#Elijah Brubaker

[atariforce]

Atari Force: Dart by Elijah Brubaker

[daydreamerdrew]

Comics read this past week:

Marvel Comics:

Young Avengers Presents (2008) #1 and Captain America Comics 70th Anniversary Special (2009) #1

The Young Avengers Presents issue was published in January 2008, according to the Marvel Wiki, and was written by Ed Brubaker, penciled by Paco Medina, and inked by Juan Vlasco. It was about Elijah Bradley, who is the Young Avenger Patriot, and Bucky. I don’t have much experience with Elijah but I liked what I saw of him here. I thought the opening of the issue where he says, “Sometimes it’s really hard not to hate this country. Hell, sometimes it’s really hard not to just hate everyone in the whole world, actually,” was compelling. And I think his dynamic with Bucky is conceptually interesting. Unfortunately, the writing of their conversation at the end of this issue fell flat for me.

The Anniversary Special was published in April 2009, according to the Marvel Wiki, and was written by James Robinson and drawn by Marcos Martín. It told the story of how Steve Rogers was chosen to receive the super-soldier serum, framed through Bucky reminiscing on his knowledge of the event before a mission during WWII. It turns out that right after Steve was marked 4F and rejected by the army, he stumbled into a plot to steal the formula for the serum and saved it for the United States. I didn’t find this explanation of how Steve was chosen or how he was characterized during that part of the story to be interesting. Bucky’s ultimate conclusion, that “the thing that makes Captain America great… is Steve Rogers,” has potential, but I’m not actually convinced just yet from what else I’ve read that that’s how Bucky views Steve.

Captain America (1968) #600-601 and Captain America: Reborn (2009) prologue and #1-6

These issues were published across June 2009 to January 2010, according to the Marvel Wiki. Captain America #600 was an anthology book with 64 pages of original comic stories from a variety of creators, some of which was used to set up the events of Captain America: Reborn. All of Captain America: Reborn was written by Ed Brubaker, penciled by Bryan Hitch, and inked by Butch Guice. And Captain America #601 was written by Ed Brubaker and drawn by Gene Colan.

Of the most interest to me in Captain America #600 was a 2-page story written by Alex Ross and Paul Dini and painted by Alex Ross. It was an explanation of who Steve is that was written from his perspective. Of taking the super-soldier serum, he describes, “As my body radically grew and changed, the simple man that was Steve Rogers died. In his place was born a new being, less a man than an ideal. An inspirational symbol of the glory that is America. With the invasion into occupied Europe, I became the living extension of every American’s outrage at the tyranny of the Third Reich.” Generally speaking, I enjoy stories about characters dehumanizing themselves to fulfill a role.

Captain America: Reborn told the story of Steve Rogers being brought back to life after he’d been killed off back in Captain America (2005) #25, which was published in March 2007. It’s explained that Steve has been lost in time, but also that he’s linked to Sharon Carter and she’s the key the bringing him back, which the Red Skull had previously been trying to do in order to take Steve’s body for his own. Sharon’s confusion over what exactly she did when she broke free from the Red Skull’s machine in Captain America (2005) #42 parallels her confusion over killing Steve in Captain America (2005) #25. Her thought process at the time had been, “What… What is this…? What am I seeing? Something alive? What is… is it growing…? Is that my… is that…?” It was the brief belief that she was seeing her baby that gave her the strength to break free, which was really interesting to me because at the time she had been hypnotized into forgetting she was ever pregnant, and she wouldn’t realize that she’d been pregnant and had a miscarriage until months later when she finally noticed the scar from the stab wound on her stomach.

Steve describes the experience of being lost in time in issue #2 as, “Mostly it’s like I’m a passenger in my own body… Or an extra consciousness in my own mind… Like I’m watching myself go through the motions exactly as I did before…” He’s afraid to try to change anything for fear of the unknown repercussions to the future. We see him re-experience things like D-Day, his mother’s death, and receiving the super-soldier serum and then subsequently failing to stop Dr. Erskine’s death. In issue #3, while Steve was reliving being frozen in the ice, he thinks, “Two hours ago I watched a president betray his country and gave up my shield to become Nomad. Why do I say two hours? Time has no meaning now… Now? Now…? Yesterday- today, someday- I met Sam Wilson on an island out at sea… But I wasn’t me then… Then…? Was…? I’m losing my mind… This has to stop… Trapped in the ice again… How many times have I been here before? So helpless… If only my eyes had been frozen shut all those years…” He manages to send a message to his friends about his situation by briefly taking control in the middle of the Kree-Skull War and explaining it to Vision and then telling him to forget it and bury the the memory deep in his storage until it’s needed. I really enjoyed this because complicated fantastical experiences of time or identity really appeal to me. The best part of this was in issue #4 when Steve relives the day that he got frozen and Bucky ‘died.’ He starts of the scene thinking, “Oh, god… Not this one… Not this moment. I can’t do this again. I’ve relived this day so many times… in my mind… in my nightmares… over and over again… This is the worst day of my life.” Then he decides to forgo not risking unknown repercussions to the future and ends the scene desperate to stay in that moment: “I can’t do it again. I can’t let it all happen again… I have to save him. Maybe I’m crazy… I don’t care… But I just can’t- No- Not again! Don’t take me now!” But the moment had actually been playing out exactly as it had before.

In issue #6, while Steve is fighting the Red Skull for control of his body, Steve says, “You think you can kill me, Skull?! Then let’s do it! […] Cause if I die, you’re going with me!” His ultimate declaration is, “After everything I’ve been through… I don’t care anymore! […] I’m done playing your games, Skull! So, come on- let’s die together!” Also, in issue #5 Steve attempted to encourage Bucky to shoot when Bucky was hesitating to kill the Red Skull because he was in Steve’s body. Later, once Steve is safely in control of his body and the Red Skull has finally been killed, Sharon Carter tells him, “I knew you’d come back… I knew it…” Steve responds, “How could I not? There’s so much left to do…” I really like this characterization of Steve as hiding his less palatable feelings from his friends. My expectation is that Steve having been ready to die isn’t going to be prominent later on, but it did make me think of how Bucky said in Captain America (2005) #50, “It’s funny… In some ways, Steve accidentally cursed me when he told the cosmic cube to give me my memories back. He brought me back to the world, but… it’s been hard to accept that I belong here. Sometimes I forget he was trying to save me.”

Captain America (2005) made me interested in Sharon Carter in a way I hadn’t expected. I think it makes sense that her feelings since breaking free from Dr. Faustus’ control have been dominated by the horror of having killed Steve, but now that he’s back I’m hoping that other complicated parts of that situation will be delved into more, like that Dr. Faustus had been manipulating her into falling more deeply in love with Steve and that it was under those circumstances that she became pregnant in the first place. Sharon emphasized, as she was struggling with subtle manipulation from Dr. Faustus in Captain America (2005) #22, that, “I live in the military. I live by orders, Doctor… And any good soldier knows that orders come before friendship,” and, “I’m not the kind of person to choose love over duty.” I’d like to see that part of her character become relevant again.

Captain America #601 was a recounting of a time Steve and Bucky fought vampires during WWII, through the format of Bucky telling the story to Nick Fury in the modern day. Of particular emotional significance to Bucky was that the final vampire they had to kill was a little girl. This came after the killing of multiple other vampires made from adults, soldiers and one U.S.O. girl, which, while difficult, was seen as straightforwardly necessary. Bucky describes this as, “So like I said, I’m no stranger to friendly fire… an’ there aren’t many things uglier… killin’ a little girl- even if she was a vampire- being one of them.” Then the final panel of the story, as Bucky was leaving, depicted him not as he looks in the modern day but as the teenager he was during the war.

