It’s always weird how the biggest awards in American comics are almost set up to ignore the bulk of American comics, monthly Marvel and DC.
Not really. No different to the big American film awards ignoring most of the biggest and most successful movies each year.
DC seem to have a fair few nominations in there, and I’m sure I saw one or two for Marvel.
I think the Eisner categories cover such a broad range of formats and characteristics that DC and Marvel by their fairly limited nature only really compete in some of them, not all. For the categories that fit their output they usually seem to do ok.
That’s actually the other one I thought of but even there the categories themselves don’t seem designed to mostly exclude blockbusters. Every other major awards show, Emmys, Grammys, Tonys, etc, reward examples that are popular in their field as much as perceived artistic merit.
New Rick Veitch! Sadly it doesn’t seem to be on Comixology, though.
This category seems notably random. I read and enjoy Monstress, the artwork is amazing, but have no idea why it is deemed a teen book over any other.
It’s actually pretty dark!
I think you can say the same for the 9-12 category (maybe even sillier as the age range is so narrow, and it’s sandwiched between other categories for 8 and under and 13+).
I guess the idea is to provide multiple categories for young-readers books, and arbitrary age categories is the most simple way to do it.
It’s almost as if the comics industry is far bigger than just the direct market, but the direct market works in such a way as to insulate its readers from that industry
A piece on Frank Miller in The Guardian today.
He seems to be in a much better place than he was a couple of years back (Neal Adams rather lets the cat out of the bag on what the problem was) and I’m looking forward to his new stuff.
Adams may be being kind even there, but either way I think it’s probably not his place to make those kinds of comments.
Regardless, I’m happy to see Miller back and hopefully the focus on whatever his problems were can be left to the tabloids. His new work (particularly Xerxes) has shown a real return to form. I’m looking forward to his new projects.
It looks bad because in the main part it’s made clear Miller doesn’t want to discuss it.
It’s been pretty much an open secret since a story came out about a year back in the comics news. Adams may have been coming from that angle that he thought everyone knows (but not The Guardian mainstream audience).
Possibly. It was a lot longer ago that I saw the most pointed reference to his issues, around four years ago, in this article.
I assumed it had been an open secret since then. But either way it’s something that I think should be left as a private matter, as he obviously wants to keep it that way.
I hope this latest resurgence heralds a new era for his career, anyway. It is exciting to think he will be producing comics on a regular basis again.
How did they summarize that by saying Monstress co-led nominations? Wouldn’t it be more accurate to say Mister Miracle did? Anyway, one way or another glad Tom King and his collaborators got a lot of love.
I guess because King and Derington’s nominations are split between multiple books; the Monstress team are only nominated for Monstress.
It’s odd that Adams basically says, “Don’t believe your own hype.” when he sits in the middle of a con with a booth only outsized by the major publishers, no traffic and charging $50 for a signature.
I love Adams’ work but he is pretty crazy. The most shocking thing in that interview is he says he isn’t taking credit for Miller’s entire career, he has for everything else. If you listen to his Fatman on Batman interview with Kevin Smith he basically invented modern society.
(I have to admit I quite like these characters over PR friendly correct answers most of the time).
I’ll admit. I did have a look for his Expanding Earth book that he was working on. I would have liked to read that. I didn’t find it the first year I looked and didn’t bother after that. I asked Denny O’Neil about it once to which he said, “I believe in tectonic theory.”
I also think his modern work is a caricature of his original work. There seems to be something that happens to comic creators who used to be a big deal but are no longer as relevant. In one respect, it’s an industry that pushes aside its heroes pretty fast but there is an element of arrogance in it too.
Have you seen the books that he’s gone back and ‘remastered’, like some of his Batman work? The changes are pretty rough and have that caricature quality about them.
It’s very weird to see different elements from the same artist, but decades apart, merged together like that.
No I have not. I admit that I’m not a huge Adams fan to begin with. I did like his Superman vs. Muhammad Ali though.