Winners of particular interest to sff fans include They Called Us Enemy, by George Takei, Justin Eisinger, Steven Scott, and Harmony Becker (Best Reality-Based Work; published by Top Shelf), LaGuardia, by Nnedi Okorafor and Tana Ford (Best Graphic Album—Reprint; published by Berger Books/Dark Horse), Snow, Glass, Apples, by Neil Gaiman and Colleen Doran (Best Adaptation from Another Medium; published by Dark Horse Books), and Women Write About Comics, edited by Nola Pfau and Wendy Browne, www.WomenWriteAboutComics.com (Best Comics-Related Periodical/Journalism).
Leading the field with three Eisners apiece were Mariko Tamaki and Rosemary Valero-O’Connell’s graphic novel Laura Dean Is Breaking Up with Me (Best Publication for Teens, Best Writer, Best Penciller/Inker; published by First Second/Macmillan) and G. Willow Wilson and Christian Ward’s comic book series Invisible Kingdom (Best New Series, Best Writer, Best Painter; published by Berger Books/Dark Horse).
2020 Will Eisner Comic Industry Awards
Best Short Story
“Hot Comb,” by Ebony Flowers, in Hot Comb (Drawn & Quarterly)
Best Single Issue/One-Shot
Our Favorite Thing Is My Favorite Thing Is Monsters, by Emil Ferris (Fantagraphics)
Best Continuing Series
Bitter Root, by David Walker, Chuck Brown, and Sanford Greene (Image)
Best Limited Series
Little Bird by Darcy Van Poelgeest and Ian Bertram (Image)
Best New Series
Invisible Kingdom, by G. Willow Wilson and Christian Ward (Berger Books/Dark Horse)
Best Publication for Early Readers
Comics: Easy as ABC, by Ivan Brunetti (TOON)
Best Publication for Kids
Guts, by Raina Telgemeier (Scholastic Graphix)
Best Publication for Teens
Laura Dean Keeps Breaking Up with Me, by Mariko Tamaki and Rosemary Valero-O’Connell (First Second/Macmillan)
Best Humor Publication
The Way of the Househusband, vol. 1, by Kousuke Oono, translation by Sheldon Drzka (VIZ Media)
Best Anthology
Drawing Power: Women’s Stories of Sexual Violence, Harassment, and Survival, edited by Diane Noomin (Abrams)
Best Reality-Based Work
They Called Us Enemy, by George Takei, Justin Eisinger, Steven Scott, and Harmony Becker (Top Shelf)
Best Graphic Album—New
Are You Listening? by Tillie Walden (First Second/Macmillan)
Best Graphic Album—Reprint
LaGuardia, by Nnedi Okorafor and Tana Ford (Berger Books/Dark Horse)
Best Adaptation from Another Medium
Snow, Glass, Apples, by Neil Gaiman and Colleen Doran (Dark Horse Books)
Best U.S. Edition of International Material
The House, by Paco Roca, translation by Andrea Rosenberg (Fantagraphics)
Best U.S. Edition of International Material—Asia
[TIE]
Cats of the Louvre, by Taiyo Matsumoto, translation by Michael Arias (VIZ Media)
Witch Hat Atelier, by Kamome Shirahama, translation by Stephen Kohler (Kodansha)
Best Archival Collection/Project—Strips
Krazy Kat: The Complete Color Sundays, by George Herriman, edited by Alexander Braun (TASCHEN)
Best Archival Collection/Project—Comic Books
Stan Sakai’s Usagi Yojimbo: The Complete Grasscutter Artist Select, by Stan Sakai, edited by Scott Dunbier (IDW)
Best Writer
Mariko Tamaki, Harley Quinn: Breaking Glass (DC); Laura Dean Keeps Breaking Up with Me (First Second/Macmillan); Archie (Archie)
Best Writer/Artist
Raina Telgemeier, Guts (Scholastic Graphix)
Best Penciller/Inker or Penciller/Inker Team
Rosemary Valero-O’Connell, Laura Dean Keeps Breaking Up with Me (First Second/Macmillan)
Best Painter/Digital Artist
Christian Ward, Invisible Kingdom (Berger Books/Dark Horse)
Best Cover Artist
Emma Rios, Pretty Deadly (Image)
Best Coloring
Dave Stewart, Black Hammer,B.P.R.D.: The Devil You Know, Hellboy and the BPRD(Dark Horse); Gideon Falls (Image); Silver Surfer Black, Spider-Man (Marvel)
The 2020 Eisner Awards judging panel consists of graphic novel reviewer Martha Cornog (Library Journal), comics journalist Jamie Coville (TheComicBooks.com), academic/author Michael Dooley (L.A. Art Center College of Design, Print magazine), comic writer/novelist Alec Grecian (Proof, Rasputin, The Yard), journalist/blogger/podcaster Simon Jimenez (longtome Comic-Con volunteer), and retailer Laura O’Meara (Casablanca Comics, Portland, ME).
“The judging process was very challenging this year,” says Eisner Awards Administrator Jackie Estrada. “Normally, the judges all meet in San Diego for four days in a room filled with all the submitted comics and books and they are able to interact with each other in person. With the country in lockdown, they all had to stay in their respective homes (as far away as Maine, Pennsylvania, Kansas, and Kingston, Ontario) so had to communicate via email, a social media group, and Zoom. Packages of books went back and forth all over the country. Fortunately, we were able to work with the folks at comiXology and many of the publishers to have digital versions of hundreds of submissions available to the judges.” She adds, “The process took two months longer than usual, so the window for voting is significantly shorter than in previous years. We encourage professionals in comics to cast their votes as soon as they can.”
Voting for the awards is held online, and the ballot will be available at www.eisnervote.com. All professionals in the comic book industry are eligible to vote. The deadline for voting is June 18. The results of the voting will be announced in July.
2020 Will Eisner Comic Industry Award Nominees
Best Short Story
“Hot Comb,” by Ebony Flowers, in Hot Comb (Drawn & Quarterly)
Coin-Op No. 8: Infatuation, by Peter and Maria Hoey (Coin-Op Books)
The Freak, by Matt Lesniewski (AdHouse)
Minotäar, by Lissa Treiman (Shortbox)
Our Favorite Thing Is My Favorite Thing Is Monsters, by Emil Ferris (Fantagraphics)
Sobek, by James Stokoe (Shortbox)
Best Continuing Series
Bitter Root, by David Walker, Chuck Brown, and Sanford Greene (Image)
Criminal, by Ed Brubaker and Sean Phillips (Image)
Crowded, by Christopher Sebela, Ro Stein, and Ted Brandt (Image)
Daredevil, by Chip Zdarsky and Marco Checchetto (Marvel)
The Dreaming, by Simon Spurrier, Bilquis Evely et al. (DC)
Immortal Hulk, by Al Ewing, Joe Bennett, and Ruy José et al. (Marvel)
Best Limited Series
Ascender, by Jeff Lemire and Dustin Nguyen (Image)
Ghost Tree, by Bobby Curnow and Simon Gane (IDW)
Little Bird by Darcy Van Poelgeest and Ian Bertram (Image)
Naomi by Brian Michael Bendis, David Walker, and Jamal Campbell (DC)
Sentient, by Jeff Lemire and Gabriel Walta (TKO)
Best New Series
Doctor Doom, by Christopher Cantwell and Salvador Larocca (Marvel)
Invisible Kingdom, by G. Willow Wilson and Christian Ward (Berger Books/Dark Horse)
Once & Future, by Kieron Gillen and Dan Mora (BOOM! Studios)
Something Is Killing the Children, by James Tynion IV and Werther Dell’Edera (BOOM! Studios)
Undiscovered Country, by Scott Snyder, Charles Soule, Giuseppe Camuncoli, and Daniele Orlandini (Image)
Best Publication for Early Readers
Comics: Easy as ABC, by Ivan Brunetti (TOON)
Kitten Construction Company: A Bridge Too Fur, by John Patrick Green (First Second/Macmillan)
The Pigeon HAS to Go to School! by Mo Willems (Hyperion Books)
A Trip to the Top of the Volcano with Mouse, by Frank Viva (TOON)
¡Vamos! Let’s Go to the Market, by Raúl the Third (Versify/Houghton Mifflin Harcourt)
Who Wet My Pants? by Bob Shea and Zachariah Ohora (Little, Brown)
Best Publication for Kids
Akissi: More Tales of Mischief, by Marguerite Abouet and Mathieu Sapin (Flying Eye/Nobrow)
Dog Man: For Whom the Ball Rolls, by Dav Pilkey (Scholastic Graphix)
Guts, by Raina Telgemeier (Scholastic Graphix)
New Kid, by Jerry Craft (Quill Tree/HarperCollins)
This Was Our Pact, by Ryan Andrews (First Second/Macmillan)
The Wolf in Underpants, by Wilfrid Lupano, Mayana Itoïz, and Paul Cauuet (Graphic Universe/Lerner Publishing Group)
Best Publication for Teens
Harley Quinn: Breaking Glass, by Mariko Tamaki and Steve Pugh (DC)
Hot Comb, by Ebony Flowers (Drawn & Quarterly)
Kiss Number 8, by Colleen AF Venable and Ellen T. Crenshaw (First Second/Macmillan)
Laura Dean Keeps Breaking Up with Me, by Mariko Tamaki and Rosemary Valero-O’Connell (First Second/Macmillan)
Penny Nichols, by MK Reed, Greg Means, and Matt Wiegle (Top Shelf)
Best Humor Publication
Anatomy of Authors, by Dave Kellett (SheldonComics.com)
Death Wins a Goldfish, by Brian Rea (Chronicle Books)
Minotäar, by Lissa Treiman (Shortbox)
Sobek, by James Stokoe (Shortbox)
The Way of the Househusband, vol. 1, by Kousuke Oono, translation by Sheldon Drzka (VIZ Media)
Wondermark: Friends You Can Ride On, by David Malki (Wondermark)
Best Anthology
ABC of Typography, by David Rault (SelfMade Hero)
Baltic Comics Anthology š! #34-37, edited by David Schilter, Sanita Muižniece et al. (kuš!)
