Category Archives: Comic-Con International: San Diego

July 9, 2013 · 3:56 am

SDSU Library Launches New Website: THE COMIC-CON KIDS: FINDING AND DEFINING FANDOM

Comic-Con belongs to everyone. It is a shared experience. And it has a unique history full of heart. There’s a clarity of purpose and pure simplicity about the original Comic-Cons that you can still find at Comic-Con today many times over. Of course, it is not what it used to be. The history is priceless, beginning with a band of kids, ranging in age from 12 to 17, who were integral in putting together the first Comic-Con in 1970. Since 2011, San Diego State University Library has been collecting personal histories through a series of interviews with individuals involved in San Diego’s early Comic-Cons. SDSU Library takes a big step forward with a new website that explores the cultural history of Comic-Con.

Press release follows:
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July 8, 2013 · 10:43 pm

ComiXology Sponsors the Comic Creator Connection at Comic-Con International 2013

Meet-Your-Makers-Comic-Creator-Connection

This is exciting news for comics writers and artists looking to connect on a project. ComiXology is sponsoring the Comic Creator Connection at Comic-Con International 2013. This is a one-of-a-kind meet up for up-and-coming creators. ComiXology will guarantee marketing support for qualified participants.

Press release follows:

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May 26, 2013 · 5:10 pm

SDCC: INFOGRAPHIC

The stats here will not come as a surprise to regulars of the San Diego Comic-Con but it will prove enlightening to newcomers. Comic-Con International: San Diego is the place to be for the annual pop culture extravaganza of a lifetime. And, remember, it all began with some teenagers eager to have a place to meet to swap comics and celebrate related fandom back in 1970. Enjoy this colorful and informative graphic from our friends at BuyCostumes.com.

San-Diego-Comic-Con-Stats-2013

Comic-Con International: San Diego returns to the San Diego Convention Center in 2013, beginning with Preview Night on Wednesday, July 17, with the four days of the event running Thursday, July 18 through Sunday, July 21. 2013 marks the 44th year for the show, making it the country’s longest continuously-run comics and popular art convention.

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March 17, 2013 · 4:15 am

WONDERCON INTERVIEW: Greg Koudoulian and Collecting Comics

Greg-Koudoulian-Collecting-Comics-WonderCon-2013

If you are heading out to WonderCon, you will definitely want to set aside time for a very special panel discussion on the wonderful world of collecting comics. This panel is moderated by an important player in the world of comics and Comic-Con, Greg Koudoulian. Greg goes back to the beginning of the San Diego Comic-Con and has many friends to show for it. He started out as a film contributor for the early Comic-Cons and even went on to host is own mini-monthly cons in LA in the early ’70s.

It was in 2009 that an idea took hold that has been growing ever since. Shel Dorf, the leading founder of Comic-Con, was in hospital and did not have long to live. Greg, and a close group of friends, which included George Clayton Johnson, Richard Alf, William Clausen, Mike Towry, and Clatyon Moore, created The Shel Dorf Fan Club and Entourage. It was a beautiful gesture that pleased Shel very much and a wonderful way to say goodbye. Since 2009, the club has honored numerous talents in the industry with plans for much more to come, even an art museum. Then, early in 2012, SDCC co-founder Richard Alf passed away. This sad event has only spurred the Fan Club and friends to greater action. It is good to mention here that Richard Alf and Mike Towry were working on San Diego Comics Fest, a return to a more intimate event reminiscent of the early years of Comic-Con. And San Diego Comic Fest held its first annual event in 2012.

Through it all, Greg Koudoulian has remained a trusted, active, and much loved part of Comic-Con and its legacy. There are some special plans up ahead for the cartetaking of valuable archival material. While no formal announcements are ready to be made, it is what Greg is doing today that will lead to some exciting prospects for securing Comic-Con history in the future. One project is a documentary of the early San Diego Comic-Cons of the 1970s. The documentary has a working title of “Planet Cortez, A Legacy in Time.” The work involved is multi-layered: everything from digitizing a vast collection of material as well as creating essential new material.

When asked about his thoughts on the emergence of geek culture, specifically the evolution of the comics collecting culture, Greg is ready with an answer: “When Charles Kuralt, of CBS, went to Cherokee Books in Hollywood in 1973 and said that there might be a goldmine in your grandma’s attic, things went through the roof. When you’ve got Walter Cronkite endorsing your hobby on national television, that got it booming! The prices in the Overstreet Comics Price Guide began to inflate. For example, I bought ‘Superman #2’ in 1974, in fair condition for $125 and, a year later, sold it for $250. Around that time, Johnny Carson had on as a guest on ‘The Tonight Show’ someone who’d bought a copy of ‘Action Comics #1’ for $1,800. I was interviewed for the pilot to Tom Snyder’s ‘Tomorrow Show’ with my comics collection. And I managed to get a copy of ‘Action Comics #1’ lent to me to show but my interview never aired.”