Captain America: White (2008) prologue and #1-5

This series was written by Jeph Loeb and drawn by Tim Sale. The prologue was published in July 2008 but then the issues of the main series were published across September 2015 to December 2015, according to the Marvel Wiki.

I’ll admit I was a little thrown at first because this book didn’t take inspiration from how Bucky and Steve were portrayed in the WWII flashbacks in Captain America (2005), which is the version of the characters that I was familiar with and already attached to. For example, in Captain America (2005) that Bucky became Captain America’s sidekick after discovering his secret identity by walking in on Steve changing into his costume was reimagined as an invented propaganda story, and Bucky was actually specially trained and his partnership with Steve was arranged. Whereas in Captain America: White that original Golden Age origin story is maintained. But I liked what this book did with Bucky and Steve’s dynamic. In the depiction of that origin story in the prologue, before the discovery happens, Bucky complains to Steve, “What am I gonna do when everybody else ships out?” In issue #3, as Steve is reminiscing on that event, he compares Bucky’s position of being too young to fight to his own experience being deemed unfit to serve. Steve thinks that the look on Bucky’s face when he discovered Captain America’s secret identity was one of “opportunity” and that it provided “a chance to stand up when all your life you were told to sit down.” I also found the portrayal of Steve mourning Bucky to be really effective. The narration of the book is largely addressed to Bucky. In issue #1 Steve says, “If there’s a chance you made it out too… or somehow… up there… you can hear me… I just want to talk.” In issue #4 Steve asks, “With you gone… without you to back me up… what has my life become?”

the Captain America stories in Tales of Suspense (1959) #64-67

With this batch of Captain America stories I went from January 1965 to April 1965, according to the Marvel Wiki. All were written by Stan Lee and penciled by Jack Kirby. The stories in issue #64 and #67 were inked by Frank Giacoia and the stories in issue #65-66 were inked by Chic Stone. All of the stories were 10 pages.

The stories in issues #64-65 were both retellings of stories from Captain America Comics #1 and the stories in issues #66-67 were both original stories set during WWII. The most significant was the story in issue #66 because it was the reveal of the Red Skull’s backstory, through the format of him telling it to Captain America. Steve was unsympathetic, interrupting to say, “Lots of people had tough lives! My early years were no bed of roses, either! But I don’t waste time telling sob stories!”

There was also a line in issue #64 which stood out to me, in which Steve says, “I’ve heard that even Hitler fears you! Even he can no longer control you- for you’ve grown too powerful! But I’m not Hitler! I’m an American- and my breed just doesn’t scare easily!” Last week’s batch including a retelling of Steve’s origin story of becoming Captain America, which got me thinking that it would actually have been pretty bad if things had gone according to plan and Steve was only the first of an enhanced army of super-soldiers. Because it seems that in the modern day the super-soldier serum is a big deal and that the people who’ve been enhanced by it are particularly formidable, and I can’t imagine that if there were many super-soldier serum-enhanced men that came home from the war and then started having super-soldier serum-enhanced children, that that would not have serious repercussions. Not to mention how the Red Skull apparently became fixated on taking Steve’s enhanced body for his own. But even this emphasis on Steve’s natural superiority due to being an American is iffy.

Timely Publications:

the Captain America stories in Captain America Comics (1941) #6 and All-Winners Comics (1941) #1

With these issues I read 4 Captain America stories. The All-Winners Comics issue was published in Summer 1941 and the Captain America Comics issue was published in September 1941, according to the issue cover dates. These stories ranged from 9 to 16 pages.

Fawcett Comics:

the Captain Marvel stories in Whiz Comics (1940) #80 and Captain Marvel Adventures (1941) #67 and The Marvel Family (1945) #6

With this batch of 7 Captain Marvel stories I read the Captain Marvel appearances published in November 1946, according to the issue cover dates. These stories ranged from 7 to 11 pages.

[elijahbrubaker]

For Sale

Aftermath magazine #1 Barbarian. 36 pages. all comics. b/w. $6.00 paypal elijahbrubaker@gmail please remember to include a mailing address. Continental US only. Thanks!

[agentem]

After Steve Rogers’ death, Eli Bradley has to go to Bucky Barnes for advice on what it means to be Patriot. (Young Avengers Presents: Patriot by Ed Brubaker and art by Paco Medina)

[marvelousruth]

Winter Soldier: Winter Kills

“It’s hard to feel anything else when you’re helpless. But I’d exchange what I feel for that helplessness in a heartbeat.”

[arecomicsevengood]

Self-Released Comics from 2020

A bunch of zines came out this year that I liked but haven’t written anything about because I’ve been working under the assumption that my liking the artists involved is unsurprising. But I might as well, I like them more than much of what’s offered by larger publishers and they’re probably doomed to some degree of obscurity. I should excerpt images but don’t feel like doing that. All of these would be in consideration for a theoretical “best of the year” list, but I generally get conservative with those and limit it to five books that are widely available as a concession to an imagined general audience.

Gonzales, by Matthew Thurber and Ric Royer, available through Matthew’s online shop

The parties involved in this comic’s creation would probably prefer I not mention that Ric, the writer, was “cancelled” and made a pariah in Baltimore (and I believe Providence too) due to his behavior in relationships, which had a marked pattern of manipulation and psychological abuse. I don’t know how many people outside these places, in the broader comics community, are aware of such things, but certainly some people are probably buying this comic not knowing anything about it who would be uncomfortable with the concept if they knew. I support Matthew’s willingness to support his friend as an artist by collaborating with him in a context where it’s unlikely women would come into his orbit (this isn’t to imply there aren’t women in comics, only that there aren’t festivals happening right now) but not so much so I can look the other way entirely. If I had to have hand-wringing conversations with Baltimore friends, you have to have them in your head: Heads up for those who don’t like it when authors are creeps.

The comic itself is pretty good! It’s a satire about the Satanic Panic of the 1980s that basically works as a kid’s comic, where a superhero named Gonzales teaches kids to overcome their parents’ fears. Thurber’s a great cartoonist, and I don’t think he loses too much working from a script here. There’s less improvisatory surrealism and more general storytelling economy.

Everglide by Carlos Gonzalez, available through Wasp Video Roadhouse

This kinda feels like Carlos’ eXistenZ, by which I mean it’s about humans “jacking in” to video game worlds where they can run around. Also I think eXistenZ is the best Cronenberg movie, and who knows how good this comic will turn out? I like the serialized minicomic format. I do feel like the ideal format for this would be typical comic proportions, sold in retail stores monthly, and Carlos’ thin line that delineates the shape of a figure but none of its weight or texture could confront readers with its seeming amateurism. But alas! No one can afford to put out black and white genre comics in stores regularly these days. As a minicomic with so many pages in each issue, the focus on the narrative, and each issue feels satisfying on those grounds, building out its world.

Detective Double Digest by Drew Lerman and Pete Faecke, available at The Stink Hole

Drew Lerman takes his Snake Creek characters out for a detective caper with gags about pissing and a plot about cryogenic freezing. Pete Faecke, who I’m unfamiliar with, but is in the new Bubbles writing about the horse sequence in Jimbo Adventures In Paradise, does a comic where multiple people huff gasoline. It’s great. There’s plenty of jokes, an interesting tone, but also a good deal of narrative space being covered in a short amount of pages. The contrast between art styles works to the advantage of each, with Faecke sort of approximating a stiff “golden age” style while Lerman works in a scribblier cartoonier form, closer to a comic strip like Barney Google. Faecke also did a similar format split with A.T. Pratt of western comics that looks pretty good too.

