways of being a ninja.

Notable during this time was the fact that Miller and Janson were absolutely amazing on the artwork on the book. They were bringing in a Will Eisner/manga look (specifically Lone Wolf and Cub) that was quite striking. Especially on the action sequences. SO gorgeous. Check out this sequence of Daredevil and Elektra in battle over the life of reporter Ben Urich (who became a major supporting character during Miller’s run, as Urich figured out that Matt Murdock is Daredevil)…

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The Kingpin became a major Daredevil villain during Miller’s run (soon into Miller’s run, by the way, the book went from bi-monthly to monthly, a sign that the book was becoming popular again). Towards the end of his run, Miller had Bullseye (a character Miller used to great effect during his run) kill off Elektra.

After a few more issues (Janson was totally drawing the book by this time), Miller left with one fairly depressing issue (with inks by Terry Austin).

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Marvel once nicely collected Miller’s entire run into three trades, smartly splitting the trades into Vol.1 (only Miller art) and Vols. 2 and 3 (Miller as writer). I don't know if they're still in print now, though.

3. Alan Moore's Swamp Thing – 1656 points (48 first place votes)

Saga of the Swamp Thing/Swamp Thing #20-58, 60-61, 63-64, Annual 2

Something that I think often gets lost when discussing Alan Moore’s tremendous run on Swamp Thing is how the run started. Everyone remembers Moore’s SECOND issue, “Anatomy Lesson,” but Moore actually started on the book one issue earlier, tying up the loose plotlines of previous writer, the late, great Martin Pasko. It’s quite interesting to read the care and attention Moore puts into Pasko’s storylines, while still managing to wrap it all up in one issue in a much different style than Pasko.

And then, of course, with the Pasko storylines finished, Moore dropped the big one – “Anatomy Lesson.” There have been a number of other significant retcons with titles before, but they all paled in comparison to what Alan Moore did with “Anatomy Lesson,” which revealed that the entire origin of Swamp Thing was false – Alec Holland was not transformed into Swamp Thing during a chemical explosion – instead, the chemicals animated a group of vegetation into THINKING it was Alec Holland.

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Later, Moore would also explain the various inconsistencies of Swamp Thing’s origin by saying that there were many different Swamp Things who all had the same basic origin. Clever meta-fiction work by Moore.

Moore was ably partnered by the art team that was there when he joined the book, penciler Stephen R. Bissette and inker John Totleben – together, Bissette and Totleben delivered a stunningly rich art style, that was perfect for the moody stories Moore told.

Throughout his run, Moore would tell deep character-based stories, most notably the relationship between Swamp Thing and Abigal Arcane. The issue where the two have sex is a stunning testimony to both Moore’s skills as a writer and Bissette and Totleben’s skills as artists. See how Swamp Thing and Abby have sex for the first time…

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Also notable in Moore’s work was when he would touch on the DC Universe, and give us drastically different takes on various famous superheroes. Moore’s early work with the Justice League in an issue of Swamp Thing informed pretty much every modern writer of the Justice League. During his run, Moore also introduced John Constantine, who would be Swamp Thing’s guide on a number of stories (more accurately, he would con Swamp Thing into getting involved in stuff).

Towards the end of his run, Rick Veitch became the artist on the book, and while he had a much different style than Bissette and Totleben, it was still excellent artwork, and it was Veitch who would end up following Moore on the title as writer (and doing a fine job, himself).

Without Moore’s Swamp Thing, we likely wouldn’t have seen Vertigo and all the comics that spun out of Vertigo, or if we did see them, it would have taken a long time to get there, so its influence is massive.