Drawing Power: Women’s Stories of Sexual Violence, Harassment, and Survival, edited by Diane Noomin (Abrams)
Kramer’s Ergot #10, edited by Sammy Harkham (Fantagraphics)
The Nib #2–4, edited by Matt Bors (Nib)
Best Reality-Based Work
Good Talk: A Memoir in Conversations, by Mira Jacob (One World/Random House)
Grass, by Keum Suk Gendry-Kim, translation by Janet Hong (Drawn & Quarterly)
Kid Gloves: Nine Months of Careful Chaos, by Lucy Knisley (First Second/Macmillan)
Moonbound: Apollo 11 and the Dream of Spaceflight, by Jonathan Fetter-Vorm (Hill & Wang)
My Solo Exchange Diary, vol. 2(sequel to My Lesbian Experience with Loneliness), by Nagata Kabi, translation by Jocelyne Allen (Seven Seas)
They Called Us Enemy, by George Takei, Justin Eisinger, Steven Scott, and Harmony Becker (Top Shelf)
Best Graphic Album—New
Are You Listening? by Tillie Walden (First Second/Macmillan)
Bezimena, by Nina Bunjevac (Fantagraphics)
BTTM FDRS, by Ezra Claytan Daniels and Ben Passmore (Fantagraphics)
Life on the Moon, by Robert Grossman (Yoe Books/IDW)
New World, by David Jesus Vignolli (Archaia/BOOM!)
Reincarnation Stories, by Kim Deitch (Fantagraphics)
Best Graphic Album—Reprint
Bad Weekend by Ed Brubaker and Sean Phillips (Image)
Clyde Fans, by Seth (Drawn & Quarterly)
Cover, vol. 1, by Brian Michael Bendis and David Mack (DC/Jinxworld)
Glenn Ganges: The River at Night, by Kevin Huizenga (Drawn & Quarterly)
LaGuardia, by Nnedi Okorafor and Tana Ford (Berger Books/Dark Horse)
Rusty Brown, by Chris Ware (Pantheon)
Best Adaptation from Another Medium
Giraffes on Horseback Salad: Salvador Dali, the Marx Brothers, and the Strangest Movie Never Made, by Josh Frank, Tim Hedecker, and Manuela Pertega (Quirk Books)
The Giver, by Lois Lowry and P. Craig Russell, (HMH Books for Young Readers)
The Handmaid’s Tale: The Graphic Novel, by Margaret Atwood, adapted by Renee Nault (Nan A. Talese)
HP Lovecraft’s At the Mountains of Madness, vols. 1–2, adapted by Gou Tanabe, translation by Zack Davisson (Dark Horse Manga)
The Seventh Voyage, by Stanislaw Lem, adapted by Jon Muth, translation by Michael Kandel (Scholastic Graphix)
Snow, Glass, Apples, by Neil Gaiman and Colleen Doran (Dark Horse Books)
Best U.S. Edition of International Material
Diabolical Summer, by Thierry Smolderen and Alexandre Clerisse, translation by Edward Gauvin (IDW)
Gramercy Park, by Timothée de Fombelle and Christian Cailleaux, translation by Edward Gauvin (EuroComics/IDW)
The House, by Paco Roca, translation by Andrea Rosenberg (Fantagraphics)
Maggy Garrisson, by Lewis Trondheim and Stéphane Oiry, translation byEmma Wilson (SelfMadeHero)
Stay, by Lewis Trondheim and Hubert Chevillard, translation by Mike Kennedy (Magnetic Press)
Wrath of Fantômas, by Olivier Bouquet and Julie Rocheleau, translation by Edward Gauvin (Titan)
Best U.S. Edition of International Material—Asia
BEASTARS, by Paru Itagaki, translation by Tomo Kimura (VIZ Media)
Cats of the Louvre, by Taiyo Matsumoto, translation by Michael Arias (VIZ Media)
Grass, by Keum Suk Gendry-Kim, translation by Janet Hong (Drawn & Quarterly)
Magic Knight Rayearth 25th Anniversary Edition, by CLAMP, translation by Melissa Tanaka (Kodansha)
The Poe Clan, by Moto Hagio, translation by Rachel Thorn (Fantagraphics)
Witch Hat Atelier, by Kamome Shirahama, translation by Stephen Kohler (Kodansha)
Best Archival Collection/Project—Strips
Cham: The Best Comic Strips and Graphic Novelettes, 1839–1862, by David Kunzle (University Press of Mississippi)
Ed Leffingwell’s Little Joe, by Harold Gray, edited by Peter Maresca and Sammy Harkham (Sunday Press Books)
The George Herriman Library: Krazy & Ignatz 1916–1918, edited by R.J. Casey(Fantagraphics)
Krazy Kat: The Complete Color Sundays, by George Herriman, edited by Alexander Braun (TASCHEN)
Madness in Crowds: The Teeming Mind of Harrison Cady, by Violet and Denis Kitchen (Beehive Books)
Pogo, Vol. 6: Clean as a Weasel, by Walt Kelly, edited by Mark Evanier and Eric Reynolds (Fantagraphics)
Best Archival Collection/Project—Comic Books
Alay-Oop,by William Gropper (New York Review Comics)
The Complete Crepax, vol. 5:American Stories, edited by Kristy Valenti(Fantagraphics)
Jack Kirby’s Dingbat Love, edited by John Morrow (TwoMorrows)
Moonshadow: The Definitive Edition, by J. M. DeMatteis, Jon J Muth, George Pratt, Kent Williams, and others (Dark Horse Books)
Stan Sakai’s Usagi Yojimbo: The Complete Grasscutter Artist Select, by Stan Sakai, edited by Scott Dunbier (IDW)
That Miyoko Asagaya Feeling, by Shinichi Abe, translation by Ryan Holmberg, edited by Mitsuhiro Asakawa (Black Hook Press)
Best Writer
Bobby Curnow, Ghost Tree (IDW)
MK Reed and Greg Means, Penny Nichols (Top Shelf)
Mariko Tamaki, Harley Quinn: Breaking Glass (DC); Laura Dean Keeps Breaking Up with Me (First Second/Macmillan); Archie (Archie)
Lewis Trondheim, Stay (Magnetic Press); Maggy Garrisson (SelfMadeHero)
Jean-Francois Beaulieu, Middlewest, Outpost Zero (Image)
Matt Hollingsworth, Batman: Curse of the White Knight, Batman White Knight Presents Von Freeze (DC); Little Bird, November (Image)
Molly Mendoza, Skip (Nobrow)
Dave Stewart, Black Hammer,B.P.R.D.: The Devil You Know, Hellboy and the BPRD(Dark Horse); Gideon Falls (Image); Silver Surfer Black, Spider-Man (Marvel)
Best Lettering
Deron Bennett, Batgirl, Green Arrow, Justice League, Martian Manhunter (DC); Canto (IDW); Assassin Nation, Excellence (Skybound/Image); To Drink and To Eat, vol. 1 (Lion Forge); Resonant (Vault)
Jim Campbell, Black Badge, Coda (BOOM Studios); Giant Days, Lumberjanes: The Shape of Friendship (BOOM Box!); Rocko’s Modern Afterlife(KaBOOM!); At the End of Your Tether (Lion Forge); Blade Runner 2019 (Titan); Mall, The Plot, Wasted Space (Vault)
Clayton Cowles, Aquaman, Batman, Batman and the Outsiders, Heroes in Crisis, Superman: Up in the Sky, Superman’s Pal Jimmy Olsen (DC); Bitter Root,Pretty Deadly,Moonstruck, Redlands, The Wicked + The Divine (Image); Reaver (Skybound/Image); Daredevil, Ghost-Spider, Silver Surfer Black, Superior Spider-Man, Venom (Marvel)
Emilie Plateau, Colored: The Unsung Life of Claudette Colvin (Europe Comics)
Stan Sakai, Usagi Yojimbo (IDW)
Tillie Walden, Are You Listening? (First Second/Macmillan)
The Art of Nothing: 25 Years of Mutts and the Art of Patrick McDonnell (Abrams)
The Book of Weirdo, by Jon B. Cooke (Last Gasp)
Grunt: The Art and Unpublished Comics of James Stokoe (Dark Horse)
Logo a Gogo: Branding Pop Culture, by Rian Hughes (Korero Press)
Making Comics, by Lynda Barry (Drawn & Quarterly)
Screwball! The Cartoonists Who Made the Funnies Funny, by Paul Tumey (Library of American Comics/IDW)
Best Academic/Scholarly Work
The Art of Pere Joan: Space, Landscape, and Comics Form, by Benjamin Fraser (University of Texas Press)
The Comics of Rutu Modan: War, Love, and Secrets, by Kevin Haworth (University Press of Mississippi)
EC Comics: Race, Shock, and Social Protest, by Qiana Whitted (Rutgers University Press)
The Peanuts Papers: Writers and Cartoonists on Charlie Brown, Snoopy & the Gang, and the Meaning of Life, edited by Andrew Blauner (Library of America)
Producing Mass Entertainment: The Serial Life of the Yellow Kid, by Christina Meyer (Ohio State University Press)
Women’s Manga in Asia and Beyond: Uniting Different Cultures and Identities, edited by Fusami Ogi et al. (Palgrave Macmillan)
Best Publication Design
Grunt: The Art and Unpublished Comics of James Stokoe, designed by Ethan Kimberling (Dark Horse)
Krazy Kat: The Complete Color Sundays, by George Herriman, designed by Anna-Tina Kessler (TASCHEN)
Logo a Gogo, designed by Rian Hughes (Korero Press)
Madness in Crowds: The Teeming Mind of Harrison Cady, designed by Paul Kopple and Alex Bruce (Beehive Books)
Making Comics, designed by Lynda Barry (Drawn & Quarterly)
Rusty Brown, designed by Chris Ware (Pantheon)
Best Digital Comic
Afterlift, by Chip Zdarsky and Jason Loo (comiXology Originals)
Black Water Lilies, by Michel Bussi, adapted by Frédéric Duval and Didier Cassegrain, translated by Edward Gauvin (Europe Comics)
Colored: The Unsung Life of Claudette Colvin, by Tania de Montaigne, adapted by Emilie Plateau, translated by Montana Kane (Europe Comics)
Elma, A Bear’s Life, vol. 1: The Great Journey, by Ingrid Chabbert and Léa Mazé, translated by Jenny Aufiery (Europe Comics)
Mare Internum, by Der-shing Helmer (comiXology; gumroad.com/l/MIPDF)
Tales from Behind the Window, by Edanur Kuntman, translated by Cem Ulgen (Europe Comics)
ConFusion 2021 won an online bidding session for the 2021 Eastercon, to be held at the Birmingham NEC again, with 95% of the vote. Permission to record the session was refused.
The Maurice Sendak Foundation has granted $100,000 to the New York Foundation for the Arts for an emergency relief grant program “to support children’s picture book artists and writers impacted by the COVID-19 crisis.” They will provide grants of up to $2,500 a person, and hope to raise at least another $150,000 in the initial phase.