Whisnant by Max Huffman, available at Motion Goods

I loved reading this comic as pages would pop up on Max’s social media feed. Honestly considered buying a page of the original art to finance the printing of the minicomic version. Improvised goofball comedy, tells a story, interrupts that story, then comes back to it, the way the gags and callbacks work is insane in this. I kinda hope he continues with it but maybe it won’t work if it attempted to function like an ongoing comic and not just a stream of consciousness thing that’s disinterested in resolution. On any given page, it feels either like Huffman is going for some weird gag or he’s exploring the form and abstracted geometry of page layout and shape. The amount of panels per page is generally pretty low, so it makes for a breezy minicomic, but reading it online a page at a time I always imagined it at classic comic book size, feeling like part of the point was the subversion of expectations of a classic “teen” comic like Archie.

Hubert by Elijah Brubaker, available at his Patreon

Elijah put up a few issues of this for free as PDFs somewhere but that might’ve been a limited time thing, and it’s worth tossing him some small amount of money to get these. They’re comedies about being an obnoxious dumbass who’s dumb and horny, sorta sitcom-y, sorta weird indie movie vibe, but with a cartoon’s sense of freedom from consequences. Strange and likable, uncontrived, honest to its world of slackers. Would be a good alt-comic in the tradition of Hate or any number of forgotten Slave Labor comics. Hubert the character’s abstracted cartoon shape is kinda like Ben Jones’ Alfe but he ends up in a house full of women and there’s a flirtatious chemistry in his interactions as opposed to Jones’ sexless goofball shenanigans. Since Brubaker’s I think most known for his Wilhelm Reich bio-comic and is currently working on a Charles Manson thing, this feels more “accessible” to a certain alienated pandemic brain looking to live vicariously through fiction while maybe the other stuff is more saleable to libraries. That may sound more cynical than I intend, I mean this comic is fun and it would be nice to encounter it on someone’s coffee table when you’re at the house getting drunk and stoned in a different era. The artist is unemployed and currently only making money from his Patreon, he deserves people kicking in donations for this thing.

Dog Biscuits by Alex Graham, viewable at Instagram for the time being

For a fictionalized document of the pandemic times we’re living in, currently being serialized on Instagram, running in sequences of panels you click through, I like this better than Crisis Zone. It seems close to wrapping up, at which point Alex will collect it into a self-published book I think will make a worthwhile purchase. As time has gone on, and the strip’s moved away from discussing protests and the Capitol Hill Autonomous Zone overtly, settling in with the romantic drama of its small cast as they try to find their way in a world where it feels like every stupid asshole might have exposed themselves to COVID already and now thinks nothing of exposing you as well feels fraught as any editorial cartooning, a sense of desperation to find joy underlies a multipage XXX sequence of characters boning. The Instagram comments are lit up with people seemingly familiar with only reading YA getting really emotionally invested and being extremely judgmental of the characters, with maybe the weirdest moment from my vantage point was someone asking the author what a character’s astrological breakdown was. These reactions do bring home how thought out, alive, and well-observed these characters feel.

[comicsalternative]

Episode 249: Reviews of Reich, The American Way: Those Above and Those Below #1, and Time and Vine #1

Episode 249: Reviews of Reich, The American Way: Those Above and Those Below #1, and Time and Vine #1

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Time Codes:

00:00:32 – Introduction

00:02:58 – Checking in

00:04:42 – Reich

00:48:27 – The American Way: Those Above and Those Below #1

01:10:…

[heksenhaus]

a sudden chill up and down the arms, gooseflesh, and my tongue still feels of prickly ash. i am simultaneously rested and restless and it’s a combination i don’t quite know how to reconcile. . i finished the final issue of elijah brubaker’s ‘reich’ biocomic and it saddened me about as much as expected. . some days and nights it feels as if the whole world is waiting for something without realising it or knowing what is to come.

[smashpages]

Nominees for the 2018 Eisner Awards announced

Comic-Con International has announced the nominees for the 2018 Eisner Awards, presented annually in San Diego at the convention.

Monstress by Marjorie Liu and Sana Takeda and My Favorite Thing Is Monsters by Emil Ferris each received five nominations across various categories; other comics with multiple nominations included Mister Miracle, Black Hammer, The Flintstones, Grass Kings, Eartha and Hawkeye.

Check out the complete list of nominees below.

Best Short Story

“Ethel Byrne,” by Cecil Castelluci and Scott Chantler, in Mine: A Celebration of Liberty and Freedom for All Benefiting Planned Parenthood (ComicMix) “Forgotten Princess,” by Phillip Kennedy Johnson and Antonio Sandoval, in Adventure Time Comics #13 (kaboom!) ”A Life in Comics: The Graphic Adventures of Karen Green,” by Nick Sousanis, in Columbia Magazine (Summer 2017), https://ift.tt/2I41VPy “Small Mistakes Make Big Problems,” by Sophia Foster-Dimino, in Comics for Choice (Hazel Newlevant) “Trans Plant,” by Megan Rose Gedris, in Enough Space for Everyone Else (Bedside Press)

Best Single Issue/One-Shot

Barbara, by Nicole Miles (ShortBox) Hellboy: Krampusnacht, by Mike Mignola and Adam Hughes (Dark Horse) Pope Hats #5, by Ethan Rilly (AdHouse Books) The Spotted Stone, by Rick Veitch (Sun Comics) What Is Left, by Rosemary Valero-O’Connell (ShortBox)

Best Continuing Series

Black Hammer, by Jeff Lemire, Dean Ormston, and David Rubín (Dark Horse) Giant Days, by John Allison, Max Sarin, and Liz Fleming (BOOM! Box) Hawkeye, by Kelly Thompson, Leonardo Romero, and Mike Walsh (Marvel) Monstress, by Marjorie Liu and Sana Takeda (Image) The Wicked + The Divine, by Kieron Gillen & Jamie McKelvie (Image)

Best Limited Series

Black Panther: World of Wakanda, by Roxane Gay, Ta-Nehisi Coates, and Alitha E. Martinez (Marvel) Extremity, by Daniel Warren Johnson (Image/Skybound) The Flintstones, by Mark Russell, Steve Pugh, Rick Leonardi, and Scott Hanna (DC) Mister Miracle, by Tom King and Mitch Gerads (DC) X-Men: Grand Design, by Ed Piskor (Marvel)

Best New Series

Black Bolt, by Saladin Ahmed and Christian Ward (Marvel) Grass Kings, by Matt Kindt and Tyler Jenkins (BOOM! Studios) Maestros, by Steve Skroce (Image) Redlands, by Jordie Belaire and Vanesa Del Rey (Image) Royal City, by Jeff Lemire (Image)

Best Publication for Early Readers (up to age 8)

Adele in Sand Land, by Claude Ponti, translated by Skeeter Grant and Françoise Mouly (Toon Books) Arthur and the Golden Rope, by Joe Todd-Stanton (Flying Eye/Nobrow) Egg, by Kevin Henkes (Greenwillow Books) Good Night, Planet, by Liniers (Toon Books) Little Tails in the Savannah, by Frederic Brrémaud and Federico Bertolucci, translated by Mike Kennedy (Lion Forge/Magnetic)

Best Publication for Kids (ages 9–12)

