Best Short Story

• "Bart on the Fourth of July," by Peter Kuper, in Bart Simpson #54 (Bongo)
• "Batman, in Trick for the Scarecrow," by Billy Tucci, in DCU Halloween Special 2010 (DC)
• "Cinderella," by Nick Spencer and Rodin Esquejo, in Fractured Fables (Silverline Books/Image)
• "Hamburgers for One," by Frank Stockton, in Popgun vol. 4 (Image)
• "Little Red Riding Hood," by Bryan Talbot and Camilla d'Errico, in Fractured Fables (Silverline Books/Image)
• "Post Mortem," by Greg Rucka and Michael Lark, in I Am an Avenger #2 (Marvel)

Best Single Issue (or One-Shot)

• The Cape, by Joe Hill, Jason Ciaramella, and Zack Howard (IDW)
• Fables #100, by Bill Willingham, Mark Buckingham, and others (Vertigo/DC)
• Hellboy: Double Feature of Evil, by Mike Mignola and Richard Corben (Dark Horse)
• Locke & Key: Keys to the Kingdom #1: "Sparrow," by Joe Hill and Gabriel Rodriguez (IDW)
• Unknown Soldier #21: "A Gun in Africa," by Joshua Dysart and Rick Veitch (Vertigo/DC)

Best Continuing Series

• Chew, by John Layman and Rob Guillory (Image)
• Echo, by Terry Moore (Abstract Studio)
• Locke & Key, by Joe Hill and Gabriel Rodriguez (IDW)
• Morning Glories, by Nick Spencer and Joe Eisma (Shadowline/Image)
• Naoki Urasawa's 20th Century Boys, by Naoki Urasawa (VIZ Media)
• Scalped, by Jason Aaron and R. M. Guéra (Vertigo/DC)

Best Limited Series

• Baltimore: The Plague Ships, by Mike Mignola, Christopher Golden, and Ben Stenbeck (Dark Horse)
• Cinderella: From Fabletown with Love, by Chris Roberson and Shawn McManus (Vertigo/DC)
• Daytripper, by Fábio Moon and Gabriel Bá (Vertigo/DC)
• Joe the Barbarian, by Grant Morrison and Sean Murphy (Vertigo/DC)
• Stumptown, by Greg Rucka and Matthew Southworth (Oni)

Best New Series

• American Vampire, by Scott Snyder, Stephen King, and Rafael Albuquerque (Vertigo/DC)
• iZombie, by Chris Roberson and Michael Allred (Vertigo/DC)
• Marineman, by Ian Churchill (Image)
• Morning Glories, by Nick Spencer and Joe Eisma (Shadowline/Image)
• Superboy, by Jeff Lemire and Pier Gallo (DC)

Best Publication for Kids

• Amelia Earhart: This Broad Ocean, by Sara Stewart Taylor and Ben Towle (Center for Cartoon Studies/Disney/Hyperion)
• Amelia Rules!: True Things (Adults Don't Want Kids to Know), by Jimmy Gownley (Atheneum/Simon & Schuster)
• Binky to the Rescue, by Ashley Spires (Kids Can Press)
• Scratch9, by Rob M. Worley and Jason T. Kruse (Ape Entertainment)
• Tiny Titans, by Art Baltazar and Franco (DC)
• The Unsinkable Walker Bean, by Aaron Renier (First Second)

Best Publication for Teens

• Ghostopolis, by Doug TenNapel (Scholastic Graphix)
• Hereville: How Mirka Got Her Sword, by Barry Deutsch (Amulet Books)
• Return of the Dapper Men, by Jim McCann and Janet Lee (Archaia)
• Smile, by Raina Telgemeier (Scholastic Graphix)
• Yummy: The Last Days of a Southside Shorty, by G. Neri and Randy DuBurke (Lee & Low)

Best Humor Publication

• Afrodisiac, by Jim Rugg and Brian Maruca (Adhouse)
• Comic Book Guy: The Comic Book, by Ian Boothby, John Delaney, and Dan Davis (Bongo)
• Drinking at the Movies, by Julia Wertz (Three Rivers Press/Crown)
• I Thought You Would Be Funnier, by Shannon Wheeler (BOOM!)
• Literature: Unsuccessfully Competing Against TV Since 1953, by Dave Kellett (Small Fish Studios)
• Prime Baby, by Gene Luen Yang (First Second)