And this leads us back to the WonderCon panel, “The Business & Hobby of Collecting Comics,” March 31, Sunday, 3:30-4:30 PM, Room 213AB. The panel will offer a variety of insights and stories to tell. Plus, stick around for some fun giveaways. Go to the Facebook page here. You can also call the hotline: 858-215-3659

Here are the details:

“The Business & Hobby of Collecting Comics,” March 31, Sunday, 3:30-4:30 PM, Room 213AB

From personal collections, working with museums and art galleries and even a little bit of hoarding, George Clayton Johnson, Barry Short, John Ellis, Eric Hoffman, Michael Hamersky, Alan Williams, and Dave Arshawsky are all fans and collectors of most things related to science fiction and comics. Collecting is a major industry these days; just watch the cable shows dedicated to it! Join moderator Greg Koudoulian to discuss how we can make sure that our histories and legacies are preserved for future generations, in both museums and art galleries and your own home!

The panelists:

George Clayton Johnson, wrote 8 original “Twilight Zone” stories and screenplays, wrote the first episode of “Star Trek” to be broadcast, and co-created “Ocean’s 11,” and “Logan’s Run.”

Barry Short, was a former Program Director for SDCC from 1982-86 and owner of 21st Century Comics from 1986-2003.

John Ellis, Partner in the Milton Caniff Estate, a Special Effects artist and writer.

Greg Koudoulian, Moderator, Early SDCC film program contributor, also produced first Mini Cons on the west coast in 1973-74 and a Collector too.

Eric Hoffman, Writer, Film Historian and collector of most SF Genre! Early SDCC film program contributor too.

MICHAEL HAMERSKY, Comics Dealer, blogger, and expert on the Comics Industry, past, present and future.

Alan Williams, former Comic Book store owner, Fanzine expert and writer.

Dave Arshawsky, Comic Book Artist, Toy designer, Sculptor, writer and Collector.

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Filed under Business, Collecting, Comic-Con International, Comic-Con International: San Diego, Comics, Entertainment, George Clayton Johnson, Greg Koudoulian, Investments, Panel Discussion, pop culture, Richard Alf, San Diego Comic Fest, San Diego Comic-Con, Shel Dorf, The Shel Dorf Fan Club and Entourage, WonderCon

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July 2, 2012 · 10:41 pm

COMIC-CON 2012: Mark Hamill and Judd Nelson

Part of anyone’s short list of pop culture legends to try to see at San Diego Comic-Con has got to include Mark Hamill and Judd Nelson. Mark Hamill was Luke Skywalker in the original “Star Wars” and Judd Nelson gave one of the definitive performances in a John Hughes film, “The Breakfast Club.” They’ve done their duty in this life. What brings them to Comic-Con this year?

From the press release for Mr. Hamill:

Star Wars hero Mark Hamill and Noah Hathaway (Atreyu from The NeverEnding Story) will be at the Con for the Magnolia release of their newest film Sushi Girl on Blu-ray/DVD from Magnolia Home Entertainment.

This from Mr. Nelson’s press release:

BAD KIDS GO TO HELL is a dark comedy-thriller based on the best-selling indie comic book series/graphic novel of the same name. The film, which pays homage to The Breakfast Club but adds an intense element of horror, will be premiering at Comic-Con this year.

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June 25, 2012 · 12:20 am

Comic Con 2012: Video Test Run 01

A quick look at Leela Corman’s UNTERZAKHN and Jean-Pierre Filiu and David B.’s BEST OF ENEMIES. This is just a quick video run through. Full reviews will follow.

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July 22, 2011 · 4:32 am

Has Hollywood Soured on Comic-Con?

In a now famous piece in The New York Times last month, the focus has been on the major pull back from Hollywood to this year’s Comic-Con International in San Diego. That would seem understandable during the Great Recession. Not at the party in any significant way this year: Warner Brothers, Disney, Dreamworks, The Weinstein Company and Marvel Entertainment. No panels for “Avengers,” “The Dark Knight Rises,” or “Hunger Games.”