Bolivar, by Sean Rubin (Archaia) Home Time (Book One): Under the River, by Campbell Whyte (Top Shelf) Nightlights, by Lorena Alvarez (Nobrow) The Tea Dragon Society, by Katie O’Neill (Oni) Wallace the Brave, by Will Henry (Andrews McMeel) Best Publication for Teens (ages 13-17)

The Dam Keeper, by Robert Kondo and Dice Tsutsumi (First Second/Tonko House) Jane, by Aline Brosh McKenna and Ramón K. Pérez (Archaia) Louis Undercover, by Fanny Britt and Isabelle Arsenault, translated by Christelle Morelli and Susan Ouriou (Groundwood Books/House of Anansi) Monstress, by Marjorie Liu and Sana Takeda (Image) Spinning, by Tillie Walden (First Second)

Best Humor Publication

Baking with Kafka, by Tom Gauld (Drawn & Quarterly) Batman/Elmer Fudd Special #1, by Tom King, Lee Weeks, and Byron Vaughn (DC) The Flintstones, by Mark Russell, Steve Pugh, Rick Leonardi, and Scott Hanna (DC) Rock Candy Mountain, by Kyle Starks (Image) Wallace the Brave, by Will Henry (Andrews McMeel)

Best Anthology

A Bunch of Jews (and Other Stuff): A Minyen Yidn, by Max B. Perlson, Trina Robbins et al. (Bedside Press) A Castle in England, by Jamie Rhodes et al. (Nobrow) Elements: Fire, A Comic Anthology by Creators of Color, edited by Taneka Stotts (Beyond Press) Now #1, edited by Eric Reynolds (Fantagraphics) The Spirit Anthology, edited by Sean Phillips (Lakes International Comic Art Festival)

Best Reality-Based Work

Audubon: On the Wings of the World, by Fabien Grolleau and Jerémie Royer, translated by Etienne Gilfillan (Nobrow) The Best We Could Do, by Thi Bui (Abrams ComicArts) Calamity Jane: The Calamitous Life of Martha Jane Cannary, 1852–1903, by Christian Perrissin and Matthieu Blanchin, translated by Diana Schutz and Brandon Kander (IDW) Lennon: The New York Years, by David Foenkinos, Corbeyran, and Horne, translated by Ivanka Hahnenberger (IDW) Spinning, by Tillie Walden (First Second)

Best Graphic Album—New

Crawl Space, by Jesse Jacobs (Koyama Press) Eartha, by Cathy Malkasian (Fantagraphics) My Favorite Thing Is Monsters, by Emil Ferris (Fantagraphics) Stages of Rot, by Linnea Sterte (Peow) The Story of Jezebel, by Elijah Brubaker (Uncivilized Books)

Best Graphic Album—Reprint

Boundless, by Jillian Tamaki (Drawn & Quarterly) Fantagraphics Studio Edition: Black Hole by Charles Burns, edited by Eric Reynolds (Fantagraphics) Small Favors: The Definitive Girly Porno Collection, by Colleen Coover (Oni/Limerence) Sticks Angelica, Folk Hero, by Michael DeForge (Drawn & Quarterly) Unreal City, by D. J. Bryant (Fantagraphics)

Best Adaptation from Another Medium

Beowulf, adapted by Santiago García and David Rubín (Image) H. P. Lovecraft’s The Hound and Other Stories, adapted by Gou Tanabe, translated by Zack Davisson (Dark Horse) Herman Melville’s Moby Dick, adapted by Christophe Chabouté, translated by Laure Dupont (Dark Horse) Kindred, by Octavia Butler, adapted by Damian Duffy and John Jennings (Abrams ComicArts)

Best U.S. Edition of International Material

Audubon: On the Wings of the World, by Fabien Grolleau and Jerémie Royer, translated by Etienne Gilfillan (Nobrow) Flight of the Raven, by Jean-Pierre Gibrat, translated by Diana Schutz and Brandon Kander (EuroComics/IDW) FUN, by Paolo Bacilieri, translated by Jamie Richards (SelfMadeHero) Ghost of Gaudi, by El Torres and Jesús Alonso Iglesias, translated by Esther Villardón Grande (Lion Forge/Magnetic) The Ladies-in-Waiting, by Santiago García and Javier Olivares, translated by Erica Mena (Fantagraphics) Run for It: Stories of Slaves Who Fought for the Freedom, by Marcelo D’Salete, translated by Andrea Rosenberg (Fantagraphics)

Best U.S. Edition of International Material—Asia

Furari, by Jiro Taniguchi, translated by Kumar Sivasubramanian (Fanfare/Ponent Mon) Golden Kamuy, by Satoru Noda, translated by Eiji Yasuda (VIZ Media) My Brother’s Husband, vol. 1, by Gengoroh Tagame, translated by Anne Ishii (Pantheon) Otherworld Barbara, vol. 2, by Moto Hagio, translated by Matt Thorn (Fantagraphics) Shiver: Junji Ito Selected Stories, by Junji Ito translated by Jocelyne Allen (VIZ Media)

Best Archival Collection/Project—Strips

Celebrating Snoopy, by Charles M. Shulz, edited by Alexis E. Fajardo and Dorothy O’Brien (Andrews McMeel) Crazy Quilt: Scraps and Panels on the Way to Gasoline Alley, by Frank King, edited by Peter Maresca (Sunday Press) Foolish Questions and Other Odd Observations, by Rube Goldberg, edited by Peter Maresca and Paul C. Tumey (Sunday Press Books) Sky Masters of the Space Force: The Complete Dailies, by Jack Kirby, Wally Wood et al., edited by Daniel Herman (Hermes Press) Star Wars: The Classic Newspaper Strips, vol. 1, by Russ Manning et al., edited by Dean Mullaney (LOAC/IDW)

Best Archival Collection/Project—Comic Books

Akira 35th Anniversary Edition, by Katsuhiro Otomo, edited by Haruko Hashimoto, Ajani Oloye, and Lauren Scanlan (Kodansha) Behaving MADly, edited by Craig Yoe (Yoe Books/IDW) The Collected Neil the Horse, by Arn Saba/Katherine Collins, edited by Andy Brown (Conundrum) Fantagraphics Studio Edition: Jaime Hernandez, edited by Gary Groth (Fantagraphics) Will Eisner: The Centennial Celebration, 1917-2017, by Paul Gravett, Denis Kitchen, and John Lind (Kitchen Sink/Dark Horse)

Best Writer

Tom King, Batman, Batman Annual #2, Batman/Elmer Fudd Special #1, Mister Miracle (DC) Matt Kindt, Grass Kings (BOOM! Studios); Ether (Dark Horse); Eternity, X-O Manowar (Valiant) Jeff Lemire, Black Hammer (Dark Horse); Descender (Image) Marjorie Liu, Monstress (Image) Mark Russell, The Flintstones (DC)

Best Writer/Artist

Lorena Alvarez, Night Lights (Nobrow) Chabouté, Moby Dick (Dark Horse); Alone, Park Bench (Gallery 13/Simon & Schuster) Emil Ferris, My Favorite Thing Is Monsters (Fantagraphics) Cathy Malkasian, Eartha (Fantagraphics) Jiro Taniguchi, Furari, Louis Vuitton Travel Guide: Venice (Fanfare/Ponent Mon)