Best Anthology

• The Anthology Project, edited by Joy Ang and Nick Thornborrow (Lucidity Press)
• Korea as Viewed by 12 Creators, edited by Nicolas Finet (Fanfare&midot;Ponent Mon)
• Liquid City, vol. 2, edited by Sonny Liew and Lim Cheng Tju (Image)
• Mouse Guard: Legends of the Guard, edited by Paul Morrissey and David Petersen (Archaia)
• Trickster: Native American Tales, edited by Matt Dembicki (Fulcrum Books)

Best Digital Comic

• Abominable Charles Christopher, by Karl Kerschl, www.abominable.cc
• The Bean, by Travis Hanson, www.beanleafpress.com
• Lackadaisy, by Tracy Butler, www.lackadaisycats.com
• Max Overacts, by Caanan Grall, occasionalcomics.com
• Zahra's Paradise, by Amir and Khalil, www.zahrasparadise.com

Best Reality-Based Work

• It Was the War of the Trenches, by Jacques Tardi (Fantagraphics)
• Picture This: The Nearsighted Monkey Book, by Lynda Barry (Drawn & Quarterly)
• Special Exits: A Graphic Memoir, by Joyce Farmer (Fantagraphics)
• Treasury of XXth Century Murder: The Terrible Axe Man of New Orleans, by Rick Geary (NBM)
• Two Generals, by Scott Chantler (McClelland & Stewart)
• You'll Never Know Book 2: Collateral Damage, by Carol Tyler (Fantagraphics)

Best Graphic Album-New

• Elmer, by Gerry Alanguilan (SLG)
• Finding Frank and His Friend: Previously Unpublished Work by Clarence ‘Otis' Dooley, by Melvin Goodge (Curio & Co.)
• Market Day, by James Sturm (Drawn & Quarterly)
• Return of the Dapper Men, by Jim McCann and Janet Lee (Archaia)
• Wilson, by Daniel Clowes (Drawn & Quarterly)

Best Graphic Album-Reprint

• The Amazing Screw-on Head and Other Curious Objects, by Mike Mignola (Dark Horse)
• Beasts of Burden: Animal Rites, by Evan Dorkin and Jill Thompson (Dark Horse)
• Motel Art Improvement Service, by Jason Little (Dark Horse)
• The Simpsons/Futurama Crossover Crisis, by Ian Boothby, James Lloyd, and Steve Steere Jr. (Abrams Comicarts)
• Tumor, by Joshua Hale Fialkov and Noel Tuazon (Archaia)
• Wednesday Comics, edited by Mark Chiarello (DC)

Best Adaptation from Another Work

• Dante's Divine Comedy, adapted by Seymour Chwast (Bloomsbury)
• The Little Prince, by Antoine de Saint-Exupéry, adapted by Joann Sfar (Houghton Mifflin Harcourt)
• The Marvelous Land of Oz, by L. Frank Baum, adapted by Eric Shanower and Skottie Young (Marvel)
• 7 Billion Needles, vols. 1 and 2, adapted from Hal Clement's Needle by Nobuaki Tadano (Vertical)
• Silverfin: A James Bond Adventure, adapted by Charlie Higson and Kev Walker (Disney/Hyperion Books)

Best Archival Collection/Project-Strips

• Archie: The Complete Daily Newspaper Strips, 1946–1948, by Bob Montana, edited by Greg Goldstein (IDW)
• 40: A Doonesbury Retrospective, by G. B. Trudeau (Andrews McMeel)
• George Heriman's Krazy Kat: A Celebration of Sundays, edited by Patrick McDonnell and Peter Maresca (Sunday Press Books)
• Polly and Her Pals Complete Sunday Comics, vol. 1, by Cliff Sterrett, edited by Dean Mullaney (IDW)
• Roy Crane's Captain Easy, vol. 1, edited by Rick Norwood (Fantagraphics)