However, as expressed in a nice piece from CNN, at the end of the day, with 120,000 attendees and all the media coverage, Comic-Con has hardly been abandoned by Hollywood. A draw down by Hollywood is relative. Should any studio spend over $60 million on a movie like, “Scott Pilgrim v. The World,” that common sense would tell you will likely make about $30 million? The thing is, $30 million is a lot of money. Did Universal expect to make $100 million? Come on, it is a quirky offbeat comedy. Maybe Universal should have followed what Sony did with “Nick and Norah’s Infinite Playlist” and make a movie for $10 million and earn $30 million. That’s $20 million profit, not bad. Instead, they took a genuine and fun story by cartoonist Bryan Lee O’Malley and turned it into a bloated monster, with a poster that covered the whole side of the Hilton nearby Comic-Con last year, that did not earn but lost money. Is that Comic-Con’s fault somehow? This year, that same Hilton has another poster, this time it’s for “Cowboys and Aliens” and it’s smaller.

Hollywood can, or should, learn how to be more resourceful, just like the cartoonists and various geeks that are at the heart of what Comic-Con is truly about. There is supposed to be some sort of strong presence on the convention floor for “Hunger Games.” And there are viral campaigns for “Avengers” and “The Dark Knight Rises.” That sounds resourceful.

Sony rolls out the first footage of “The Amazing Spider-Man” at this year’s Comic-Con. Of course, “Twilight: Breaking Dawn, Part 1” is in Hall H. “Cowboys and Aliens” premieres at Comic-Con. “Captain America,” “Fright Night” and “Attack the Block” all have screenings too.  It is hardly a cold shoulder from Hollywood. It is more of a sensible approach. With any luck, it will save money, maybe enough money to support yet another quirky offbeat comedy based on a genuine and fun comic book.

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November 17, 2010 · 7:51 pm

A Milestone Comic: Review: Batman Inc. #1

Comics come and go so quickly it makes a regular observer’s head spin. So, when something this special comes along, it is a pleasure to share with all readers, those familiar with what I’m talking about and those without a clue. “Batman Inc” is a significant comic. So significant that it can truly be called a gateway comic for new readers.

Anyone who is into comics has been talking about this title since it was announced at this year’s Comic-Con in San Diego. Legendary designer Chip Kidd highly recommends it. Fans of the writer Grant Morrison, fans of comics in general, know this is where to be right now in comics.What is so amazing about this book is more than can be said in one review. Essentially, it is flawless. The artwork and the writing do a dance in your mind that will entrance you. It truly takes you away from your everyday routine and transports you to a happy place, a full comics experience.

Grant Morrison is known for his dark and multi-layered writing which brings in all manner of pop culture, history, myth and symbolism. That approach to writing has served Batman well as Morrison has navigated through a story, which has spanned a number of titles, that repositions Batman and Bruce Wayne after a long and tortured time when DC Comics had Bruce killed and it had looked like he’d stay dead. To bring Bruce back would need to be done with utmost care and so, presumably the best writing talent in the business, Mr. Morrison, has led the way to make this a truly special time in comics. For this current title, “Batman Inc,” we find Bruce in full command and running the show, the Batman part of his life, with the same vigor he runs his business empire.

Yanick Paquette (pencils) and Michel LaCombe (inks) provide spot on artwork, both beautiful, energetic and relevant. Not a missed note anywhere to be found. The colors too, by Nathan Fairbairn, are exquisite. We begin with Batman and Catwoman working together in Tokyo on the search for Mr. Unknown, who is supposed to figure prominently in Batman’s plans. But, oh wait a minute, actually, just before that, Mr. Unknown is killed by one very scary villain, Lord Death Man! And, yes, no matter how geeky that may sound, it is done with great elegance. This Lord Death Man looks like somebody from a Day of the Dead festival done up in a skeleton costume. But he looks fierce instead of festive and he means to kill without mercy just like the Grim Reaper himself. He comes upon Mr. Unknown and instantly takes away his hands. Mr. Unknown is in shock. He askes where his hands went. Lord Death Man says, “They are in hell! Awaiting the rest of you!”

This is just a little taste of the comic, with special consideration given to those of you out there who normally do not buy comics. I have to tell you, it will prove such an unexpected treat that I urge you to venture into your local comics shop and give it a try. You want to be in on the next big thing? This one will continue to reverberate for some time to come. It’s not exactly underground either. It’s DC Comics after all. But that’s the thing, so many of you just don’t know how good comics can be and this could be the first you hear of Grant Morrison, let alone “Batman Inc.” That said, do check it out.