A large group of comic book creators are banding together to help support comic book retailers whose business have been disrupted by the coronavirus pandemic.
Using the Twitter hashtag #Creators4Comics, more than 120 creators will be auctioning comic books, artwork and one-of-a-kind experiences. The auctions will run from Wednesday through Monday and will benefit the Book Industry Charitable Foundation, which is accepting applications from comic book shops and bookstores for emergency relief.
The effort was organized by the comic book writers Sam Humphries and Brian Michael Bendis, along with Kami Garcia, Gwenda Bond and Phil Jimenez. Humphries will be auctioning “How to Break Into Comics by Making Your Own Comics,” which are video-chat sessions with aspiring writers. “It mirrors my own comic book secret origin story,” he said in an email. More information can be found at the Creators 4 Comics website….
Our new virtual attending memberships are now able to be purchased on our members' site. All you need to do is go to https://t.co/s2Y8TPUYtB and click to register for a new membership.#conzealand#worldcon2020
An Attending Membership is for people who will engage in the live, interactive Virtual Convention. There are a number of different types of Attending Memberships. Attending Memberships are all inclusive. You do not have to pay anything more for access to any of our online activity.
You will receive all our publications. This also comes with the right to nominate and vote in the Hugo Awards in 2020. You can also vote in Site Selection for the 2022 Worldcon.
Young Adult Attending is based on being born in 2000.
Unwaged Attending is a NZ resident of any age who does not have a consistent wage. This includes students, retirees, beneficiaries etc. Please contact us if you have questions about this.
We will trust that if you become waged by the convention, that you will upgrade to a Full Attending.
This morning, Star Trek: Voyager star Robert Duncan McNeill (Tom Paris) announced that he has teamed up with co-star Garrett Wang (Harry Kim) on a new podcast called The Delta Flyers. The new pod promises inside stories as the pair plan to rewatch every episode of Voyager, with the first episode arriving in early May.
“I’m happy to report that the judging has been handled mostly virtually to date,” SDCC’s Chief Communications and Strategy Officer David Glanzer told Newsarama. “Things are in flux as you can imagine but our hope is to be able to have a list of Eisner winners for 2020.”
Longtime awards administrator Jackie Estrada is working with this year’s judges Martha Cornog, Jamie Coville, Michael Dooley, Alex Grecian, Simon Jimenez, and Laura O’Meara.
(7) OUT OF PRINT. In “This Is The Book That Outsold Dracula In 1897″, CrimeReads’ Olivia Rutigliano shows why an old bestseller is likely to remain in obscurity despite that singular achievement.
Bram Stoker’s Dracula has remained in print since it was first published in April 1897. A bestseller in its day, it has gone on to spawn countless derivatives and become one of the most indelible pop-cultural touchstones in recent history. Obviously. But, upon its first release, it was seriously outsold by another novel, a supernatural tale of possession and revenge called The Beetle, which fell out of print after 1960. And let me tell you, it’s something else.
Written by Richard Marsh, the author of extremely successful commercial short fiction during this era, The Beetle is actually rather like Dracula in form and plot. In addition to its being an epistolary novel, it is similarly about a seductive, inhuman, shape-shifting monster who arrives in England from the East, entrances a citizen into becoming its slave, and wages an attack on London society. And civilization’s only hope against this invader is a motley group of middle-class individuals (including one forward-thinking young woman and one expert on the supernatural), who must figure out what the creature actually is and ascertain why it has arrived to England, before finally destroying it….
… There is a forthcoming anthology of rebuttals to The Cold Equations. I expect many essayists to add elements that are not present in the original story to reach their own preferred conclusions. Rather than address the story as written, they will probably add in a factor that is not otherwise evident as a lever to be used against the main purpose of the story.
Rather than discussing the merits and criticism of the story, I’m first going to travel to Texas, rhetorically.
Lt. Governor Dan Patrick implied that he was willing to die to ensure the survival of his children and grandchildren. He went on to suggest that lots of grandparents would make the same choice. The context of his comments was the “choice” between maintaining our self-quarantine that is significantly damaging our economy or resuming normal social habits at the demonstrable risk of killing off a substantial number of our elderly.
…We are not currently at the point where we need to be deciding who lives and who dies. We are most certainly not at the point where we need to risk the lives of senior citizens by prematurely restarting the economy.
That being said, we do have to make choices; sometimes hard choices….
…The fact is that we all have to make choices based on what we hope is the best of information. We are all learning now about the importance of certain types of medical and personal protective equipment. We are learning that we had manufacturing and import capacity to cover the usual needs of society, but not enough to cover our needs during a pandemic. We are learning that we had stockpiles sufficient to cover a few significant regional calamities, but such stockpiles were entirely insufficient for a larger catastrophe.
…Will the critics of The Cold Equations pause in their rush to suggest alternative conclusions to acknowledge the practical limitations, however ham-handedly presented, that were in play?
There’s something a bit uncanny about Apsara Engine, the new comics collection by Bishakh Som. The world of comics is all about genre — superhero, sci-fi, fantasy, horror — and most of the time it’s pretty easy to match any book to its proper slot. Even highbrow graphic novels tend to categorize themselves through the style of art they employ and the types of stories they tell. Not this book, though. Its images and concepts seem to come from a place all their own. Som’s imagination is science-fictiony, without being particularly technological, mythic without being particularly traditional, and humanistic without cherishing any particular assumptions about where we, as a species, are headed.
You might classify these comics as “literary,” but Som’s approach to storytelling is as uncanny as her style and themes. Even the book’s structure keeps the reader off-balance. Som intersperses tales of future civilizations and half-human hybrid beasts with vignettes of run-of-the-mill contemporary life, so the reader never knows if something odd is about to happen.
You might classify these comics as “literary,” but Som’s approach to storytelling is as uncanny as her style and themes.
…Som’s artistic style breaks boundaries, too. She’ll employ traditional comic-book techniques for page layouts and character designs, then toss them aside with the turn of a page. A character who’s drawn iconically, with just a few efficient lines defining her features, will become lushly realistic at a pivotal moment. A story drawn in the usual square panels will suddenly burst forth into a series of flowing, uncontained two-page spreads.
Such moments of explosive transition provide the book’s heartbeat. It’s a mesmerizing arrythmia. The deceptiveness of what we think of as “ordinary life” is a running motif, one Som explores through unexpected juxtapositions. In “Come Back to Me,” a pretty young woman engages in an utterly mundane inner monologue while walking on the beach. Her reminiscences about the time she cheated on her boyfriend, which appear above and below the drawings, continue to unspool implacably even as she’s pulled into the ocean by a mermaid….
In 1970, Binns established Space Age Books, with the help of his friends Lee Harding and Paul Stevens. It soon established a reputation as the best source of science fiction, fantasy and counter-culture literature in Melbourne, and probably Australia.
Space Age became the hub of a growing science fiction community and Binns became associated with leading authors, editors and publishers, as well the growing number of fans, in Australia and internationally.
As a result, Binns and Space Age were integral to the hosting of World Science Fiction Conventions in Melbourne in 1975 and 1985.
(11) MEDIA BIRTHDAY.
April 18, 1938 — Superman first appeared in Action Comics #1, a comic book published by National Allied Publications even though the cover said June. The character was created by writer Jerry Siegel and artist Joe Shuster. This was actually an anthology, and contained eleven features with the Superman feature being the first thirteen inside pages. Five years ago, a pristine copy of this comic sold for a record $3,207,852 on an eBay auction. It was one of two hundred thousand that were printed.
(12) TODAY’S BIRTHDAYS.
[Compiled by Cat Eldridge.]
Born April 18, 1884 — Frank R. Paul. An employee of editor Hugo Gernsback, he largely defined the look of both cover art and interior illustrations in the pulps of the Twenties from Amazing Stories at first and later for Planet Stories, Superworld Comics and Science Fiction. He also illustrated the cover of Gernsback’s own novel, Ralph 124C 41+: A Romance of the Year 2660. You can see his cover for Amazing Stories, August 1927 issue , illustrating The War of the Worldshere. (Died 1963.)
Born April 18, 1922 — Nigel Kneale. Writer of novels and scripts merging horror and SF, he’s best remembered for the creation of the character Professor Bernard Quatermass. Though he was a prolific British producer and writer, he had only one Hollywood movie script, Halloween III: Season of the Witch. (Died 2006.)
Born April 18, 1945 — Karen Wynn Fonstad. She designed several atlases of fictional worlds including The Atlas of Middle-earth, The Atlas of Pern and The Atlas of the Dragonlance World. (Died 2005.)
Born April 18, 1946 — Janet Kagan. “The Nutcracker Coup” was nominated for both the Hugo Award for Best Novelette and the Nebula Award for Best Novelette, winning the Hugo at ConFrancisco. She has but two novels, one being Uhura’s Song, a Trek novel, and quite a bit of short fiction which is out in The Complete Kagan from Baen Books and is available from the usual digital suspects. (Died 2008.)
Born April 18, 1952 — Martin Hoare. I’m not going to attempt to restate what Mike stares much better in his obituary here. (Died 2019.)
Born April 18, 1965 — Stephen Player, 55. He’s deep into Pratchett’s Discworld and the fandom that sprung up around it. He illustrated the first two Discworld Maps, and quite a number of the books including the25th Anniversary Edition of The Light Fantastic and The Illustrated Wee Free Men. Oh but that’s just a mere wee taste of he’s done as he did the production design for the Sky One production of Hogfather and The Colour of Magic. He did box art and card illustrations for Guards! Guards! A Discworld Boardgame. Finally he contributed to some Discworld Calendars, games books, money for the Discworld convention. I want that money.
Born April 18, 1969 — Keith R. A. DeCandido, 51. I found him with working in these genre media franchises: such as Supernatural, Andromeda, Farscape, Firefly, Aliens, Star Trek In its various permutations, Buffy the Vampire Slayer, Doctor Who, Spider-Man, X-Men, Hercules, Thor, Sleepy Hollow,and Stargate SG-1. Has he ever written a novel that was a media tie-in?
Born April 18, 1971 — David Tennant, 49. Eleventh Doctor and my favorite of the modern Doctors along with Thirteen whom I’m also very fond of. There are some episodes such as the “The Unicorn and The Wasp” that I’ve watched repeatedly. He’s also done other spectacular genre work such as the downright creepy Kilgrave in Jessica Jones, and and Barty Crouch, Jr. in Harry Potter and the Goblet of Fire. He’s also in the Beeb’s remake of the The Quatermass Experiment as Dr. Gordon Briscoe.