Best Penciller/Inker or Penciller/Inker Team

Isabelle Arsenault, Louis Undercover (Groundwood Books/House of Anansi) Mitch Gerads, Mister Miracle (DC) Gary Gianni, Hellboy: Into the Silent Sea (Dark Horse) Ramón K. Perez, Jane (Archaia) David Rubín, Black Hammer #9 & #12, Ether, Sherlock Frankenstein #1–3 (Dark Horse); Beowulf (Image)

Best Painter/Multimedia Artist (interior art)

Federico Bertolucci, Love: The Dinosaur, Little Tails (Lion Forge/Magnetic) EFA, Monet: Itinerant of Light (NBM) Jean-Pierre Gibrat, Flight of the Raven (EuroComics/IDW) Cyril Pedrosa, Portugal (NBM) Sana Takeda, Monstress (Image)

Best Cover Artist

Jorge Corona, No. 1 with a Bullet (Image) Nick Derington, Mister Miracle (DC); Doom Patrol (DC Young Animal) Brian Stelfreeze, Black Panther (Marvel) Sana Takeda, Monstress (Image) Julian Totino Tedesco, Hawkeye (Marvel)

Best Coloring

Emil Ferris, My Favorite Thing Is Monsters (Fantagraphics) Mitch Gerads, Mister Miracle (DC) Ed Piskor, X-Men: Grand Design (Marvel) David Rubín, Ether, Black Hammer, Sherlock Frankenstein (Dark Horse); Beowulf (Image) Dave Stewart, Black Hammer, BPRD: Devil You Know, Hellboy: Into the Silent Sea, Sherlock Frankenstein, Shaolin Cowboy (Dark Horse); Maestros (Image) Rosemary Valero-O’Connell, What Is Left (ShortBox)

Best Lettering

Isabelle Arsenault, Louis Undercover (Groundwood Books/House of Anansi) Clayton Cowles, Bitch Planet: Triple Feature, Redlands, The Wicked + The Divine (Image); Black Bolt, Spider-Gwen, Astonishing X-Men, Star Wars (Marvel) Emil Ferris, My Favorite Thing Is Monsters (Fantagraphics) Stan Sakai, Usagi Yojimbo, Groo: Slay of the Gods (Dark Horse) John Workman, Mother Panic (DC Young Animal); Ragnorok (IDW)

Best Comics-Related Periodical/Journalism

Alter Ego, edited by Roy Thomas (TwoMorrows) The Comics Journal, edited by Dan Nadel, Timothy Hodler, and Tucker Stone, tcj.com (Fantagraphics) Hogan’s Alley, edited by Tom Heintjes Jack Kirby Collector, edited by John Morrow (TwoMorrows) PanelXPanel magazine, edited by Hassan Otsmane-Elhaou, panelxpanel.com

Best Comics-Related Book

Deconstructing the Incal by Alejandro Jodorowsky and Moebius, by Jean Annestay and Christophe Quillien (Humanoids) How Comics Work, by Dave Gibbons and Tim Pilcher (Wellfleet Press/Quarto Group) How to Read Nancy: The Elements of Comics in Three Easy Panels, by Paul Karasik and Mark Newgarden (Fantagraphics) Line of Beauty: The Art of Wendy Pini, by Richard Pini (Flesk) Monograph, by Chris Ware (Rizzoli) To Laugh That We May Not Weep: The Life and Times of Art Young, by Glenn Bray and Frank M. Young (Fantagraphics)

Best Academic/Scholarly Work

The Comics of Charles Schulz: The Good Grief of Modern Life, edited by Jared Gardner and Ian Gordon (University Press of Mississippi) Ethics in the Gutter: Empathy and Historical Fiction in Comics, by Kate Polak (Ohio State University Press) Latinx Superheroes in Mainstream Comics, by Frederick Luis Aldama (University of Arizona Press) Neon Visions: The Comics of Howard Chaykin, by Brannon Costello (LSU Press) Picturing Childhood: Youth in Transnational Comics, edited by Mark Heimermann and Brittany Tullis (University of Texas Press)

Best Publication Design

Akira 35th Anniversary Edition, designed by Phil Balsman, Akira Saito (Veia), NORMA Editorial, and MASH•ROOM (Kodansha) Celebrating Snoopy, designed by Spencer Williams and Julie Phillips (Andrews McMeel) Monograph, designed by Chris Ware (Rizzoli) My Favorite Thing Is Monsters, designed by Jacob Covey (Fantagraphics) Will Eisner: The Centennial Celebration, 1917-2017, designed by John Lind (Kitchen Sink/Dark Horse)

Best Digital Comic

Bandette, by Paul Tobin and Colleen Coover (Monkeybrain/comiXology) Barrier, by Brian K. Vaughan and Marcos Martin (Panel Syndicate) The Carpet Merchant of Konstaniniyya, by Reimena Yee (reimenayee.com/the-carpet-merchant) Contact High, by James F. Wright and Josh Eckert (gumroad.com/l/YnxSm) Harvey Kurtzman’s Marley’s Ghost, by Harvey Kurtzman, Josh O’Neill, Shannon Wheeler, and Gideon Kendall (comiXology Originals/Kitchen, Lind & Associates) Quince, by Sebastian Kadlecik, Kit Steinkellner, and Emma Steinkellner, translated by Valeria Tranier (Fanbase Press/comiXology)

Best Webcomic

Awaiting a Wave, by Dale Carpenter and Nate Powell, features.weather.com/us-climate-change/arkansas (The Weather Channel Digital) Brothers Bond, by Kevin Grevioux and Ryan Benjamin, www.webtoons.com/en/action/brothers-bond/list?title_no=1191 (LINE Webtoon) Dispatch from a Sanctuary City, by Mike Dawson, https://thenib.com/dispatch-from-a-sanctuary-city (The Nib) The Tea Dragon Society, by Katie O’Neill, teadragonsociety.com (Oni Press) Welcome to the New World, by Jake Halpern and Michael Sloan, www.michaelsloan.net/welcome-to-the-new-world/ (New York Times Sunday Review)

[youngonescast]

Whatever Happened to Elijah Bradley?!

Every character from the first volume of Young Avengers v1 has gotten room to breathe and grow except for Elijah Bradley, Patriot. Iron Lad is Kang, an entire bundle of stories and confusion. Billy and Teddy, Hulkling and Wiccan, have had truly excellent adventures in New Avengers. Cassie Lang, previously Stature, has been brought back to life and got a new code name as Stinger. Kate has her own solo book as Hawkeye. Elijah was one of the original members, one that jumped at the call to heroism, one that had a history and heritage of heroism. But since the end of Avengers: Children’s Crusade neither hide nor hair has been seen of the third generation Super-Soldier. He retired to Scottsdale and works in voter registration? Bull.

There aren’t so many black superheroes that you can’t remember them all, Luke Cage once remarked, and the world of Marvel would be diminished without their gallantry. But the name of the game for teen books is Tokenism. It gives the illusion of diversity without actually attempting to be diverse. It allows writers to use the tropes and art associated with black culture without actually depicting the reality of being black in America. Elijah was Young Avengers’ Token and connection to the Captain America lore.  African American heroes are all burdened with the responsibility to represent all of us in the medium and the most common way that is accomplished is by putting one black person on the team regardless of if they are African American or not. Patriot was no different, he was the heroic vehicle for the black readership.

African American leaders in the public eye understand that they have that representative duty, the duty to be visible, to stand up and make certain that we are heard. During the recent Secret Empire event there was a call for heroes who resisted fascism to stand up and fight. It is unrealistic that an heir of the Captain America legacy would step down from the call of duty during such a dark hour in Marvel’s American history. That isn’t Patriot. But what is obvious is that Nick Spencer didn’t want to go back to the Bradleys, he would rather give the mantle to Sam Wilson than the Super-Soldiers they already have. Nick Spencer would rather the WWII Black Captain America, his Son, and his Grandson be forgotten in the fight against fascism.