And for those out there who already know the score. I love this line from Catwoman after she’s knocked out a bunch of Lord Death Man’s henchmen, all following a skeletal motif: “Bones don’t seem so scary when they’re broken in bits, do they?”

Batman, along with every comic book character around, keeps being revisited, tweaked, reborn, readjusted. This is a major shift. This is a new generation’s Batman.

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August 3, 2010 · 8:33 pm

Comic-Con 2010: Thoughts on the Comic-Con That Was

Entertainment Weekly shows a lot of love for Comic-Con in its current issue. It’s fun to look back and see in its pages what I began to accept in person: Oh, look, there goes Joss Whedon right ahead of us. Yeah, and I’m over here, next to Kevin Smith. Now, alas, that is a thing of the past, until next year. Here are a few thoughts on the Comic-Con that was.

One of the first images that came into focus this year at Comic-Con was a guy dressed up as Indiana Jones. There he was in the middle of the ritual of allowing an approving stranger to take his photo. But once the photo was taken, the guy slouched and seemed to revert back to himself. Getting a better look at him, I concluded he didn’t look all that much like Indiana Jones except for a fair attempt at a costume.

He must have picked up on my scrutiny and tried to look away and hide himself. I meant no harm. I wanted to embrace his participation even though I needed my time to process. What I should have done was just smiled at the guy. That is how I approach Comic-Con. I will always be the critic but I will always search for meaning too.

Do comics still exist at Comic-Con? The tongue-in-cheek question is asked each year as Hollywood seems to take more and more space from what was originally a comics only convention. As silly as the question sounds, it can send chills down the spine of the cartoonist and/or dedicated fan.

There had been talk of doing away with Artist Alley, the section of the convention floor dedicated to new comics talent, to make way for more of the Hollywood promotion machine. That never happened and hopefully never will. To some degree, that would be like killing the goose that laid the golden egg since it’s from that shaggy world of self-publishers that big budget movies and televison shows have emerged.

The fact is, I love Comic-Con and I’m happy with it just like it is, a true melting pot of pop culture. Go ahead, I say, keep mixing comics with movies and see where it leads. I think we’re all familiar with the gripes from the media that Comic-Con keeps allowing itself to be taken over by Hollywood. Here’s the thing, the hottest trend now is to listen to what people want and it should come as no surprise that people appreciate originality. Truly creative content does exist amid all the glitz that descends upon San Diego each year. It keeps rising to the top. James Sime, owner of the comics shop, Isotope, in San Francisco, pointed out to me that two of the biggest hits highlighted at the con, the movie, “Scott Pilgrim,” and the new television series, “The Walking Dead,” come from creator-owned black and white comics. Sime, an outspoken supporter of indie comics, thinks that far from Hollywood taking over, it is original talent that rules.

I come to Comic-Con both as a comics fan and comics creator. For me, it is a little slice of heaven being among so many people sharing common ground. Of course, everyone is not there for exactly the same purpose. Even among comics fans, interests branch off in various directions. For instance, I’ve read a fair amount of “Green Lantern” comics since the character’s reboot by Geoff Johns and, for the life of me, I can’t quite get into it. Looking through panel discussion options at the con, I chose to hear Johns speak. He bound up to the stage with a baseball cap and swagger and proved to be very likable and charismatic. But, in the end, I still wasn’t exactly an all-out fan. I began to think I may never become a true fanboy as a I sat among true fanboys and fangirls.

Throughout the presentation, Johns would give clues about this and that plot development and he’d regularly interact with the audience, “You guys want to see another Superman movie?” Cheers. “A Flash movie? Yes, we’re developing a movie.” More cheers. As the newly minted Chief Creative Officer of DC Comics, I had to feel for Johns since he has more than a full plate. His specialty, love it, hate it, puzzle over it, is pure undiluted superhero stories, minus any quirky subtext. There had to be something to be said for that so l left the panel cheering with everyone else. Who can not like Geoff Johns, right?

Holding far more sway with me was when I wandered into the infamous Hall H, the gigantic pit that easily seats the population of a small city. You can go in and spend the whole day in there as you’re serenaded by one big studio sideshow after another. But, as luck would have it, I heard a truly inspiring call to arms by director Guillermo del Toro. He had me at hello with the two chilling clips from his upcoming, “Don’t Be Afraid of the Dark.” With the confidence of a maestro, he said, “You must respect genre on its own terms. You can go either of two ways: You can subvert it or respect it. Anything in between is of no interest to me.” He kept going, speaking about his distaste for postmodern irony. A good horror movie, in his view, needs to be about horror and not a smirk. So many Hollywood movies fail, de Toro explained, because there is so much fear to be bold while the truth is that the chances of screwing up are the same if you make a safe movie or a bold movie. Maybe his work did not seem to have a direct connection to comics but, then again, the con is also about pop culture and, in del Toro, you couldn’t find a more rousing supporter of the indie spirit.