Born April 18, 1973 — Cora Buhlert, 47. With Jessica Rydill, she edits the Speculative Fiction Showcase, a most excellent site. She has a generous handful of short fiction professionally published, and she’s also a finalist for the Best Fan Writer Hugo this year.
It’s been a wild month for comic book fans everywhere. Since the COVID-19 crisis fully took hold we’ve been getting used to new ways of living, working, and accessing our favorite art, even SDCC has been canceled! It was only a few weeks ago that Diamond–the comic book industry’s only physical distributor–would stop distributing single issues to comic shops. Since then, there have been plenty of rumors, failed plans, and new ideas. But now DC Comics has announced they will be selling comics directly to shops via two new distributors.
It’s great news for comics fans but also has massive implications for the future of the industry as a whole. We’re here to break down why.
… The fact that DC Comics is breaking with the exclusive deal Diamond has had with them for decades means that they are introducing two new distributors into the market for the first time in 20 years. It could essentially break the monopoly that Diamond has had on the industry. Possibly freeing up the proverbial trade routes that have long been under the control of one massive company….
…In a previous column, I wrote about the unprecedented library closures around the country in the wake of the pandemic. The value of public libraries is rarely questioned in times of crisis—think of the New Orleans Public Library after Hurricane Katrina, or the Ferguson Municipal Public Library during the unrest there. But this crisis—more specifically, the social distancing required to address this crisis—strikes at the very foundation on which the modern public library rests. And as the days go by, I find myself increasingly concerned about how libraries come back from these closures.
For one, I suspect that Covid-19 will change some people’s perspective on what can and should be shared. I fear many people will begin to overthink materials handling and the circulation of physical library collections, including books. It’s a reasonable assumption that people will emerge from this public health crisis with a heightened sense of risk related to germ exposure. How many of our patrons—particularly those with means—will begin to question the safety of borrowing books and other items from the library?
In terms of our buildings, open access for everyone has long been a celebrated library value. Public libraries have evolved, survived, and have even managed to thrive through a digital transformation by reconfiguring our spaces to be more social, more functional, and by offering more programs and classes. Can we maintain that in an age of social distancing? Will libraries need to supply gloves for shared keyboards? Will parents and caregivers still want to bring their children to a “Baby and Me” program? Will seniors still find respite in a library community?
…This time, though, the launch will be markedly different from any other in the history of the space agency. Unlike Mercury, Gemini, Apollo or the space shuttle era, the rocket will be owned and operated not by NASA, but by a private company — SpaceX, the hard-charging commercial space company founded by Elon Musk.
(18) KEEP YOUR DISTANCE. The Washington Post’s Travis M. Andrews says that last Saturday a giant music festival was held “featuring emo titans American Football, chiptune pioneers Anamanaguchi and electropop pioneer Baths,” but social distancing protocols were followed because this was a virtual festival that took place inside Minecraft. “Thousands gathered Saturday for a music festival. Don’t worry: It was in Minecraft.”
… Interested parties could “attend” in a few different ways. Some watched on the video game streaming site Twitch. To really get into the action, though, you needed to log into Minecraft, plug in the proper server info and, voilà!, you’d pop to life in a hallway and then explore the venue through your first-person viewpoint.
Purchasing a VIP pass (with real money) allowed access to special cordoned-off parts of the venue and the chance to chat with the artists on the gamer hangout app Discord. Meanwhile, the nearly 100,000 unique viewers on Twitch were encouraged to donate money to disaster recovery org Good360, which ended up with roughly $8,000 in proceeds.
A new material developed, by scientists could give a significant boost to a new generation of hydrogen-powered cars.
Like a bath sponge, the product is able to hold and release large quantities of the gas at lower pressure and cost.
Made up of billions of tiny pores, a single gram of the new aluminium-based material has a surface area the size of a football pitch.
The authors say it can store the large volume of gas needed for practical travel without needing expensive tanks.
…As well as developing electric vehicles, much focus has been on hydrogen as a zero emissions source of power for cars.
The gas is used to power a fuel cell in cars and trucks, and if it is made from renewable energy it is a much greener fuel.
However, hydrogen vehicles suffer from some drawbacks.
The gas is extremely light – In normal atmospheric pressure, to carry 1kg of hydrogen which might power your car for over 100km, you’d need a tank capable of holding around 11,000 litres.
To get around this problem, the gas is stored at high pressure, around 700 bar, so cars can carry 4-5kg of the gas and travel up to 500km before refilling.
That level of pressure is around 300 times greater than in a car’s tyres, and necessitates specially made tanks, all of which add to the cost of the vehicles.
Now researchers believe they have developed an alternative method that would allow the storage of high volumes of hydrogen under much lower pressure.
The team have designed a highly porous new material, described as a metal-organic framework.
What does an outdoor cat do all day? According to new research, it could be taking a heavy toll on local wildlife.
A tracking study of more than 900 house cats shows when they kill small birds and mammals, their impact is concentrated in a small area, having a bigger effect than wild predators do….
“Even though it seems like their cat isn’t killing that many, it really starts to add up,” said Roland Kays, a scientist at North Carolina State University and the North Carolina Museum of Natural Sciences. (Full disclosure: Kays isn’t a cat or dog person but a “ferret person.”)
Kays and colleagues collected GPS data from cats in six countries and found most cats aren’t venturing very far from home.
“These cats are moving around their own backyard and a couple of their neighbors’ backyards, but most of them are not ranging very much further,” Kays said. “So initially I thought: ‘Oh, this is good news. They’re not going out into the nature preserves.’ “
Then Kays factored in how much cats kill in that small area. Some cats in the study were bringing home up to 11 dead birds, rodents or lizards a month, which doesn’t include what they ate or didn’t bring home to their owners.
“It actually ends up being a really intense rate of predation on any unfortunate prey species that’s going to live near that cat’s house,” he said.
Deep in the Pacific Ocean, six-foot-long Humboldt squid are known for being aggressive, cannibalistic and, according to new research, good communicators.
Known as “red devils,” the squid can rapidly change the color of their skin, making different patterns to communicate, something other squid species are known to do.
But Humboldt squid live in almost total darkness more than 1,000 feet below the surface, so their patterns aren’t very visible. Instead, according to a new study, they create backlighting for the patterns by making their bodies glow, like the screen of an e-reader.
“Right now, what blows my mind is there’s probably squid talking to each other in the deep ocean and they’re probably sharing all sorts of cool information,” said Ben Burford, a graduate student at Stanford University.
Humboldt squid crowd together in large, fast-moving groups to feed on small fish and other prey.
“When you watch them it looks like frenzy,” Burford said. “But if you pay close attention, they’re not touching each other. They’re not bumping into each other.”
Stephen King jumped into the live stream game on Friday afternoon. The Master of Horror flipped on the camera to read the first chapter from his new book If It Bleeds. As previously reported, the book collects four different novellas — similar to Different Seasons or Four Past Midnight — and is available for Constant Readers on April 21st.
Wearing a Loser/Lover shirt from It: Chapter One, which is just all kinds of charming, King read from the first novel Mr. Harrigans Phone. The story continues the author’s mistrust of technology in the vein of Cell, and should make us all think twice about our respective smart phones. So, think about that as you watch King from your couch.
[Thanks to Michael Toman, JJ, Cat Eldridge, Bella Michaels, Martin Morse Wooster, John King Tarpinian, Chip Hitchcock, Mike Kennedy, and Andrew Porter for some of these stories. Title credit goes to File 770 contributing editor of the day Jayn.]
Comic-Con
International presented
the Will Eisner Comic Industry Awards 2019 in a ceremony held July 19.
Best Short Story
“The Talk of the Saints,” by Tom King and
Jason Fabok, in Swamp Thing Winter Special (DC)
Best Single Issue/One-Shot
Peter Parker: The Spectacular
Spider-Man
#310, by Chip Zdarsky (Marvel)
Best Continuing Series
Giant Days, by John Allison, Max Sarin, and
Julaa Madrigal (BOOM! Box)
Best Limited Series
Mister Miracle, by Tom King and Mitch Gerads
(DC)
Best New Series
Gideon Falls, by Jeff Lemire and Andrea
Sorrentino (Image)
Best Publication for Early
Readers (up to age 8)
Johnny Boo and the Ice Cream
Computer, by
James Kochalka (Top Shelf/IDW)
Best Publication for Kids (ages
9–12)
The Divided Earth, by Faith Erin Hicks (First
Second)
Best Publication for Teens (ages
13–17)
The Prince and the Dressmaker, by Jen Wang (First Second)
Best Humor Publication
Giant Days, by John Allison, Max Sarin, and
Julia Madrigal (BOOM! Box)
Best Anthology
Puerto Rico Strong, edited by Marco Lopez, Desiree
Rodriguez, Hazel Newlevant, Derek Ruiz, and Neil Schwartz (Lion Forge)
Best Reality-Based Work
Is This Guy For Real? The
Unbelievable Andy Kaufman, by Box Brown (First Second)
Best Graphic Album—New
My Heroes Have Always Been
Junkies, by
Ed Brubaker and Sean Phillips (Image)
Best Graphic Album—Reprint
The Vision hardcover, by Tom King, Gabriel
Hernandez Walta, and Michael Walsh (Marvel)
Best Adaptation from Another
Medium
“Frankenstein” by Mary Shelley,
in Frankenstein: Junji Ito Story Collection, adapted by Junji Ito,
translated by Jocelyne Allen (VIZ Media)
Best U.S. Edition of
International Material
Brazen: Rebel Ladies Who Rocked
the World, by
Pénélope Bagieu (First Second)
Best U.S. Edition of
International Material—Asia
Tokyo Tarareba Girls, by Akiko Higashimura (Kodansha)
Best Archival
Collection/Project—Strips
Star Wars: Classic Newspaper
Strips, vol.