Best Archival Collection/Project-Comic Books

• Dave Stevens' The Rocketeer Artist's Edition, edited by Scott Dunbier (IDW)
• The Horror! The Horror! Comic Books the Government Didn't Want You to Read!, edited by Jim Trombetta (Abrams Comicart)
• The Incal Classic Collection, by Alexandro Jodorowsky and Moebius (Humanoids)
• Lynd Ward: Six Novels in Woodcuts, edited by Art Spiegelman (The Library of America)
• Thirteen "Going on Eighteen," by John Stanley (Drawn & Quarterly)

Best U.S. Edition of International Material

• It Was the War of the Trenches, by Jacques Tardi (Fantagraphics)
• The Killer: Modus Vivendi, by Matz and Luc Jacamon (Archaia)
• King of the Flies, Book One: Hallorave, by Mezzo and Pirus (Fantagraphics)
• The Littlest Pirate King, by David B. and Pierre Mac Orlan (Fantagraphics)
• Salvatore, by Nicolas De Crécy (NBM)

Best U.S. Edition of International Material-Asia

• Ayako, by Osamu Tezuka (Vertical)
• Bunny Drop, by Yumi Unita (Yen Press)
• A Drunken Dream and Other Stories, by Moto Hagio (Fantagraphics)
• House of Five Leaves, by Natsume Ono (VIZ Media)
• Naoki Urasawa's 20th Century Boys, by Naoki Urasawa (VIZ Media)

Best Writer

• Ian Boothby, Comic Book Guy: The Comic Book; Futurama Comics #47–50; Simpsons Comics #162, 168; Simpsons Super Spectacular #11–12 (Bongo)
• Joe Hill, Locke & Key (IDW)
• John Layman, Chew (Image)
• Jim McCann, Return of the Dapper Men (Archaia)
• Nick Spencer, Morning Glories, Shuddertown, Forgetless, Existence 3.0 (Image)

Best Writer/Artist

• Dan Clowes, Wilson (Drawn & Quarterly)
• Darwyn Cooke, Richard Stark's Parker: The Outfit (IDW)
• Joe Kubert, Dong Xoai, Vietnam 1965 (DC)
• Terry Moore, Echo (Abstract Studio)
• James Sturm, Market Day (Drawn & Quarterly)
• Naoki Urasawa, Naoki Urasawa's 20th Century Boys (VIZ Media)

Best Penciller/Inker or Penciller/Inker Team

• Richard Corben, Hellboy (Dark Horse)
• Stephen DeStefano, Lucky in Love Book One: A Poor Man's Story (Fantagraphics)
• Rob Guillory, Chew (Image)
• Gabriel Rodriguez, Locke & Key (IDW)
• Skottie Young, The Marvelous Land of Oz (Marvel)

Best Painter/Multimedia Artist (interior art)

• Lynda Barry, Picture This: The Nearsighted Monkey Book (Drawn & Quarterly)
• Brecht Evens, The Wrong Place (Drawn & Quarterly)
• Juanjo Guarnido, Blacksad (Dark Horse)
• Janet Lee, Return of the Dapper Men (Archaia)
• Eric Liberge, On the Odd Hours (NBM)
• Carol Tyler, You'll Never Know Book 2: Collateral Damage (Fantagraphics)

Best Cover Artist

• Rodin Esquejo, Morning Glories (Shadowline/Image)
• Dave Johnson, Abe Sapien: The Abyssal Plain (Dark Horse); Unknown Soldier (Vertigo/DC); Punisher/Max, Deadpool (Marvel)
• Mike Mignola, Hellboy, Baltimore: The Plague Ships (Dark Horse)
• David Petersen, Mouse Guard: Legends of the Guard (Archaia)
• Yuko Shimizu, The Unwritten (Vertigo/DC)

Best Coloring

• Jimmy Gownley, Amelia Rules!: True Things (Adults Don't Want Kids to Know), Amelia Rules!: The Tweenage Guide to Not Being Unpopular, by Jimmy Gownley (Atheneum/Simon & Schuster)
• Metaphrog (Sandra Marrs and John Chalmers), Louis: Night Salad (Metaphrog)
• Dave Stewart, Hellboy, BPRD, Baltimore, Let Me In (Dark Horse); Detective Comics (DC); Neil Young's Greendale, Daytripper, Joe the Barbarian (Vertigo/DC)
• Hilary Sycamore, City of Spies, Resistance, Booth, Brain Camp, Solomon's Thieves (First Second)
• Chris Ware, Acme Novelty Library 20: Lint (Drawn & Quarterly)