You have to remember that, first and foremost, Comic-Con is a comics industry convention. That is what it was set up for some forty years ago and, at its core, that is what it’s about. There are plenty of young and not-so-young people dressed up as Storm Troopers, Wonder Woman, etc. but there’s also all manner of deeper appreciation for the comics medium. One place that you find it is at the annual Will Eisner Awards ceremony. This was a very good year. The show began with the entire cast of  the movie, “Scott Pilgrim,” standing on stage as the first awards were handed out. You could say that such a high end display was worthy of the Oscars. And then, to top that, it was announced that there will be a new movie based on work by the legendary cartoonist, and the namesake of the awards, Will Eisner. One of the first graphic novels, published in 1978, “A Contract with God,” appears to be in good hands as it goes Hollywood.

As I made my way back to Seattle, I settled into reading over post-Con recaps. One moment I wished I had seen was during the presentation for the movie, “Green Lantern.” A little boy made an innocent request of Ryan Reynolds. He asked him to recite the Green Lantern oath. And that’s exactly what Reynolds did without a hint of irony! The boy then displayed his Green Lantern power ring and, in true Christopher Reeve mode, Reynolds returned the salute. Upon reading about that, del Toro’s giddy embrace of genre came to mind. And I was even willing to give Johns credit for doing something similar with his earnest take on “Green Lantern.” It was a moment of true Comic-Con clarity.

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August 3, 2010 · 6:19 am

Comic-Con 2010: A Handy Recap on the Eisner Awards

2010 was a very good year for the Will Eisner Comics Industry Awards. The entire cast of “Scott Pilgrim” stood on stage for the first round of awards. To have that big studio show of support is huge and shows how comics and movies are so inextricably linked. Not only that, but Hollywood is shaking off that compulsion to rely on boring formulas and is seeking out and respecting original content. That was brought home by the next big moment at the show, the announcement that Will Eisner’s “A Contract with God” will be turned into a movie. It was a very tasteful presentation by the producers and the four directors on the project.

The Eisners and the Oscars. You are not going to mistake one for the other but they share similar qualities. They both have a panel of industry professionals who decide the nominees and then those are voted on my a myriad of industry professionals. The choices for nominees are pretty accurate in acknowledging excellent work from the previous year and try to be as inclusive as possible. Voters will take a look and reach their own conclusion. Sometimes voters will make obvious choices and sometimes they will try to send a message. In the end, the voting results can be looked upon as a great source for where comics are heading.

Best Publication for Kids

Lunch Lady and the Cyborg Substitute, by Jarrett J. Krosoczka (Knopf)

The Secret Science Alliance and the Copycat Crook, by Eleanor Davis (Bloomsbury)

Tiny Tyrant vol. 1: The Ethelbertosaurus, by Lewis Trondheim and Fabrice Parme (First Second)

The TOON Treasury of Classic Children’s Comics, edited by Art Spiegelman and Francoise Mouly (Abrams Comic Arts/Toon)

(WINNER) The Wonderful Wizard of Oz hc, by L. Frank Baum, Eric Shanower, and Skottie Young (Marvel)

Best Publication for Teens/Tweens

Angora Napkin, by Troy Little (IDW)

(WINNER) Beasts of Burden, by Evan Dorkin and Jill Thompson (Dark Horse)

A Family Secret, by Eric Heuvel (Farrar Straus Giroux/Anne Frank House)

Far Arden, by Kevin Cannon (Top Shelf)

I Kill Giants tpb, by Joe Kelly and JM Ken Niimura (Image)

Best Humor Publication

Drinky Crow’s Maakie Treasury, by Tony Millionaire (Fantagraphics)

Everybody is Stupid Except for Me, And Other Astute Observations, by Peter Bagge (Fantagraphics)

Little LuLu, vols. 19-21, by John Stanley and Irving Tripp (Dark Horse Books)

The Muppet Show Comic Book: Meet the Muppets, by Roger Langridge (Boom Kids!)

(WINNER) Scott Pilgrim vol. 5: Scott Pilgrim vs. the Universe, by Bryan Lee O’Malley (Oni)

Best Cover Artist

John Cassaday, Irredeemable (BOOM!); Lone Ranger (Dynamite)

Salavador Larocca, Invincible Iron Man (Marvel)

Sean Phillips, Criminal, Incognito (Marvel Icon); 28 Days Later (BOOM!)