3, by Archie Goodwin and Al Williamson, edited by Dean Mullaney (Library of
American Comics/IDW)
Best Archival
Collection/Project—Comic Books
Bill Sienkiewicz’s Mutants and
Moon Knights… And Assassins… Artifact Edition, edited by Scott Dunbier (IDW)
Best Writer
Tom King, Batman, Mister
Miracle, Heroes in Crisis, Swamp Thing Winter Special (DC)
Best Writer/Artist
Jen Wang, The Prince and the
Dressmaker (First Second)
Best Penciller/Inker or
Penciller/Inker Team
Mitch Gerads, Mister Miracle
(DC)
Best Painter/Multimedia Artist
(interior art)
Dustin Nguyen, Descender (Image)
Best Cover Artist (for multiple
covers)
Jen Bartel, Blackbird (Image);
Submerged (Vault)
Best Coloring
Matt Wilson, Black Cloud,
Paper Girls, The Wicked + The Divine (Image); The Mighty Thor, Runaways
(Marvel)
Best Lettering
Todd Klein— Black Hammer: Age
of Doom, Neil Gaiman’s A Study in Emerald (Dark Horse); Batman: White
Night (DC); Eternity Girl, Books of Magic (Vertigo/DC); The
League of Extraordinary Gentlemen: The Tempest (Top Shelf/IDW)
Best Comics-Related
Periodical/Journalism
TIE
Back Issue, edited by Michael Eury
(TwoMorrows)
PanelxPanel magazine, edited by Hassan
Otsmane-Elhaou, panelxpanel.com
Best Comics-Related Book
Drawn to Purpose: American Women
Illustrators and Cartoonists, by Martha H. Kennedy (University Press of Mississippi)
Best Academic/Scholarly Work
Sweet Little C*nt: The Graphic
Work of Julie Doucet, by
Anne Elizabeth Moore (Uncivilized Books)
Best Publication Design
Will Eisner’s A Contract with
God: Curator’s Collection,
designed by John Lind (Kitchen Sink/Dark Horse)
Wendy and Richard Pini, creators of beloved Elfquest series and indie-publishing groundbreaker, inducted into #eisnerawards Hall of Fame at #SDCC2019 with a moving acceptance speech pic.twitter.com/vNUWnaxHQy
The Award is given out yearly to retailers who have done an
outstanding job of supporting the comic art medium both in the industry at large
and in their local community. Comics fans around the world nominate their
favorite stores on the Comic-Con International website.
This
year’s nominee list includes 34 comic retail stores from across the United
States, plus Argentina, Australia, Canada, Ireland, Israel, Portugal, and
Spain. The finalists will be announced during the week of Comic-Con, after the
judges meet in San Diego. The recipient will be announced as part of the Will
Eisner Comic Industry Awards on Friday, July 19
The nominees for the 2019 award are:
Alaska Robotics Gallery
Pat Race & Aaron Suring, Juneau, AK
Amazing Stories Comics
Jeff and Donalda Kocur, Saskatoon, Saskatchewan, Canada
Arcadian Comics & Games
Stephen Struharik, Newport, KY
Ash Avenue Comics
Drew Sullivan, Tempe, AZ
Blast From The Past
Larry & Kathy Ross, Burbank, CA
Bob’s Bullpen
Bob LeFevre, Alpena, MI
Books with Pictures
Katie Proctor, Portland, OR
Brian’s Comics
Brian and Jennifer Christensen, Petaluma, CA
Cape and Cowl Comics
Eitan Manhoff, Oakland, CA
Collector’s Comics Inc
Keith Mallow, Port Saint Lucie, FL
Comic Quest
Kelly and Don Allen, Lake Forest, CA
Comic World
Kathleen Miller the comic book lady, Huntington, WV
Comics Conspiracy
Ryan Higgins, Sunnyvale, CA
Comiczone
Gareth Bird, Perth, Western Australia, Australia
Comikaza
Ori Ayalon and Jacob Sareli, Tel-Aviv, Israel
Comix Experience
Brian Hibbs, San Francisco, CA
Drawn To Comics
Ken and Susan Brown, Glendale, AZ
Earthworld Comics
Joshua Charles Glindmyer, Albany, NY
Escapist Comic Bookstore
Jack Rems, Berkeley, CA
Farpoint Toys & Collectibles
Penelope & Justin Daniels, Frank Mosentoff, Mays Landing, NJ
Four Color Fantasies
Mike Kwolek, Winchester, VA
Jesse James Comics
Jesse James, Glendale, AZ
Kingpin Books
Mário Freitas, Lisbon, Portugal
La Revisteria Comics
Lr Asturias SA., Capital Federal, Buenos Aires, Argentina
The Eisner Awards judges have
selected four people to be automatically inducted into the Will Eisner Hall of
Fame for 2019,
Jim Aparo (Silver Age DC artist, Brave and the Bold, Batman and the Outsiders)
Jim Aparo’s
first comics work was at Charlton Comics in the late 1960s. He worked on
several genres there and was eventually recruited by editor Dick Giordano for a
move to DC Comics in the late 1960s, where he handled such features as Aquaman and Phantom Stranger before
landing the art chores on DC’s premiere team-up book The
Brave and the Bold
(starring Batman). He then co-created (with Mike W. Barr) Batman
and the Outsiders,
which he drew from 1983 to 1985. Aparo went on to draw stories for Batman (most notably “A Death in the Family” storyline),
Detective, and other DC titles into the late 1990s. For most
of his career, Aparo not only pencilled his work but inked and lettered it as
well. He died in 2005.
Dave Stevens (writer/artist, creator of The Rocketeer)
Dave Stevens created
the Rocketeer, the retro adventure hero of 1980s indie comics and 1991 movie
fame. The Rocketeer
combined Stevens’ love of 1930s movies, the golden age of aviation, and 1950s
pinup girl Bettie Page. Before becoming a professional artist, Stevens
contributed amateur illustrations to early Comic-Con program books in the
1970s. His first professional gig was as Russ Manning’s assistant on the Tarzan comic strip in 1975. Stevens later worked as an
animator at Hanna-Barbera and a storyboard artist on projects including Raiders
of the Lost Ark
and Michael Jackson’s “Thriller” music video. Stevens was the first recipient
of the Russ Manning Most Promising Newcomer Award in 1982, and he won an Inkpot
Award and the Kirby Award for Best Graphic Album in 1986. He died in 2008.
June Tarpé Mills (Golden Age creator of the Miss Fury comic strip and comic books)
One of the few female artists working during the Golden Age of comics, June Tarpé Mills was the creator of Miss Fury, an action comic strip and comic book that first appeared in 1941.
Miss Fury is credited as being the first female action hero created by a woman. The Miss Fury comic strip ran until 1951.
Mills returned to comics briefly in 1971 with Our Love Story at Marvel Comics. She died in 1988.
Morrie Turner (cartoonist of the Wee Pals newspaper strip)
Morrie Turner
created the Wee Pals
comic strip in 1965. When Wee Pals
was first created, bringing black characters to the comics pages was by no
means an easy task. At first, only five major newspapers published the strip.
It was not until 1968 and the tragic assassination of Martin Luther King Jr. that
Wee
Pals achieved nationwide acceptance. Within three
months of Dr. King’s death, Wee Pals
was appearing in more than 100 newspapers nationwide. In 2012 Turner was the
recipient of Comic-Con’s Bob Clampett Humanitarian Award. He also has the
distinction of having been one of the handful of pros at the very first
Comic-Con in 1970.
The judges have also chosen 14
nominees from which voters will select 4 to be inducted in the Hall of Fame
this summer. These nominees are Brian Bolland, Kevin Eastman, Jose Luis
Garcia-Lopez, Lynn Johnston, Jenette Kahn, Paul Levitz, Alex Nino, Lily Renée
Peter Phillips, Wendy & Richard Pini, P. Craig Russell, Bill Sienkiewicz,
Don & Maggie Thompson, Akira Toriyama, and Naoki Urasawa. For a complete list of the 2019
nominees, including bios and art, click here.
Image and DC received the most nominations: Image with 19 (plus 11 shared), and DC with 17 (plus 7 shared). …
The creator with the most nominations is Tom King with 5: Best Short Story (from DC’s Swamp Thing Winter Special), Best Continuing Series (Batman), Best Limited Series (Mister Miracle), Best Graphic Album–Reprint (The Vision hardcover), and Best Writer. Two creators have 4 nominations each: Alex de Campi (Best Graphic Album–New: Bad Girls, Best Anthology: Twisted Romance, Best Writer, Best Letterer) and Jeff Lemire (Best Single Issue: Black Hammer: Cthu-Louise, Best Continuing Series: Black Hammer: Age of Doom, Best New Series: Gideon Falls, Best Writer)….
The 2019 Eisner Awards judging
panel consists of comics journalist Chris Arrant (Newsarama), academic/author
Jared Gardner (Ohio State University), librarian Traci Glass (Multnomah County
Library system in Portland, Oregon), retailer Jenn Haines (The Dragon, Guelph
and Milton, Ontario, Canada), reviewer Steven Howearth (Pop Culture Maven), and
comics creator Jimmie Robinson (CyberZone, Amanda & Gunn, Bomb Girl).
2019 Will Eisner Comic Industry Award Nominees
Best
Short Story
“Get Naked in Barcelona,” by Steven T. Seagle and Emei Olivia Burrell, in Get Naked (Image)
“The Ghastlygun Tinies,” by Matt Cohen and Marc Palm, in MAD magazine #4 (DC)
“Here I Am,” by Shaun Tan, in I Feel Machine (SelfMadeHero)
“Supply Chains,” by Peter and Maria Hoey, in Coin-Op #7 (Coin-Op Books)
“The Talk of the Saints,” by Tom King and Jason Fabok, in Swamp Thing Winter Special (DC)
Best Single Issue/One-Shot
Beneath the Dead Oak Tree, by Emily Carroll (ShortBox)
Black Hammer: Cthu-Louise, by Jeff Lemire and Emi Lenox (Dark Horse)
No Better Words, by Carolyn Nowak (Silver Sprocket)
Peter Parker: The Spectacular Spider-Man #310, by Chip Zdarsky (Marvel)
The Terrible Elisabeth Dumn Against the Devils In
Suits, by Arabson,
translated by James Robinson (IHQ Studio/ Image)
Best Continuing Series
Batman, by Tom King
et al. (DC)
Black Hammer: Age of Doom, by Jeff Lemire, Dean Ormston, and Rich Tommaso
(Dark Horse)
Gasolina, by Sean
Mackiewicz and Niko Walter (Skybound/Image)
Giant Days, by John Allison, Max Sarin, and Julaa Madrigal
(BOOM! Box)
The Immortal Hulk, by Al Ewing, Joe Bennett, and Ruy José (Marvel)
Runaways, by Rainbow
Rowell and Kris Anka (Marvel)
Best Limited Series
Batman: White Knight, by Sean Murphy (DC)
Eternity Girl, by Magdalene Visaggio and Sonny Liew (Vertigo/DC)
Exit Stage Left:
The Snagglepuss Chronicles, by Mark Russell, Mike Feehan, and Mark Morales (DC)
Mister Miracle, by Tom King and Mitch Gerads (DC)
X-Men: Grand Design: Second Genesis, by Ed Piskor (Marvel)
Best New Series
Bitter Root, by David Walker, Chuck Brown, and Sanford Green
(Image)
Crowded, by
Christopher Sebela, Ro Stein, and Ted Brandt (Image)
Gideon Falls, by Jeff Lemire and Andrea Sorrentino (Image)
Isola, by Brenden
Fletcher and Karl Kerschl (Image)
Man-Eaters, by Chelsea Cain and Kate Niemczyk (Image)
Skyward, by Joe
Henderson and Lee Garbett (Image)
Best Publication for Early Readers (up to age 8)
Johnny Boo and the Ice Cream Computer, by James Kochalka (Top Shelf/IDW)
Petals, by Gustavo
Borges (KaBOOM!)