The origin of the Bradley Legacy is rooted, of course, in black creators. Kyle Baker and the late Robert Morales were responsible for the creation of Isaiah Bradley in Truth: Red, White, and Black, a controversial story which gave the origin to the Super-Soldier Serum that mirrored the Tuskegee Experiments. Then later that same year Christopher Priest and Benedito José Nascimento, Joe Bennett, created Josiah al hajj Saddiq, Isaiah Bradley’s son, Elijah’s uncle in The Crew. So when Patriot is sidelined so firmly it is erasing not just a black teen super-hero but the legacy of black creators in Marvel comics. But it’s simple to see the why, explaining a black Muslim Captain America might make some people uncomfortable. So Prodigy replaced Patriot as the token in Young Avengers v2.

In Young Avengers v2 issue 12. The team gathers the Avengers Academy, Generation Hope, Academy X, Power Pack, and even some Runaways to fight interdimensional copies of themselves but for some reason they don’t think to call their backbone, their actual Captain America. It was established early on in the series that Elijah was contactable by phone but not once in months of space and dimension hopping adventures did they reach out. In fact it is incredibly suspect that in the hordes of the mayfly universes the only Patriot we see is the antagonist of the piece. In that climactic last battle we could have had the heroic return of a dear friend. Why didn’t we? The book could have at least attempted to pass the ‘Racial Bechdel’ but it didn’t.

Elijah Bradley is an example of the cost of color, the cost of Islamophobia, and the cost in loving teen characters at all. Infinitely more replaceable than their iconic counterparts teen heroes die just as often as their adult counterparts with far fewer resurrections. More importantly, as in Elijah’s case, they just don’t show up again sometimes, forgotten or purposefully avoided. To Marvel editorial or any other creative who may read this and be convinced: Please, do not ignore or sideline the contributions of black creators in comics. It is being respectfully requested that we learn what has happened to Elijah Bradley, that the character be given the same respect and opportunity as every other member of Young Avengers v1.

Find out more about Young Avengers on our podcast here.

Written by Everett Christensen, Young One’s Lead Editor 

Images:  

Avengers: The Children’s Crusade #8 of 9, cover by Jim Cheung and Justin Ponsor

Young Avenger Presents #1, W: Ed Brubaker, P: Paco Medina, I: Juan Velasco, C: Nathan Fairbain

Young Avengers #1, W: Allan Heinberg, P: Jim Cheung I: John Dell C: Justin Ponsor

Truth: Red, White, and Black #5 . W: Robert Morales, Artist: Kyle Baker

The Crew #6 W: Christopher Priest P: Benedito José Nascimento

Young Avengers Special W: Allan Heinberg, A: Pasqual Ferry, I: Dave McCaig

[starwarsnewsit]

Eisner Awards 2018: poco "Star Wars" tra le nomination

New Post has been published on http://www.starwarsnews.it/2018/04/27/eisner-awards-2018-star-wars/

Eisner Awards 2018: poco "Star Wars" tra le nomination

Eisner Awards 2018. Verrà assegnato a breve uno dei premi più importanti del panorama fumettistico. Quest’anno tra le varie nomination c’è anche qualcosa legata a Star Wars, ma veramente poco…

Eisner Awards 2018 – Tutte le nomination

Best Short Story

“Ethel Byrne,” by Cecil Castelluci and Scott Chantler, in Mine: A Celebration of Liberty and Freedom for All Benefiting Planned Parenthood (ComicMix)

“Forgotten Princess,” by Phillip Kennedy Johnson and Antonio Sandoval, in Adventure Time Comics #13 (kaboom!)

”A Life in Comics: The Graphic Adventures of Karen Green,” by Nick Sousanis, in Columbia Magazine (Summer 2017), http://magazine.columbia.edu/features/summer-2017/life-comics?page=0,0

“Small Mistakes Make Big Problems,” by Sophia Foster-Dimino, in Comics for Choice (Hazel Newlevant)

“Trans Plant,” by Megan Rose Gedris, in Enough Space for Everyone Else (Bedside Press)

Best Single Issue/One-Shot

Barbara, by Nicole Miles (ShortBox)

Hellboy: Krampusnacht, by Mike Mignola and Adam Hughes (Dark Horse)

Pope Hats #5, by Ethan Rilly (AdHouse Books)

The Spotted Stone, by Rick Veitch (Sun Comics)

What Is Left, by Rosemary Valero-O’Connell (ShortBox)

Best Continuing Series

Black Hammer, by Jeff Lemire, Dean Ormston, and David Rubín (Dark Horse)

Giant Days, by John Allison, Max Sarin, and Liz Fleming (BOOM! Box)

Hawkeye, by Kelly Thompson, Leonardo Romero, and Mike Walsh (Marvel)

Monstress, by Marjorie Liu and Sana Takeda (Image)

The Wicked + The Divine, by Kieron Gillen & Jamie McKelvie (Image)

Best Limited Series

Black Panther: World of Wakanda, by Roxane Gay, Ta-Nehisi Coates, and Alitha E. Martinez (Marvel)

Extremity, by Daniel Warren Johnson (Image/Skybound)

The Flintstones, by Mark Russell, Steve Pugh, Rick Leonardi, and Scott Hanna (DC)

Mister Miracle, by Tom King and Mitch Gerads (DC)

X-Men: Grand Design, by Ed Piskor (Marvel)

Best New Series

Black Bolt, by Saladin Ahmed and Christian Ward (Marvel)

Grass Kings, by Matt Kindt and Tyler Jenkins (BOOM! Studios)

Maestros, by Steve Skroce (Image)

Redlands, by Jordie Belaire and Vanesa Del Rey (Image)

Royal City, by Jeff Lemire (Image)

Best Publication for Early Readers (up to age 8)

Adele in Sand Land, by Claude Ponti, translated by Skeeter Grant and Françoise Mouly (Toon Books)

Arthur and the Golden Rope, by Joe Todd-Stanton (Flying Eye/Nobrow)

Egg, by Kevin Henkes (Greenwillow Books)

Good Night, Planet, by Liniers (Toon Books)

Little Tails in the Savannah, by Frederic Brrémaud and Federico Bertolucci, translated by Mike Kennedy (Lion Forge/Magnetic)

Best Publication for Kids (ages 9–12)

Bolivar, by Sean Rubin (Archaia)

Home Time (Book One): Under the River, by Campbell Whyte (Top Shelf)

Nightlights, by Lorena Alvarez (Nobrow)

The Tea Dragon Society, by Katie O’Neill (Oni)

Wallace the Brave, by Will Henry (Andrews McMeel)

Best Publication for Teens (ages 13-17)

The Dam Keeper, by Robert Kondo and Dice Tsutsumi (First Second/Tonko House)

Jane, by Aline Brosh McKenna and Ramón K. Pérez (Archaia)

Louis Undercover, by Fanny Britt and Isabelle Arsenault, translated by Christelle Morelli and Susan Ouriou (Groundwood Books/House of Anansi)

Monstress, by Marjorie Liu and Sana Takeda (Image)

Spinning, by Tillie Walden (First Second)

Best Humor Publication

Baking with Kafka, by Tom Gauld (Drawn & Quarterly)