Best Lettering

• Darwyn Cooke, Richard Stark's Parker: The Outfit (IDW)
• Dan Clowes, Wilson (Drawn & Quarterly)
• Jimmy Gownley, Amelia Rules!: True Things (Adults Don't Want Kids to Know), Amelia Rules!: The Tweenage Guide to Not Being Unpopular, by Jimmy Gownley (Atheneum/Simon & Schuster)
• Todd Klein, Fables, The Unwritten, Joe the Barbarian, iZombie (Vertigo/DC); Tom Strong and the Robots of Doom (WildStorm/DC); SHIELD (Marvel); Driver for the Dead (Radical)
• Doug TenNapel, Ghostopolis (Scholastic Graphix)
• Chris Ware, Acme Novelty Library 20: Lint (Drawn & Quarterly)

Best Comics-Related Periodical/Journalism

• Alter Ego, edited by Roy Thomas (TwoMorrows)
• The Beat, produced by Heidi MacDonald (www.comicsbeat.com)
• ComicBookResources, produced by Jonah Weiland (www.comicbookresources.com)
• ComicsAlliance, produced by Laura Hudson (www.comicsalliance.com)
• The Comics Reporter, produced by Tom Spurgeon (www.comicsreporter.com)
• USA Today Comics Section, by Life Section Entertainment Editor Dennis Moore; Comics Section Lead, John Geddes (www.usatoday.com/life/comics/index)

Best Comics-Related Book

• Doonesbury and the Art of G. B. Trudeau, by Brian Walker (Yale University Press)
• Fire and Water: Bill Everett, the Sub-Mariner, and the Birth of Marvel Comics, by Blake Bell (Fantagraphics)
• The Oddly Compelling Art of Denis Kitchen, by Denis Kitchen and Charles Brownstein, edited by John Lind and Diana Schutz (Dark Horse Books)
• Shazam! The Golden Age of the World's Mightiest Mortal, by Chip Kidd and Geoff Spear (Abrams Comicarts)
• 75 Years of DC Comics: The Art of Modern Mythmaking, by Paul Levitz (TASCHEN)

Best Publication Design

• Dave Stevens' The Rocketeer Artist's Edition, designed by Randall Dahlk (IDW)
• Polly and Her Pals Complete Sunday Comics, vol. 1, designed by Lorraine Turner and Dean Mullaney (IDW)
• Return of the Dapper Men, designed by Todd Klein (Archaia)
• 75 Years of DC Comics: The Art of Modern Mythmaking, designed by Josh Baker (TASCHEN)
• Two Generals, designed by Jennifer Lum (McClelland & Stewart)

Hall of Fame

Judges' Choices:

• Ernie Bushmiller
• Jack Jackson
• Martin Nodell
• Lynd Ward

What is this award?

It seems to paint with a broad brush.

Looking at the list reminds me of just how far behind I am in my comic reading

SagsWay2low said:

What is this award?

It seems to paint with a broad brush.

Aw...thanks for reviving my lame thread.

This award is like the Oscars of the comics/graphic novels/manga industry.

only ONE manga was nominated

bboy87 said:

only ONE manga was nominated

There's an Asia category that has the manga in it. Although I don't think it's as representative as it should be.

Efan said:

bboy87 said:

only ONE manga was nominated

There's an Asia category that has the manga in it. Although I don't think it's as representative as it should be.

Ahh just spotted it

none of those I've read maybe I should.....

I have to admit, I've only read 20th Century Boys and Drunken Dream...but I love them both.

Efan said:

I have to admit, I've only read 20th Century Boys and Drunken Dream...but I love them both.

I've heard 20th Century Boys was pretty good

Can someone explain what these awards are for?

scriptgirl said:

Can someone explain what these awards are for?