Peter & Ernesto: A Tale of Two Sloths, by Graham Annable (First Second)
This Is a Taco! By Andrew Cangelose and Josh Shipley (CubHouse/Lion
Forge)
Tiger Vs. Nightmare, by Emily Tetri (First Second)
Best Publication for Kids (ages 9–12)
Aquicorn Cove, by Katie O’Neill (Oni)
Be Prepared, by Vera Brosgol (First Second)
The Cardboard Kingdom, by Chad Sell (Knopf/Random House Children’s Books)
Crush, by Svetlana
Chmakova (JY/Yen Press)
The Divided Earth, by Faith Erin Hicks (First Second)
Best Publication for Teens (ages 13–17)
All Summer Long, by Hope Larson (Farrar Straus Giroux)
Gumballs, by Erin
Nations (Top Shelf/IDW)
Middlewest, by Skottie Young and Jorge Corona (Image)
Norroway, Book 1: The Black Bull of Norroway, by Cat Seaton and Kit Seaton (Image)
The Prince and the Dressmaker, by Jen Wang (First Second)
Watersnakes, by Tony Sandoval, translated by Lucas Marangon
(Magnetic/Lion Forge)
Best Humor Publication
Get Naked, by Steven T. Seagle et al. (Image)
Giant Days, by John Allison, Max Sarin, and Julia Madrigal
(BOOM! Box)
MAD magazine,
edited by Bill Morrison (DC)
A Perfect Failure: Fanta Bukowski 3, by Noah Van Sciver (Fantagraphics)
Woman World, by Aminder Dhaliwal (Drawn & Quarterly)
Best Anthology
Femme Magnifique: 50 Magnificent Women Who Changed
the World, edited by Shelly
Bond (Black Crown/IDW)
Puerto Rico Strong, edited by Marco Lopez, Desiree Rodriguez, Hazel
Newlevant, Derek Ruiz, and Neil Schwartz (Lion Forge)
Twisted Romance, edited by Alex de Campi (Image)
Where We Live: A Benefit for the Survivors in Las
Vegas, edited by Will
Dennis, curated by J. H. Williams III and Wendy Wright-Williams (Image)
Best Reality-Based Work
All the Answers: A Graphic Memoir, by Michael Kupperman (Gallery 13)
All the Sad Songs, by Summer Pierre (Retrofit/Big Planet)
Is This Guy For Real? The Unbelievable Andy Kaufman,
by Box Brown (First Second)
Monk! by Youssef
Daoudi (First Second)
One Dirty Tree, by Noah Van Sciver (Uncivilized Books)
Best Graphic Album—New
Bad Girls, by Alex de Campi and Victor Santos (Gallery 13)
Come Again, by Nate Powell (Top Shelf/IDW)
Green Lantern: Earth One Vol. 1, by Corinna Bechko and Gabriel Hardman (DC)
Homunculus, by Joe Sparrow (ShortBox)
My Heroes Have Always Been Junkies, by Ed Brubaker and Sean Phillips (Image)
Sabrina, by Nick
Drnaso (Drawn & Quarterly)
Best Graphic Album—Reprint
Berlin, by Jason
Lutes (Drawn & Quarterly)
Girl Town, by Carolyn
Nowak (Top Shelf/IDW)
Upgrade Soul, by Ezra Claytan Daniels (Lion Forge)
The Vision hardcover, by Tom King, Gabriel Hernandez Walta,
and Michael Walsh (Marvel)
Young Frances, by Hartley Lin (AdHouse Books)
Best Adaptation from Another Medium
Anne Frank’s Diary: The Graphic Adaptation, adapted by Ari Folman and David Polonsky (Pantheon)
“Frankenstein” by Mary Shelley, in Frankenstein:
Junji Ito Story Collection, adapted by Junji Ito, translated
by Jocelyne Allen (VIZ Media)
Out in the Open by Jesús Carraso, adapted by Javi Rey, translated
by Lawrence Schimel (SelfMadeHero)
Speak: The Graphic Novel, by Laurie Halse Anderson and Emily Carroll (Farrar
Straus Giroux)
To Build a Fire: Based on Jack London’s Classic
Story, by Chabouté
(Gallery 13)
Best U.S. Edition of International Material
About Betty’s Boob, by Vero Cazot and Julie Rocheleau, translated by
Edward Gauvin (Archaia/BOOM!)
Brazen: Rebel Ladies Who Rocked the World, by Pénélope Bagieu (First Second)
Herakles Book 1, by Edouard Cour, translated by Jeremy Melloul
(Magnetic/Lion Forge)
Niourk, by Stefan
Wul and Olivier Vatine, translated by Brandon Kander and Diana Schutz
(Dark Horse)
A Sea of Love, by Wilfrid Lupano and Grégory Panaccione
(Magnetic/Lion Forge)
Best U.S. Edition of International Material—Asia
Abara: Complete Deluxe Edition, by Tsutomu Nihei, translated by Sheldon Drzka (VIZ
Media)
Dead Dead Demon’s Dededede Destruction, by Inio Asano, translated by John Werry (VIZ Media)
Laid-Back Camp, by Afro, translated by Amber Tamosaitis (Yen Press)
My Beijing: Four Stories of Everyday Wonder, by Nie Jun, translated by Edward Gauvin (Graphic
Universe/Lerner)
Tokyo Tarareba Girls, by Akiko Higashimura (Kodansha)
Best Archival Collection/Project—Strips
Pogo, vol. 5: Out of This World At Home, by Walt Kelly, edited by Mark Evanier and Eric
Reynolds (Fantagraphics)
Sky Masters of the Space Force: The Complete Sunday
Strips in Color (1959–1960), by Jack
Kirby, Wally Wood et al., edited by Ferran Delgado (Amigo Comics)
Star Wars: Classic Newspaper Strips, vol. 3, by Archie Goodwin and Al Williamson, edited
by Dean Mullaney (Library of American Comics/IDW)
The Temple of Silence: Forgotten Words and Worlds of
Herbert Crowley, by Justin
Duerr (Beehive Books
Thimble Theatre and the Pre-Popeye Comics of E. C.
Segar, edited by Peter
Maresca (Sunday Press)
Best Archival Collection/Project—Comic Books
Action Comics: 80 Years of Superman Deluxe Edition, edited by Paul Levitz (DC)
Bill Sienkiewicz’s Mutants and Moon Knights… And
Assassins… Artifact Edition, edited by
Scott Dunbier (IDW)
Dirty Plotte: The Complete Julie Doucet (Drawn & Quarterly)
Madman Quarter Century Shindig, by Mike Allred, edited by Chris Ryall (IDW)
Terry Moore’s Strangers in Paradise Gallery Edition, edited by Joseph Melchior and Bob Chapman (Abstract
Studio/Graphitti Designs)
Will Eisner’s A Contract with God: Curator’s
Collection, edited by John Lind
(Kitchen Sink/Dark Horse)
Best Writer
Alex de Campi, Bad Girls (Gallery 13); Twisted
Romance (Image)
Tom King, Batman, Mister Miracle, Heroes in Crisis,
Swamp Thing Winter Special (DC)
Jeff Lemire, Black Hammer: Age of Doom,Doctor
Star & the Kingdom of Lost Tomorrows, Quantum Age (Dark
Horse); Descender,
Gideon Falls, Royal City (Image)
Mark Russell, Exit Stage Left:
The Snagglepuss Chronicles, Green Lantern/Huckleberry Hound, Lex
Luthor/Porky Pig (DC); Lone Ranger (Dynamite)
Kelly Thompson, Nancy Drew (Dynamite); Hawkeye,
Jessica Jones, Mr. & Mrs. X, Rogue & Gambit, Uncanny X-Men, West
Coast Avengers (Marvel)
Chip Zdarsky, Peter Parker: The Spectacular Spider-Man,
Marvel Two-in-One (Marvel)
Best Writer/Artist
Sophie Campbell, Wet Moon (Oni)
Nick Drnaso, Sabrina (Drawn &
Quarterly)
David Lapham, Lodger (Black Crown/IDW); Stray
Bullets (Image)
Nate Powell, Come Again (Top Shelf/IDW)
Tony Sandoval, Watersnakes (Magnetic/Lion
Forge)
Jen Wang, The Prince and the Dressmaker (First
Second)
Best Penciller/Inker or Penciller/Inker Team
Matías Bergara, Coda (BOOM!)