Batman/Elmer Fudd Special #1, by Tom King, Lee Weeks, and Byron Vaughn (DC)

The Flintstones, by Mark Russell, Steve Pugh, Rick Leonardi, and Scott Hanna (DC)

Rock Candy Mountain, by Kyle Starks (Image)

Wallace the Brave, by Will Henry (Andrews McMeel)

Best Anthology

A Bunch of Jews (and Other Stuff): A Minyen Yidn, by Max B. Perlson, Trina Robbins et al. (Bedside Press)

A Castle in England, by Jamie Rhodes et al. (Nobrow)

Elements: Fire, A Comic Anthology by Creators of Color, edited by Taneka Stotts (Beyond Press)

Now #1, edited by Eric Reynolds (Fantagraphics)

The Spirit Anthology, edited by Sean Phillips (Lakes International Comic Art Festival)

Best Reality-Based Work

Audubon: On the Wings of the World, by Fabien Grolleau and Jerémie Royer, translated by Etienne Gilfillan (Nobrow)

The Best We Could Do, by Thi Bui (Abrams ComicArts)

Calamity Jane: The Calamitous Life of Martha Jane Cannary, 1852–1903, by Christian Perrissin and Matthieu Blanchin, translated by Diana Schutz and Brandon Kander (IDW)

Lennon: The New York Years, by David Foenkinos, Corbeyran, and Horne, translated by Ivanka Hahnenberger (IDW)

Spinning, by Tillie Walden (First Second)

Best Graphic Album—New

Crawl Space, by Jesse Jacobs (Koyama Press)

Eartha, by Cathy Malkasian (Fantagraphics)

My Favorite Thing Is Monsters, by Emil Ferris (Fantagraphics)

Stages of Rot, by Linnea Sterte (Peow)

The Story of Jezebel, by Elijah Brubaker (Uncivilized Books)

Best Graphic Album—Reprint

Boundless, by Jillian Tamaki (Drawn & Quarterly)

Fantagraphics Studio Edition: Black Hole by Charles Burns, edited by Eric Reynolds (Fantagraphics)

Small Favors: The Definitive Girly Porno Collection, by Colleen Coover (Oni/Limerence)

Sticks Angelica, Folk Hero, by Michael DeForge (Drawn & Quarterly)

Unreal City, by D. J. Bryant (Fantagraphics)

Best Adaptation from Another Medium

Beowulf, adapted by Santiago García and David Rubín (Image)

H. P. Lovecraft’s The Hound and Other Stories, adapted by Gou Tanabe, translated by Zack Davisson (Dark Horse)

Herman Melville’s Moby Dick, adapted by Christophe Chabouté, translated by Laure Dupont (Dark Horse)

Kindred, by Octavia Butler, adapted by Damian Duffy and John Jennings (Abrams ComicArts)

Best U.S. Edition of International Material

Audubon: On the Wings of the World, by Fabien Grolleau and Jerémie Royer, translated by Etienne Gilfillan (Nobrow)

Flight of the Raven, by Jean-Pierre Gibrat, translated by Diana Schutz and Brandon Kander (EuroComics/IDW)

FUN, by Paolo Bacilieri, translated by Jamie Richards (SelfMadeHero)

Ghost of Gaudi, by El Torres and Jesús Alonso Iglesias, translated by Esther Villardón Grande (Lion Forge/Magnetic)

The Ladies-in-Waiting, by Santiago García and Javier Olivares, translated by Erica Mena (Fantagraphics)

Run for It: Stories of Slaves Who Fought for the Freedom, by Marcelo D’Salete, translated by Andrea Rosenberg (Fantagraphics)

Best U.S. Edition of International Material—Asia

Furari, by Jiro Taniguchi, translated by Kumar Sivasubramanian (Fanfare/Ponent Mon)

Golden Kamuy, by Satoru Noda, translated by Eiji Yasuda (VIZ Media)

My Brother’s Husband, vol. 1, by Gengoroh Tagame, translated by Anne Ishii (Pantheon)

Otherworld Barbara, vol. 2, by Moto Hagio, translated by Matt Thorn (Fantagraphics)

Shiver: Junji Ito Selected Stories, by Junji Itotranslated by Jocelyne Allen (VIZ Media)

Best Archival Collection/Project—Strips

Celebrating Snoopy, by Charles M. Shulz, edited by Alexis E. Fajardo and Dorothy O’Brien (Andrews McMeel)

Crazy Quilt: Scraps and Panels on the Way to Gasoline Alley, by Frank King, edited by Peter Maresca (Sunday Press)

Foolish Questions and Other Odd Observations, by Rube Goldberg, edited by Peter Maresca and Paul C. Tumey (Sunday Press Books)

Sky Masters of the Space Force: The Complete Dailies, by Jack Kirby, Wally Wood et al., edited by Daniel Herman (Hermes Press)

Star Wars: The Classic Newspaper Strips, vol. 1, by Russ Manning et al., edited by Dean Mullaney (LOAC/IDW)

Best Archival Collection/Project—Comic Books

Akira 35th Anniversary Edition, by Katsuhiro Otomo, edited by Haruko Hashimoto, Ajani Oloye, and Lauren Scanlan (Kodansha)

Behaving MADly, edited by Craig Yoe (Yoe Books/IDW)

The Collected Neil the Horse, by Arn Saba/Katherine Collins, edited by Andy Brown (Conundrum)

Fantagraphics Studio Edition: Jaime Hernandez, edited by Gary Groth (Fantagraphics)

Will Eisner: The Centennial Celebration, 1917-2017, by Paul Gravett, Denis Kitchen, and John Lind (Kitchen Sink/Dark Horse)

Best Writer

Tom King, Batman, Batman Annual #2, Batman/Elmer Fudd Special #1, Mister Miracle (DC)

Matt Kindt, Grass Kings (BOOM! Studios); Ether (Dark Horse); Eternity, X-O Manowar (Valiant)

Jeff Lemire, Black Hammer (Dark Horse); Descender (Image)

Marjorie Liu, Monstress (Image)

Mark Russell, The Flintstones (DC)

Best Writer/Artist

Lorena Alvarez, Night Lights (Nobrow)

Chabouté, Moby Dick (Dark Horse); Alone, The Park Bench (Gallery 13/Simon & Schuster)

Emil Ferris, My Favorite Thing Is Monsters (Fantagraphics)

Cathy Malkasian, Eartha (Fantagraphics)

Jiro Taniguchi, Furari, Louis Vuitton Travel Guide: Venice (Fanfare/Ponent Mon)

Best Penciller/Inker or Penciller/Inker Team

Isabelle Arsenault, Louis Undercover (Groundwood Books/House of Anansi)

Mitch Gerads, Mister Miracle (DC)

Gary Gianni, Hellboy: Into the Silent Sea (Dark Horse)

Ramón K. Perez, Jane (Archaia)

David Rubín, Black Hammer #9 & #12, Ether, Sherlock Frankenstein #1–3 (Dark Horse); Beowulf (Image)

Best Painter/Multimedia Artist (interior art)

Federico Bertolucci, Love: The Dinosaur, Little Tails (Lion Forge/Magnetic)

EFA, Monet: Itinerant of Light (NBM)

Jean-Pierre Gibrat, Flight of the Raven (EuroComics/IDW)

Cyril Pedrosa, Portugal (NBM)

Sana Takeda, Monstress (Image)

Best Cover Artist

Jorge Corona, No. 1 with a Bullet (Image)

Nick Derington, Mister Miracle (DC); Doom Patrol (DC Young Animal)