They're for the comic book industry. The awards are held at San Diego Comic Con every year.

boy, I sure hope Fables picked up again. I read it in trades. but I can't imagine it getting an Eisner Award based on how lame "The Great Fables Crossover" and "Witches" were.

P.S.... manga sucks

Great question.

And also, I would be curious to know: how are they being decided? (and also, by whom? ]

I was in the audience of these awards' ceremony at Comic-Con in the summer of 2009. A pretty white affair, if you know what I mean...

scriptgirl said:

Can someone explain what these awards are for?

Flo6 said:

Great question.

And also, I would be curious to know: how are they being decided? (and also, by whom? ]

I was in the audience of these awards' ceremony at Comic-Con in the summer of 2009. A pretty white affair, if you know what I mean...

comics are "FOR old white men, BY old white men"

Flo6 said:

Great question.

And also, I would be curious to know: how are they being decided? (and also, by whom? ]

I was in the audience of these awards' ceremony at Comic-Con in the summer of 2009. A pretty white affair, if you know what I mean...

scriptgirl said:

Can someone explain what these awards are for?

Every year, five judges are selected for the Eisner judging committee. You can only be a judge once. They try to break the judging committee down this way: one comic shop owner, one librarian, one educator, one journalist (or a blogger about comics, etc.), and one comics professional. San Diego Comic Con has a team of people (well, it's pretty much one person, but she does have help from other people there) who manage all the submissions and select the judges and run how everything is set up.

The judges meet in San Diego in March and weed through all the submissions and select the nominees for each category. Once the nominees have been announced, voting opens, and that's how the winners are ultimately chosen.

As for who votes, it's not open to the public at large, but it's a pretty broad net of industry professionals, apparently.

Thanks for the info, Efan.

Some of this was in my press pack when I attended. The problem with this, is that I have the same kind of questions about it: the judges are selected by whom? And who makes up this Eisner judging committee? Who makes up the rules/criteria? [I do have some idea though - see my 1st post:).]

Back at square 1...

Efan said:

Flo6 said:

Great question.

And also, I would be curious to know: how are they being decided? (and also, by whom? ]

I was in the audience of these awards' ceremony at Comic-Con in the summer of 2009. A pretty white affair, if you know what I mean...

Every year, five judges are selected for the Eisner judging committee. You can only be a judge once. They try to break the judging committee down this way: one comic shop owner, one librarian, one educator, one journalist (or a blogger about comics, etc.), and one comics professional. San Diego Comic Con has a team of people (well, it's pretty much one person, but she does have help from other people there) who manage all the submissions and select the judges and run how everything is set up.

The judges meet in San Diego in March and weed through all the submissions and select the nominees for each category. Once the nominees have been announced, voting opens, and that's how the winners are ultimately chosen.

As for who votes, it's not open to the public at large, but it's a pretty broad net of industry professionals, apparently.

Aah now I get it!

And btw, you are right about the age and gender [these too were in high attendance among the 'fair' crowd of 2009).

errant said:

Flo6 said:

Great question.

And also, I would be curious to know: how are they being decided? (and also, by whom? ]

I was in the audience of these awards' ceremony at Comic-Con in the summer of 2009. A pretty white affair, if you know what I mean...

comics are "FOR old white men, BY old white men"

Flo6 said:

Thanks for the info, Efan.

Some of this was in my press pack when I attended. The problem with this, is that I have the same kind of questions about it: the judges are selected by whom? And who makes up this Eisner judging committee? Who makes up the rules/criteria? [I do have some idea though - see my 1st post:).]

Back at square 1...

Efan said:

Every year, five judges are selected for the Eisner judging committee. You can only be a judge once. They try to break the judging committee down this way: one comic shop owner, one librarian, one educator, one journalist (or a blogger about comics, etc.), and one comics professional. San Diego Comic Con has a team of people (well, it's pretty much one person, but she does have help from other people there) who manage all the submissions and select the judges and run how everything is set up.

The judges meet in San Diego in March and weed through all the submissions and select the nominees for each category. Once the nominees have been announced, voting opens, and that's how the winners are ultimately chosen.

As for who votes, it's not open to the public at large, but it's a pretty broad net of industry professionals, apparently.