Mitch Gerads, Mister Miracle (DC)
Karl Kerschl, Isola (Image)
Sonny Liew, Eternity Girl (Vertigo/DC)
Sean Phillips, Kill or Be Killed, My Heroes Have Always
Been Junkies (Image)
Gregory Panaccione, A Sea of Love (Magnetic/Lion
Forge)
Tony Sandoval, Watersnakes (Magnetic/Lion
Forge)
Best Cover Artist (for multiple covers)
Jen Bartel, Blackbird (Image); Submerged
(Vault)
Nick Derington, Mister Miracle (DC)
Karl Kerschl, Isola (Image)
Joshua Middleton, Batgirl and Aquaman
variants (DC)
Julian Tedesco, Hawkeye, Life of Captain Marvel (Marvel)
Best Coloring
Jordie Bellaire, Batgirl, Batman (DC); The
Divided Earth (First Second); Days of Hate, Dead Hand, Head
Lopper, Redlands (Image); Shuri, Doctor Strange
(Marvel)
Tamra Bonvillain, Alien 3 (Dark Horse); Batman,
Doom Patrol (DC); Moon Girl and Devil Dinosaur, Multiple
Man (Marvel)
Matt Hollingsworth, Batman: White Knight
(DC): Seven
to Eternity, Wytches (Image)
Matt Wilson, Black Cloud, Paper Girls, The Wicked +
The Divine (Image); The Mighty Thor, Runaways
(Marvel)
Best Lettering
David Aja, Seeds (Berger Books/Dark
Horse)
Jim Campbell, Breathless, Calexit,
Gravetrancers,Snap Flash Hustle,Survival
Fetish, The Wilds (Black Mask); Abbott,
Alice:
Dream to Dream, Black Badge,Clueless, Coda,
Fence,
Firefly,
Giant
Days, Grass Kings,Lumberjanes:
The Infernal Compass, Low Road West, Sparrowhawk
(BOOM); Angelic (Image); Wasted
Space (Vault)
Alex de Campi, Bad Girls (Gallery 13); Twisted
Romance (Image)
Jared Fletcher, Batman: Damned (DC); The
Gravediggers Union, Moonshine, Paper Girls, Southern Bastards (Image)
Todd Klein— Black Hammer: Age of Doom, Neil Gaiman’s
A Study in Emerald (Dark Horse); Batman: White Night (DC);
Eternity
Girl, Books of Magic (Vertigo/DC); The League of Extraordinary
Gentlemen: The Tempest (Top Shelf/IDW)
LAAB Magazine #0: Dark Matter, edited by Ronald Wimberley and Josh O’Neill
(Beehive Books)
PanelxPanel magazine, edited by Hassan Otsmane-Elhaou, panelxpanel.com
Best Comics-Related Book
Comic Book Implosion: An Oral History of DC Comics
Circa 1978, by Keith Dallas and
John Wells (TwoMorrows)
Drawn to Purpose: American Women Illustrators and
Cartoonists, by Martha H.
Kennedy (University Press of Mississippi)
The League of Regrettable Sidekicks, by Jon Morris (Quirk Books)
Mike Grell: Life Is Drawing Without an Eraser, by Dewey Cassell with Jeff Messer (TwoMorrows)
Yoshitaka Amano: The Illustrated Biography—Beyond
the Fantasy, by Florent Gorges,
translated by Laure Dupont and Annie Gullion (Dark Horse)
Best Academic/Scholarly Work
Between Pen and Pixel: Comics, Materiality, and the
Book of the Future, by Aaron
Kashtan (Ohio State University Press)
Breaking the Frames: Populism and Prestige in Comics
Studies, by Marc Singer
(University of Texas Press)
The Goat-Getters: Jack Johnson, the Fight of the
Century, and How a Bunch of Raucous Cartoonists Reinvented Comics, by Eddie Campbell (Library of American
Comics/IDW/Ohio State University Press)
Incorrigibles and Innocents, by Lara Saguisag (Rutgers Univeristy Press)
Sweet Little C*nt: The Graphic Work of Julie Doucet,
by Anne Elizabeth Moore (Uncivilized
Books)
Best Publication Design
A Sea of Love, designed by Wilfrid Lupano, Grégory Panaccione, and
Mike Kennedy (Magnetic/Lion Forge)
The Stan Lee Story Collector’s Edition, designed by Josh Baker (Taschen)
The Temple of Silence: Forgotten Worlds of Herbert
Crowley, designed by Paul
Kepple and Max Vandenberg (Beehive Books)
Terry Moore’s Strangers in Paradise Gallery Edition, designed by Josh Beatman/Brainchild Studios/NYC
(Abstract Studio/Graphitti Designs)
Will Eisner’s A Contract with God: Curator’s
Collection, designed by John
Lind (Kitchen Sink/Dark Horse)
Brent Spiner (‘Star Trek: The Next Generation’,’Independance Day’) has just been elected by the casting department of The CW’s ‘Supergirl‘ to join the show. His role? Vice President of the United States! That’s right folks, in the fourth season of ‘Supergirl’ were going to have Spiner joining the cast as a regular to work with Lynda Carter (‘Wonder Woman’) who is the President of the United States.
I suspect that she won’t be staying in the Oval Office for long though as Spiner’s role is being described as:
Adept and politically minded, Vice President Baker makes for an unlikely leader but steps up in a big way when his country needs him most
The children’s book publishing world has been roiling for the past week over the disclosure that Danielle Smith, the principal of Lupine Grove Creative, an agency specializing in children’s and YA authors, acted more like a literary grifter than a literary agent. Since Smith emailed a letter to her clients on July 24, confessing that recently she had “not handled a situation as well as I should have” and thus was dissolving the agency effective immediately, 19 former clients have reached out to PW, sharing tales of a pattern of malfeasance that has shaken their confidence and adversely affected their careers.
According to some former clients, she claimed to have had offers in hand that didn’t exist, such as, one author requesting anonymity disclosed, a $50,000 two-book deal. She informed others that editors had expressed interest in their submissions, but subsequently told them that either the editors had then lost interest or had outright rejected those submissions. Clients also complained about Smith’s refusal to communicate with them honestly and in a timely fashion, as well as the lack of transparency, including a reluctance to render submission lists to them upon request. Several clients allege that she even forged emails from editors and passed this correspondence along to them.
…Every year, Comic-Con International’s awards committee assembles a panel of a half-dozen or so judges. Each bring a unique interest, perspective, and expertise: creator, scholar, critic/reviewer, retailer, librarian, and a Comic-Con rep. Together, they critically winnow down an enormous amount of published material to arrive at a small handful under each category. CalState Northridge professor Charles Hatfield, who was part of the selection committee a few years ago, has described the process as “like going to Comics Heaven—if Heaven is a place where you work really hard, fence with a table full of smart, demanding, and dedicated people, and learn something about your own biases in the process.” He was also pleased to learn what he describes as “the importance of voting past my prejudices.” Now there’s an attribute that’s practically nonexistent among the voters.
Diligence and dedication such as this is why anyone in search of recommend reading should check out all the nominees in all categories of interest. You also might jump to Wonder Women of the Eisner Awards, my feature from last year that included several judges’ choices who didn’t bring home a trophy but who are nevertheless not to be overlooked. However, locating worthwhile info on these artists and publications is much easier said than done. You can’t rely on the official site; its design is a frightful mess, and very difficult to navigate quickly and efficiently. Plus, its page of nominees is merely a basic bullet point listing….
In the ad an unnerved husband, Dave, recounts to State Farm agent Amy all the ways SAL has been majorly unhelpful, including closing the garage door on their car, turning on the in-home sprinklers, and erroneously blasting The Ring instead of the requested music. Amy assures Dave that while State Farm can’t fix SAL, they can certainly cover the home and auto damages. For anyone who has ever had to angrily repeat a simple question for Siri syllable-by-syllable, this scenario feels all too plausible. Truly, we could all use an Amy to assure us during our more frustrating brushes with technology that everything will be fine.
I have always had inordinately strong opinions about the passage about Caradhras. In fact, it was changes made to this episode that made me shout “no!” when I went to see Peter Jackson’s Fellowship of the Rings in theaters.
I was familiar with other literature that gave a sense of autonomy to nature before I read LotR, and I was excited to see that Tolkien does the same throughout the text, even before getting to the fully autonomous Treebeard. As a child, I loved the idea that trees could have volition and emotions. Tolkien takes this wondrous idea and pushes it one step further in the Caradhras episode. As the snows on Caradhras foil the attempt of the Fellowship to pass over the mountain, this exchange occurs…
…Here Boromir tries to attribute the malevolent weather to Sauron or one of his agent; however, but Aragorn and Gimli are quick to halt this impulse and clarify that there are other forces at play in the world. Gimli goes so far as to specify that the will is probably that of Caradhras himself.
I cannot emphasize this enough: this passage changed my worldview the first time I read it. To ascribe volition to not just plants, but to all of nature, to the very earth itself! This was a truly awe-inspiring thought for me. I remember walking around for days thinking about the ramifications of this idea. What does it mean to till an earth that could feel the cuts? What does it mean to dynamite a mountain that can fight back?
Over its 34 year history, the Contest has recognized 404 winners who have gone on to publish 1,150 novels and 4,450 short stories. Of these, 192 are still active with a writing career—that’s over 40%. Twelve of these Contest winners have gone on to become NYT bestselling authors: Dave Wolverton (aka David Farland), Sean Williams, Jo Beverly, Nancy Farmer, Lisa Smedman, Karen Joy Fowler, Patrick Rothfuss, Tim Myers, Eric Flint, Dean Wesley Smith, Tobias Buckell and Elizabeth Wein. And Contest Winners have garnered 155 major awards. Collectively, the winners of the contests have sold over 60 million books over the years.
And with the last 4 volumes of Writers of the Future hitting national bestseller lists—and each of the winners becoming national bestselling authors and illustrators as a result—contest entries continue to increase each quarter with entries from around the world.
Dave Wolverton, himself a Writers of the Future winner from the 3rd year of the contest, is the Coordinating Judge for the Writer Contest and was asked to help in the selection of a 1st reader to keep pace with the expansion. “Obviously, I’ve had a number of amazing authors that I’ve helped mentor over the years, and so when I considered who I might ask to help out as a first reader, I really suffered from an embarrassment of riches. A dozen names almost instantly leapt to mind, but Kary English was right near the top.
He continued, “I wanted someone with a great eye for style, someone who understood storytelling well. Kary, as an award-winning author, has proven over and over to have a great eye, but more than that, her strong support for and commitment to helping new authors spoke volumes….”
Alison Tellure had a very small but very memorable body of work. “Lord of All it Surveys,” “Skysinger,” “Green-Eyed Lady, Laughing Lady,” and “Low Midnight” are all set on an alien world dominated by a single, vast, godlike creature. Existence there is complicated by the presence of competing, considerably tinier beings not entirely unlike humans. Contributors over on my blog, More Words, Deeper Hole, dug up biographical details from old Analog Biologs and con appearances, but the exchange raised more questions than it answered. As far as I know, Tellure never had a single author collection, but readers might be able to track down the June 1977 issue of Analog, which contains “Lord of All it Surveys.”
The Last Adventure of Constance Verity, by A. Lee Martinez
Sometimes, having a fairy godmother really backfires. That is certainly the case for Constance Verity, blessed with (cursed by?) a life of being the world’s greatest adventurer. She’s got a history of adventuring filled with just about every genre trope and cliché you could imagine, and she’s on a mission to end it—by killing that darned godmother. This final quest puts the idea of destiny—and the monomyth—into its crosshairs with a wink and an absurdist sense of humor—Martinez’ specialties.