(WINNER) J.H. Williams III, Detective Comics (DC)

Best Lettering

Brian Fies, Whatever Happened to the World of Tomorrow? (Abrams ComicArts)

(WINNER) David Mazzucchelli, Asterios Polyp (Pantheon)

Tom Orzechowski, Savage Dragon (Image); X-Men Forever (Marvel)

Richard Sala, Cat Burglar Black (First Second); Delphine (Fantagraphics)

Adrian Tomine, A Drifting Life (Drawn & Quarterly)

Best Digital Comic

Abominable Charles Christopher, by Karl Kerschl

Bayou, by Jeremy Love

The Guns of Shadow Valley, by David Wachter and James Andrew Clark

Power Out, by Nathan Schreiber

(WINNER) Sin Titulo, by Cameron Stewart

Best Coloring

Steve Hamaker, Bone: Crown of Horns (Scholastic); Little Mouse Gets Ready (Toon)

Laura Martin, The Rocketeer: The Complete Adventures (IDW); Thor, The Stand: American Nightmares (Marvel)

David Mazzucchelli, Asterios Polyp (Pantheon)

Alex Sinclair, Blacket Night, Batman and Robin (DC)

(WINNER) Dave Stewart, Abe Sapien, BPRD, The Goon, Hellboy, Solomon Kane, Umbrella Academy, Zero Killer (Dark Horse); Detective Comics (DC); Luna Park (Vertigo)

Best Penciller/Inker or Penciller/Inker Team

Michael Kaluta, Madame Xanadu #11-15: “The Exodus Noir” (Vertigo/DC)

Steve McNiven/Dexter Vines, Wolverine: Old Man Logan (Marvel)

Fiona Staples, North 40 (Wildstorm)

(WINNER) J.H. Williams III, Detective Comics (DC)

Danijel Zezelj, Luna Park (Vertigo/DC)

Best Painter/Multimedia Artist (interior art)

Emile Bravo, My mommy is in America and she met Buffalo Bill (Fanfare/Ponent Mon)

Mauro Cascioli, Justice League: Cry for Justice (DC)

Nicolle Rager Fuller, Charles Darwin on the Origin of Species: A Graphic Adaptation (Rodale Books)

(WINNER) Jill Thompson, Beast of Burden (Dark Horse); Magic Trixie and the Dragon (Harper Collins Children’s Books)

Carol Tyler, You’ll Never Know: A Good and Decent Man (Fantagraphics)

Best Comics-Related Periodical/Journalism

Alter Ego, edited by Roy Thomas (TwoMorrows)

ComicsAlliance, edited by Laura Hudson, http://www.comicsalliance.com

Comics Comics, edited by Timothy Hodler and Dan Nadel (PictureBox)

The Comics Journal, edited by Gary Groth, Michael Dean, and Kristy Valenti (Fantagraphics)

(WINNER) The Comics Reporter, produced by Tom Spurgeon (www.comicsreporter.com)

Best Comics-Related Book

Alan Moore: Comics as Performance, Fiction as Scalpel, by Annalisa Di Liddo (University Press of Mississippi)

(WINNER) The Art of Harvey Kurtzman: The Mad Genius of Comics, by Denis Kitchen and Paul Buhle (Abrams ComicArts)

The Art of Osamu Tezuka: God of Manga, by Helen McCarthy (Abrams ComicArts)

Manga Kamishibai: The Art of Japanese Paper Theater, by Eric P. Nash (Abrams ComicArts)

Will Eisner and PS Magazine, by Paul E. Fitzgerald (Fitzworld. US)

Best Publication Design

(WINNER) Absolute Justice, designed by Curtis King and Josh Beatman (DC)

The Brinkley Girls, designed by Adam Grano (Fantagraphics)

Gahan Wilson: 50 Years of Playboy Cartoons, designed by Jacob Covey (Fantagraphics)

Life and Times of Martha Washington, designed by David Nestelle (Dark Horse Books)

Queer Visitors from the Marvelous Land of Oz, designed by Philippe Ghielmetti (Sunday Press)

Whatever Happened to the World of Tomorrow? designed by Neil Egan and Brian Fies (Abrams ComicArts)

Best Anthology

Abstract Comics, edited by Andrei Molotiu (Fantagraphics)

Bob Dylan Revisited, edited by Bob Weill (Norton)

Flight 6, edited by Kazu Kibuishi (Villard)