As far as I know, the Eisners are administered by a woman named Jackie Estrada, who's had that job for a long time. To be honest, I've never looked into it so I don't know how transparent they are about what goes on behind the scenes, but they might be open about it. Anyway, I assume Jackie selects the judges but then perhaps she has to vet them through others in the organization.

As for the larger group who gets to vote, I know it includes industry pros, booksellers and comic store owners, librarians, journalists, and all former Eisner judges. Once you are able to vote one year, I think you are able to vote in perpetuity under the same login name, so the group of voters should be forever expanding.

Flo6 said:

Aah now I get it!

And btw, you are right about the age and gender [these too were in high attendance among the 'fair' crowd of 2009).

errant said:

comics are "FOR old white men, BY old white men"

That applies to these type of books which are mostly indie.

When I walk into a comic shop here I see lots of people of color thumbing through the more mainstream DC and Marvel titles.

Thank you for the detailed response. My initial question then I guess boils down to, how diverse a group are all these people you mentioned - and not just at this present moment, but over time?

I guess there are no stats/records on that, and it's tricky to track. So my assessment during my attendance is admittedly just a broad [too broad?] generalization based on my own perceptions of what I saw.

Efan said:

Flo6 said:

Thanks for the info, Efan.

Some of this was in my press pack when I attended. The problem with this, is that I have the same kind of questions about it: the judges are selected by whom? And who makes up this Eisner judging committee? Who makes up the rules/criteria? [I do have some idea though - see my 1st post:).]

Back at square 1...

As far as I know, the Eisners are administered by a woman named Jackie Estrada, who's had that job for a long time. To be honest, I've never looked into it so I don't know how transparent they are about what goes on behind the scenes, but they might be open about it. Anyway, I assume Jackie selects the judges but then perhaps she has to vet them through others in the organization.

As for the larger group who gets to vote, I know it includes industry pros, booksellers and comic store owners, librarians, journalists, and all former Eisner judges. Once you are able to vote one year, I think you are able to vote in perpetuity under the same login name, so the group of voters should be forever expanding.

Ak ok.

Still... I don't doubt there are plenty of people of color thumbing through mainstream comics. What would make me happy is to see them not just thumb through but also write, create, publish and run these businesses, and hold the decision-making positions that Efan just cited here above.

I know they are doing all these things, but at a very alternative, underground level that's not yet recognized as being as powerful as the mainstream industry. They are far from holding powerful, decision-making, culture/society-shaping posts in my opinion [in the comic books industry, as in others].

sextonseven said:

Flo6 said:

Aah now I get it!

And btw, you are right about the age and gender [these too were in high attendance among the 'fair' crowd of 2009).

That applies to these type of books which are mostly indie.

When I walk into a comic shop here I see lots of people of color thumbing through the more mainstream DC and Marvel titles.

Flo6 said:

Thank you for the detailed response. My initial question then I guess boils down to, how diverse a group are all these people you mentioned - and not just at this present moment, but over time?

I guess there are no stats/records on that, and it's tricky to track. So my assessment during my attendance is admittedly just a broad [too broad?] generalization based on my own perceptions of what I saw.

Efan said:

As far as I know, the Eisners are administered by a woman named Jackie Estrada, who's had that job for a long time. To be honest, I've never looked into it so I don't know how transparent they are about what goes on behind the scenes, but they might be open about it. Anyway, I assume Jackie selects the judges but then perhaps she has to vet them through others in the organization.

As for the larger group who gets to vote, I know it includes industry pros, booksellers and comic store owners, librarians, journalists, and all former Eisner judges. Once you are able to vote one year, I think you are able to vote in perpetuity under the same login name, so the group of voters should be forever expanding.

Yeah, I know what you mean. I don't think it would be all that hard to find out who all the Eisner judges have been through the years, because they haven't been around for all that long. I'm going to guess it's predominantly white males, obviously. But I don't think that's by design so much as it is by how the demographics of the industry play out. And I don't think the nominees for awards are just a bunch of white guys.

Flo6 said:

Ak ok.

Still... I don't doubt there are plenty of people of color thumbing through mainstream comics. What would make me happy is to see them not just thumb through but also write, create, publish and run these businesses, and hold the decision-making positions that Efan just cited here above.