Grindstaff worked with Jack Finlay and Joseph Sorokin on Star Trek. Together they created the background sounds for the iconic series, including the iconic red alert klaxon and the sound the doors make when they slide open. They also developed the sounds of space battle in the Star Trek universe, transporter materialization, and sickbay scanners.
In a 2016 interview with Audible Range, Grindstaff discussed working with Star Trek creator Gene Roddenberry.
“And he wanted sounds everywhere. One time I asked him, ‘Don’t you think we’re getting too cartoony?’ Because I felt it should be a little more dignified, but he wanted sound for everything. For example, I worked on one scene where [Dr. McCoy] is giving someone a shot. Gene says, ‘Doug, I’m missing one thing. The doctor injects him and I don’t hear the shot.’ I said, ‘You wouldn’t hear a shot, Gene.’ He said, ‘No, no, this is Star Trek, we want a sound for it.’
(11) TODAY’S BIRTHDAYS
Born August 2 — Edward Furlong, 41. John Connor in Terminator 2: Judgment Day, Pet Sematary II (Cat Eldridge notes, “Courtesy of knowing the on-site medics, I visited the props room fort he original Pet Sematary — weird seeing actual props of dead people and lots of pets managed horribly”), various Terminator shorts, The Crow: Wicked Prayer, and Star Trek: Renegades (“…which I think is fanfic.”)
Born August 2 — Sam Worthington, 42. Avatar film franchise, Clash of The Titans and its sequel Wrath Of The Titans, and The Titan, a space exploration film that may or may be a horror film.
Born August 2 — Simon Kinberg, 45. Genre director for a very long list of projects including the forthcoming Logan’s Run, an X-Men one-off called Multiple Man, the Boba Fett project, The Martian, the Legion series, and the animated Star Wars: Rebels series. Also the writer for another X-Men one-off titled X-Men: Dark Phoenix.
Born August 2 — Jacinda Barrett, 46. Genre roles include series work in Campfire Tales, Zero Hour, Millennium, NightMan and Hercules: The Legendary Journey.
Born August 2 — Matthew Del Negro, 46. Genre roles in Teen Wolf, Stargate: Atlantis and Eastwick series, horror films such as Ghost Image and Trailer Park of Terror.
Born August 2 — Kevin Smith, 48. Well-loved comics writer with work for DC, Marvel and other venues with work on both Daredevil Green Arrow. He directed the pilot for the CW supernatural comedy series Reaper, produced and appeared in reality television series Comic Book Men, and appeared as a character in the animated Superman: Doomsday as a commentary on a Superman unusedscript he wrote.
Born August 2 — Mary-Louise Parker, 54. Genre roles are the R.I.P.D. fil, The Spiderwyck Chronicles and Persephone, a generation ship film that may or may not happen.
(12) TRUE CONFESSION. JY Yang shares a writing crisis —
Me: Oh my god I need to come up with a name for the planetary system one of my protags is from QUICK BRAIN THINK OF SOMETHING ?: uh uhm RYMDMARK?? ME: THAT’S LITERALLY SWEDISH FOR “SPACELAND” YOU SPOON
The astronauts on the International Space Station are obviously busy people, but even busy people need some time to relax and unwind. In addition to a well-stocked film library (particularly strong on movies with a space theme, including 2001: A Space Odyssey and Gravity), there are also plenty of books in their informal library.
Some are brought up by the astronauts – Susan Helms was allowed ten paperbacks and chose Gone With the Wind, Vanity Fair and War and Peace in her carryon. Others come with space tourists such as billionaire businessman Charles? Simonyi, who brought Faust and Robert Heinlein’s The Moon is a Harsh Mistress.
Comic book writer and the lead singer of Say Anything Max Bemis, artist Eoin Marron, and letterer Taylor Esposito decided to use Atari’s Centipede intellectual property in a Dynamite Comics published book to attack fellow comic book writer Jon Del Arroz.
What’s supposed to be a balloon full of alien gibberish becomes all too easy to understand if you turn it upside-down.
In Centipede #4, which was published on October 25, 2017, Bemis writes, “Jon Del Arroz is a never was fat piece of sh**who blames everyone but himself for his ineptness.”
As you can tell Bemis and letterer Taylor Esposito tried to disguise the personal attack through an alien language. Not only did they disguise it as an alien language they also inverted it.
We’ve inverted the image so you can read it better.
Several more examples from the same comic are at the post.
Last night I discovered that a print book of Atari’s Centipede property referenced me in multiple places by name in an effort to defame and diminish me as a comic creator and a human being….
However, I have been in contact with Dynamite Entertainment, who apologized themselves and said they were unaware of the situation and that it slipped past editorial by mistake. They also say it’s been corrected for the trade paperback edition. They also very cordially said they would support my Flying Sparks indiegogo effort as I’m trying to launch my own comic career.
I believe them.
It would have been very easy for Dynamite to ignore me and to let this go, but they in their quick response and quick taking action to remedy this are doing the right thing. The company was hoodwinked by a rogue contractor who has lost the trust of the entire industry by inserting personal animus into a book, and saying the most horrific things about a fellow creator. They understand this, they are doing what they can to make it right even though the hurtful damage has been done.
I do not want my fans and followers to boycott Dynamite or take any action to try to harm them. As I said, the company has been consummate professionals to me and I appreciate their efforts they’re going to to make this right….
But what if the shift in humanity’s daily life is beyond explanation, bordering on paranormal? And what if the alien force that is bringing about that change is so far removed from known biology that it appears extra-dimensional? Daniel F. Galouye’s new book, Lords of the Psychon, takes the reader to that terrifying reality with an invader that is unnervingly simple – a large, floating, metallic sphere – and their mission which can be surmised as absorbing compatible human minds and letting the rest die in the grip of mind shredding madness.
(16) ON THE ROAD. They came, they saw, they rocked? “First Stonehenge residents came from west Wales”. Isotopes identify oldest cremains as coming from same area as the stones themselves. No explanation for the unusual eastward movement.
… While it is already known that the “bluestones” that were first used to build Stonehenge were transported from 150 miles (240 km) away in modern-day Pembrokeshire, almost nothing is known about the people involved.
The scientists’ work shows that both people and materials were moving between the regions and that, for some of these people, the move was permanent.
When their lives ended, their cremated remains were placed under the ancient monument in what is now Wiltshire. …
However, Dr Rick Schulting, senior author on the study, said: “These must have been important people. Being buried at Stonehenge is the ancient equivalent of being interred in Westminster Cathedral today.”
He said: “The evidence suggests that some of the people buried at Stonehenge must have spent much of their last 10 or so years in Wales. Although we tend to think that immigration is a new thing, these people were obviously able to travel substantial distances across difficult terrain.”
(17) SLIP SLIDING AWAY. BBC knows “How Greenland scorched its underside”. All of Greenland slid over the hotspot that later created and is now augmenting Iceland.
It’s like the underside of the island got a good roasting in the distant past and still has the big scar to prove it.
That hotspot, by the way, is the one which today is building Iceland in the middle of the North Atlantic.
The plume of broiling rock rising from deep inside the Earth has broken through the thin ocean floor at Iceland’s location and is now creating new land with regular eruptions of lava.
(18) A THOUSAND AND ONE FLAVORS. “The world’s oldest ice cream?” The BBC video feature says Iran had ice storage to make chilled treats over 2000 years ago.
(19) ROBOTS IN THE MUSEUM. The Robot Show is on display at the Museum of Art and History in Lancaster, California from August 4 through September 26.
The Robot Show is comprised of eight exhibitions exploring the place robots, and other forms of artificial intelligence, have in a contemporary social landscape – from popular culture to nature and spirituality. Featured in the Main Gallery at MOAH is a retrospective of Emmy-nominated artist and animator, Dave Pressler. The Robot Show also showcases the solo exhibitions of Jeff Soto, Patrick McGilligan, Robert Nelson and Karen Hochman Brown, with site specific installations by artists Cristopher Cichocki, Alexander Kritselis, and Chenhung Chen.
Dave Pressler’s 20-year retrospective, Idea to Object, is a narrative of his career, which focuses on how he made his ideas a reality. Pressler’s robots are fixtures in popular culture and he is best known for his Emmy-nominated Nickelodeon series, Robot and Monster. “Pressler’s work appeals to audiences of all ages,” says Andi Campognone, Curator at MOAH. “His work is a great example of the combination of strong contemporary concepts and expert craft, and we are so excited to exhibit his work for both the Lancaster and greater Los Angeles communities.”
Jeff Soto, in the East Gallery, is a pop-surrealist who also features robots prominently in his bold paintings and murals, which are meant to evoke nostalgia and the natural environment. In the South Gallery, Cristopher Cichocki furthers this connection between the artificial and the natural with his newest body of work, Divisions of Land and Sea, which combines audiovisual performance and black light painting into an immersive environment. Karen Hochman Brown’s digital photographic compositions will be highlighted in the North Gallery joining Robert Nelson’s robot paintings in the Wells Fargo Gallery along with Patrick McGilligan’s work in the Museum’s lobby and atrium. Alexander Kritselis will feature one of his multimedia installations in windows of the Museum’s Hernando and Fran Marroquin Family Classroom. Rounding out this exhibition is Chenhung Chen, a Los Angeles-based artist, who will be installing her technology-based towers in the Vault Gallery.
[Thanks to John King Tarpinian, Cat Eldridge, JJ, Chip Hitchcock, Martin Morse Wooster, ULTRAGOTHA, Mike Kennedy, Carl Slaughter, Daniel Dern, and Andrew Porter for some of these stories. Title credit goes to File 770 contributing editor of the day Xtifr.]
Topping the nominations are two works done by women. My Favorite Thing Is Monsters (Fantagraphics) by first-time graphic novelist Emil Ferris is nominated in 5 categories: Best Graphic Album–New, Best Writer/Artist, Best Coloring, Best Lettering, and Best Publication Design. Image’s Monstress by Marjorie Liu and Sana Takeda is nominated for Best Continuing Series and Best Publication for Teens, Liu is nominated for Best Writer, and Takeda is nominated for Best Painter and Best Cover Artist.
The 2018 Eisner Awards judging panel consists of librarian Candice Mack (Los Angeles Public Library), comics reviewer/journalist Graeme McMillan (i09, Wired, Hollywood Reporter), comics retailer Tate Ottati (Tate’s Comics, Lauderhill, FL), comics scholar Nhora Serrano (Hamilton College, Clinton, NY), writer/artist/educator Alexander Simmons (Blackjack, Scooby Doo, Archie; Kids Comic Con), and longtime Comic-Con volunteer William Wilson (anime/manga expert).
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!)
“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)