(WINNER) Popgun vol. 3, edited by Mark Andrew Smith, D. J. Kirkbride, and Joe Keatinge (Image)

Syncopated: An Anthology of Nonfiction Picto-Essays, edited by Brendan Burford (Villard)

What is Torch Tiger? edited by Paul Briggs (Torch Tiger)

Best Archival Collection/Project–Strips

(WINNER) Bloom County: The Complete Library, vol. 1, by Berkeley Breathed, edited by Scott Dunbier (IDW)

Bringing Up Father, vol. 1: From Sea to Shining Sea, by George McManus and Zeke Zekley, edited by Bruce Canwell (IDW)

The Brinkley Girls: The Best of Nell Brinkley’s Cartoons 1913 – 1940, edited by Trina Robbins (Fantagraphics)

Gahan Wilson: 50 Years of Playboy Cartoons, by Gahan Wilson, edited by Gary Groth (Fantagraphics)

Prince Valiant, vol. 1: 1937 – 1938, by Hal Foster, edited by Kim Thompson (Fantagraphics)

Queer Visitors from the Marvelous Land of Oz, by L. Frank Baum, Walt McDougall, and W.W. Denslow, edited by Peter Maresca (Sunday Press)

Best Archival Collection/Project–Comic Books

The Best of Simon & Kirby, by Joe Simon and Jack Kirby, edited by Steve Saffel (Titan Books)

Blazing Combat, by Archie Goodwin et all., edited by Gary Groth (Fantagraphics)

Humbug, by Harvey Kurtzman et al., edited by Gary Groth (Fantagraphics)

(WINNER) The Rocketeer: The Complete Adventures deluxe edition, by Dave Stevens, edited by Scott Dunbier (IDW)

The TOON Treasury of Classic Children’s Comics, edited by Art Spiegelman and Francoise Mouly (Abrams ComicArts/Toon)

Best U.S. Edition of International Material

My mommy is in America and she met Buffalo Bill, by Jean Regnaud and Emile Bravo (Fanfare/Ponent Mon)

(WINNER) The Photographer, by Emmanuel Guibert, Didier Lefevre, and Frederic Lemerier (First Second)

Tiny Tyrant vol. 1: The Ethelbertosaurus, by Lewis Trondheim and Fabrice Parme (First Second)

West Coast Blues, by Jean-Patrick Manchette, adapted by Jacques Tardi (Fantagraphics)

Years of the Elephant, by Willy Linthout (Fanfare/Ponent Mon)

Best U.S. Edition of International Material–Asia

The Color Trilogy, by Kim Dong Hwa (First Second)

A Distant Neighborhood (2 vols.) by Jiro Taniguchi (Fanfare/Ponent Mon)

(WINNER) A Drifting Life, by Yoshihiro Tatsumi (Drawn & Quarterly)

Oishinbo a la Carte, written by Tetsu Kariya and illustrated by Akira Hanasaki (VIZ Media)

Pluto: Urasawa X Tezuka, by Naoki Urasawa, Takashi Nagasaki, Macoto Tezka, and Tezuka Productions (VIZ Media)

Naoki Urasawa’s 20th Century Boys, by Naoki Urawawa (VIZ Media)

Best Writer

(WINNER) Ed Brubaker, Captain America, Daredevil, Marvel Project (Marvel), Criminal, Incognito (Marvel Icon)

Geoff Johns, Adventure Comics, Blackest Night, The Flash: Rebirth, Superman: Secret Origin (DC)

James Robinson, Justice League: Cry for Justice (DC)

Mark Waid, Irredeemable, The Incredibles, The Unknowns (BOOM!)

Bill Willingham, Fables (Vertigo/DC)

Best Writer/Artist

Darwyn Cooke, Richard Stark’s Parker: The Hunter (IDW)

R. Crumb, The Book of Genesis Illustrated (Norton)

(WINNER) David Mazzucchelli, Asterios Polyp (Pantheon)

Terry Moore, Echo (Abstract Books)

Naoki Urasawa, Naoki Urasawa’s 20th Century Boys, Pluto: Urasawa X Tezuka (VIZ Media)

Best Writer/Artist–Nonfiction

Reinhard Kleist, Johnny Cash: I See a Darkness (Abrams ComicArts)

Willy Linthout, Years of the Elephant (Fanfare/Ponent Mon)

(WINNER) Joe Sacco, Footnotes in Gaza (Metropolitan/Holt)

David Small, Stitches (Norton)

Carol Tyler, You’ll Never Know: A Good and Decent Man (Fantagraphics)

