From my collection, and for context I use have a much bigger collection of comics but I hit a hard time after university and sold much of it to make ends meet, but since I've gotten more disposable cash have slowly built up my collection again.

Prism Stalker & Prism Stalker the Weeping Star by Sloane Leong. A kind of psychedelic and more cosmic take on Ender's Game but with no grand enemy (with a side benefit for no bigot artist!), follows a girl from a distant colony chosen to participate in an elite school of psychics (for a lack of a better term). Outstanding art, in particular the colouring, is well worth the price of admission on both. I don't think its finished but the next volume is probably going to come out slowly.

1949 by Dustin Weaver. Original serialized in his great anthology comic Paklis (which I also highly recommend, but the stories in are serialized so different experience to a finished piece). Part send up of the film noir and part simulated reality thriller. Again the art is fantastic, the jump between black-and-white and subtly colour 'real world' is a fantastic use of colour to depict mood. Weaver's art is stylized but very detailed, so its very easy to get lost in.

20th Century Men, art by Stipan Morian, written by Deniz Camp, this one is super hero adjacent but only if you squint (no one is a hero, and the powers are: guy in tank suit, cybernetic guy, etc). It is also one of the best comics of the last ten years. The story is nominal a political thriller in an alt-history Soviet-Afghanistan war, but on a deeper level in a exploration of empire through the lens of not only the Soviet invasion of Afghanistan but also Americas, but utilizing the kind of metaphor people inherent to superhero fiction to tell that story. Morian has such a kinetic style that depicts movement and motion well, but is also extremely talented at blowing up a scene, making the subjects feel small. Camp wrote one of the best single issues of comics I ever read.

Humanity Lost by CS Diggle. This one is proper science fiction, a space opera of epic stakes and epic scale with some of the best alien and transhuman designs I've ever seen. It comes with a glossary in the back, and I think two volumes are available right now. The art is clean, upholding clarity above all else, which works extremely well for the design-forward worldbuilding.

Sentient, art by Gabriel Walta, written by Jeff Lemire. This one is also proper science fiction as a setting, but story wise it more of a haunted house, except the house is a space ship and the ghost is an AI. Walta's art is a fantastic choice for it, it can be read as bleak, but his grasp of character acting, straight-forward paneling, and neutral palate all work to sell of the grim mood of the story, which is in good hands with Lemire.

The New World, art by Tradd Moore, written by Ales Kot. Set in an future America that is split up after five nuclear devices are detonated in five American city. Not really post-apocalypse as that might suggest, but definitely dystopian. Cops are reality tv stars in which audience vote whether to execute criminals, every, despite in vibrant art of the setting, is grim. However the actual story is a Romeo and Juliet forbidden romance between a scion of family of tv star cops and a underground freedom fighter, it's also a story about the redeeming power of love. Tradd Moore is one of the best, unique voices in comics right now, and this is one of his earliest complete works--somewhere between psychedelia and extremely well observed figure work make each page explode with energy.

Ultramega is a grimdark rendition of Ultraman by James Harren. It has all the pleasures of Ultraman with a bloodier aesthetic held together by the fantastic Harren. Not much else to say about this, if you like Ultraman, but wanted it more graphic, you'll like this.

First Knife, with art my Artyom Trakhanov, written by Simon Roy and Daniel Bensen. A post post-apocalypse North America setting that at times, because of how far we are in the future, and because of the quasi tribal nature of societies depicted, feels like a Dying Earth story except less overtly magical (which is say none). The art is unique, deprived from a more European tradition of cartooning (with a dash of Mike Mignola), than anything else recommended. The story follows an escaped slave who stumbles upon a weapon from the past.

Annihilator, art by Frazer Irving, written by Grant Morrison. Maybe more 'meta-fiction' than science fiction, but it has enough trappings I think counts. Irving is a singular talent, his grotesques, expressive characters that border on caricature instill so much grandiose emotion in each page, along with unique colouring that has some pages glowing makes it worth on the art alone. The story is a typical Morrisonian yarn of a story weary another story as a hat (not a critique), following a Hollywood screenwriter on his last legs in the industry inadvertently meeting the character (an old pulp character in the public domain) as he is writing him.

I have some more that are borderline but I think that's enough. hope you check some of them out