Brian Stelfreeze, Black Panther (Marvel)

Sana Takeda, Monstress (Image)

Julian Totino Tedesco, Hawkeye (Marvel)

Best Coloring

Emil Ferris, My Favorite Thing Is Monsters (Fantagraphics)

Mitch Gerads, Mister Miracle (DC)

Ed Piskor, X-Men: Grand Design (Marvel)

David Rubín, Ether, Black Hammer, Sherlock Frankenstein (Dark Horse); Beowulf (Image)

Dave Stewart, Black Hammer, BPRD: Devil You Know, Hellboy: Into the Silent Sea, Sherlock Frankenstein, Shaolin Cowboy (Dark Horse); Maestros (Image)

Rosemary Valero-O’Connell, What Is Left (ShortBox)

Best Lettering

Isabelle Arsenault, Louis Undercover (Groundwood Books/House of Anansi)

Clayton Cowles, Bitch Planet: Triple Feature, Redlands, The Wicked + The Divine (Image); Black Bolt, Spider-Gwen, Astonishing X-Men, Star Wars (Marvel)

Emil Ferris, My Favorite Thing Is Monsters (Fantagraphics)

Stan Sakai, Usagi Yojimbo, Groo: Slay of the Gods (Dark Horse)

John Workman, Mother Panic (DC Young Animal); Ragnorak (IDW)

Best Comics-Related Periodical/Journalism

Alter Ego, edited by Roy Thomas (TwoMorrows)

The Comics Journal, edited by Dan Nadel, Timothy Hodler, and Tucker Stone, tcj.com (Fantagraphics)

Hogan’s Alley, edited by Tom Heintjes

Jack Kirby Collector, edited by John Morrow (TwoMorrows)

PanelXPanel magazine, edited by Hassan Otsmane-Elhaou, panelxpanel.com

Best Comics-Related Book

Deconstructing the Incal by Alejandro Jodorowsky and Moebius, by Jean Annestay and Christophe Quillien (Humanoids)

How Comics Work, by Dave Gibbons and Tim Pilcher (Wellfleet Press/Quarto Group)

How to Read Nancy: The Elements of Comics in Three Easy Panels, by Paul Karasik and Mark Newgarden (Fantagraphics)

Line of Beauty: The Art of Wendy Pini, by Richard Pini (Flesk)

Monograph, by Chris Ware (Rizzoli)

To Laugh That We May Not Weep: The Life and Times of Art Young, by Glenn Bray and Frank M. Young (Fantagraphics)

Best Academic/Scholarly Work

The Comics of Charles Schulz: The Good Grief of Modern Life, edited by Jared Gardner and Ian Gordon (University Press of Mississippi)

Ethics in the Gutter: Empathy and Historical Fiction in Comics, by Kate Polak (Ohio State University Press)

Latinx Superheroes in Mainstream Comics, by Frederick Luis Aldama (University of Arizona Press)

Neon Visions: The Comics of Howard Chaykin, by Brannon Costello (LSU Press)

Picturing Childhood: Youth in Transnational Comics, edited by Mark Heimermann and Brittany Tullis (University of Texas Press)

Best Publication Design

Akira 35th Anniversary Edition, designed by Phil Balsman, Akira Saito (Veia), NORMA Editorial, and MASH•ROOM (Kodansha)

Celebrating Snoopy, designed by Spencer Williams and Julie Phillips (Andrews McMeel)

Monograph, designed by Chris Ware (Rizzoli)

My Favorite Thing Is Monsters, designed by Jacob Covey (Fantagraphics)

Will Eisner: The Centennial Celebration, 1917-2017, designed by John Lind (Kitchen Sink/Dark Horse)

Best Digital Comic

Bandette, by Paul Tobin and Colleen Coover (Monkeybrain/comiXology)

Barrier, by Brian K. Vaughan and Marcos Martin (Panel Syndicate)

The Carpet Merchant of Konstaniniyya, by Reimena Yee (reimenayee.com/the-carpet-merchant)

Contact High, by James F. Wright and Josh Eckert (gumroad.com/l/YnxSm)

Harvey Kurtzman’s Marley’s Ghost, by Harvey Kurtzman, Josh O’Neill, Shannon Wheeler, and Gideo Kendall (comiXology Originals/Kitchen, Lind & Associates)

Quince, by Sebastian Kadlecik, Kit Steinkellner, and Emma Steinkellner, translated by Valeria Tranier (Fanbase Press/comiXology)

Best Webcomic

Awaiting a Wave, by Dale Carpenter and Nate Powell, features.weather.com/us-climate-change/arkansas (The Weather Channel Digital)

Brothers Bond, by Kevin Grevioux and Ryan Benjamin, www.webtoons.com/en/action/brothers-bond/list?title_no=1191 (LINE Webtoon)

Dispatch from a Sanctuary City, by Mike Dawson, https://thenib.com/dispatch-from-a-sanctuary-city (The Nib)

The Tea Dragon Society, by Katie O’Neill, teadragonsociety.com

Welcome to the New World, by Jake Halpern and Michael Sloan, www.michaelsloan.net/welcome-to-the-new-world/ (New York Times Sunday Review)

[elijahbrubaker]

[gritboy]

Nerd Burglar 2008 Free Comic

Nerd Burglar 2008 Free Comic

Unofficial 2008 Free Comic Book Day anthology co-published by Sparkplug Books, Tugboat Press and Teenage Dinosaur. Comics and art by by Sarah Oleksyk, Elijah Brubaker, Chris Cilla, Jennifer Parks, Bobby Madness, Shawn Granton, Tim Root, Aron Nels Steinke, and E.D. Nilsson. Cover by Chris Cilla.

32 page black and white comic Sparkplug Books, Tugboat Press & Teenage Dinosaur

FREE! PDF download…

[comicsalternative]

Episode 249: Reviews of Reich, The American Way: Those Above and Those Below #1, and Time and Vine #1

Time Codes:

00:00:32 - Introduction

00:02:58 - Checking in

00:04:42 - Reich

00:48:27 - The American Way: Those Above and Those Below #1

01:10:26 - Time and Vine #1

01:31:08 - Wrap up

01:32:04 - Contact us

This week the Two Guys with PhDs Talking about Comics look at three very different titles. They begin with Elijah Brubaker's Reich, a twelve-issue biography published by Sparkplug Comics and distributed through Alternative Comics. The series reveals the life of Wilhelm Reich, the Austrian-American psychoanalyst known for his influential work in character analysis, his advocacy of orgastic potency, and, more controversially, his theories surrounding orgonomy. After that they discuss The American Way: Those Above and Those Below #1 (Vertigo Comics). Written by John Ridley with art by George Jeanty, this is a sequel to their eight-issue Wildstorm series that came out in 2008. Then Andy and Derek wrap things up with Time and Vine #1 (IDW Publishing), Thom Zahler's followup to his 2015 miniseries Long Distance. The guys note that this latest title bears all the markings of Zahler's previous work, including Love and Capes: engaging art, impressive dialogue, and nuanced character interaction that is both romantic and witty.

Check out this episode!

[seasononepod]

Robin Morrison and Elijah Brubaker take it to a whole new level while discussing the penultimate episode of the Teenage Mutant Ninja Turtles. Another dimension... another dimension...

find us on itoons or at elijah brubaker dot com twitter @ElijahBrubaker @raysuccre

Facebox Elijah Robin

Feedback us via E-Mail

or leave voicemail 503-345-9640

[bluemooncomics]