I know they are doing all these things, but at a very alternative, underground level that's not yet recognized as being as powerful as the mainstream industry. They are far from holding powerful, decision-making, culture/society-shaping posts in my opinion [in the comic books industry, as in others].

sextonseven said:

That applies to these type of books which are mostly indie.

When I walk into a comic shop here I see lots of people of color thumbing through the more mainstream DC and Marvel titles.

The industry needs another Milestone Comics-like publisher.

sextonseven said:

Flo6 said:

Ak ok.

Still... I don't doubt there are plenty of people of color thumbing through mainstream comics. What would make me happy is to see them not just thumb through but also write, create, publish and run these businesses, and hold the decision-making positions that Efan just cited here above.

I know they are doing all these things, but at a very alternative, underground level that's not yet recognized as being as powerful as the mainstream industry. They are far from holding powerful, decision-making, culture/society-shaping posts in my opinion [in the comic books industry, as in others].

The industry needs another Milestone Comics-like publisher.

Altho, Milestone (or at least some of the characters) are starting to make a comeback.

sextonseven said:

Flo6 said:

Ak ok.

Still... I don't doubt there are plenty of people of color thumbing through mainstream comics. What would make me happy is to see them not just thumb through but also write, create, publish and run these businesses, and hold the decision-making positions that Efan just cited here above.

I know they are doing all these things, but at a very alternative, underground level that's not yet recognized as being as powerful as the mainstream industry. They are far from holding powerful, decision-making, culture/society-shaping posts in my opinion [in the comic books industry, as in others].

The industry needs another Milestone Comics-like publisher.

The industry has plenty of lines of comics that no one reads.

errant said:

sextonseven said:

The industry needs another Milestone Comics-like publisher.

The industry has plenty of lines of comics that no one reads.

Created by black folks for black folks?

sextonseven said:

Flo6 said:

Ak ok.

Still... I don't doubt there are plenty of people of color thumbing through mainstream comics. What would make me happy is to see them not just thumb through but also write, create, publish and run these businesses, and hold the decision-making positions that Efan just cited here above.

I know they are doing all these things, but at a very alternative, underground level that's not yet recognized as being as powerful as the mainstream industry. They are far from holding powerful, decision-making, culture/society-shaping posts in my opinion [in the comic books industry, as in others].

The industry needs another Milestone Comics-like publisher.

I get so mushy over Milestone...

Hoping you are right, Efan... and I agree that it's more complex than that, with yes, the demographics, history, and then hopefully (!) of course talent itself.

I'm not familiar enough with English-language comics to know about Milestone... sadly [I was raised on French comics].

But about 6 months ago I bought this gem of a book for an essay I was writing for college:

http://www.amazon.com/Black-Comix-African-American-Independent/dp/0984190651/ref=sr_1_1?s=books&ie=UTF8&qid=1304571542&sr=1-1

Black Comix: African American Independent Comics, Art and Culture [Hardcover]; Damian Duffy (Author), John Jennings (Author), Keith Knight (Introduction)

Gorgeous graphics, colors and designs. Even if I hadn't been studying the subject, I would have bought it just as a beautiful art book for a coffee table.

All the artists profiled seem professional, but are I guess little known in the mainstream market... which is the point of the book.

Flo6 said:

Hoping you are right, Efan... and I agree that it's more complex than that, with yes, the demographics, history, and then hopefully (!) of course talent itself.

I'm not familiar enough with English-language comics to know about Milestone... sadly [I was raised on French comics].

But about 6 months ago I bought this gem of a book for an essay I was writing for college:

http://www.amazon.com/Black-Comix-African-American-Independent/dp/0984190651/ref=sr_1_1?s=books&ie=UTF8&qid=1304571542&sr=1-1

Black Comix: African American Independent Comics, Art and Culture [Hardcover]; Damian Duffy (Author), John Jennings (Author), Keith Knight (Introduction)

Gorgeous graphics, colors and designs. Even if I hadn't been studying the subject, I would have bought it just as a beautiful art book for a coffee table.

All the artists profiled seem professional, but are I guess little known in the mainstream market... which is the point of the book.

That book looks interesting. Thanks for the tip.