Best Short Story

“Because I Love You So Much,” by Nikoline Werdelin, in From Wonderland with Love: Danish Comics in the 3rd Millennium (Fantagraphics/Aben maler)

“Gentleman John,” by Nathan Greno, in What is Torch Tiger? (Torch Tiger)

“How and Why to Bale Hay,” by Nick Bertozzi, in Syncopated (Villard)

“Hurricane,” interpreted by Gradimir Smudja, in Bob Dylan Revisited (Norton)

(WINNER) “Urgent Request,” by Gene Luen Yang and Derek Kirk Kim, in The Eternal Smile (First Second)

Best Single Issue (or One-Shot)

Brave & the Bold #28: “Blackhawk and the Flash: Firing Line,” by J. Michael Straczynski and Jesus Saiz (DC)

(WINNER) Captain America #601: “Red, White and Blue-Blood,” by Ed Brubaker and Gene Colan (Marvel)

Ganges #3, by Kevin Huizenga (Fantagraphics)

The Unwritten #5: “How the Whale Became,” by Mike Carey and Peter Gross (Vertigo/DC)

Usagi Yojimbo #123: “The Death of Lord Hikjii” by Stan Sakai (Dark Horse)

Best Adaptation from Another Work

The Book of Genesis Illustrated, by R. Crumb (Norton)

Charles Darwin’s On the Origin of Species: A Graphic Adaptation, adapted by Michael Keller and Nicolle Rager Fuller (Rodale)

Fahrenheit 451, by Ray Bradbury, adapted by Tim Hamilton (Hill & Wang)

(WINNER) Richard Stark’s Parker: The Hunter, adapted by Darwyn Cooke (IDW)

West Coast Blues, by Jean-Patrick Manchette, adapted by Jacques Tardi (Fantagraphics)

Best Reality-Based Work

(WINNER) A Drifting Life, by Yoshihiro Tatsumi (Drawn & Quarterly)

Footnotes in Gaza, by Joe Sacco (Metropolitan/Holt)

The Impostor’s Daughter, by Laurie Sandell (Little, Brown)

Monsters, by Ken Dahl (Secret Acres)

The Photographer, by Emmanuel Guibert, Didier Lefevre, and Frederic Lemerier (First Second)

Stitches, by David Small (Norton)

Best Graphic Album–Reprint

(WINNER) Absolute Justice, by Alex Ross, Jim Krueger, and Doug Braithewaite (DC)

A.D.: New Orleans After the Deluge, by Josh Neufeld (Pantheon)

Alec: The Years Have Pants, by Eddie Campbell (Top Shelf)

Essex County Collected, by Jeff Lemire (Top Shelf)

Map of My Heart: The Best of King-Cat Comics & Stories, 1996 – 2002, by John Porcellino (Drawn & Quarterly)

Best Graphic Album–New

(WINNER) Asterios Polyp, by David Mazzucchelli (Pantheon)

A Distant Neighborhood (2 vols.) by Jiro Taniguchi (Fanfare/Ponent Mon)

The Book of Genesis Illustrated, by R. Crumb (Norton)

My mommy is in America and she met Buffalo Bill, by Jean Regnaud and Emile Bravo (Fanfare/Ponent Mon)

The Photographer, by Emmanuel Guibert, Didier Lefevre, and Frederic Lemerier (First Second)

Richard Stark’s Parker: The Hunter, adapted by Darwyn Cooke (IDW)

Best New Series

(WINNER) Chew, by John Layman and Rob Guillory (Image)

Do Androids Dream of Electric Sheep? by Phillip K. Dick, art by Tony Parker (BOOM!)

Irreedeemable, by Mark Waid and Peter Krause (BOOM!)

Sweet Tooth, by Jeff Lemire (Vertigo/DC)

The Unwritten, by Mike Carey and Peter Gross (Vertigo/DC)

Best Limited Series or Story Arc

Blackest Night, by Geoff Johns, Ivan Reis, and Oclair Albert (DC)

Incognito, by Ed Brubaker and Sean Phillips (Marvel Icon)

Pluto: Urasawa X Tezuka, by Naoki Urasawa, Takashi Nagasaki, Macoto Tezka, and Tezuka Productions (VIZ Media)

Wolverine, #66-72 and Wolverine Giant-Size Special: “Old Man Logan,” by Mark Millar, Steve McNiven, and Dexter Vines (Marvel)

(WINNER) The Wonderful Wizard of Oz, by Eric Shanower and Skottie Young (Marvel)

Best Continuing Series

Fables, by Bill Willingham, Mark Buckingham, Steve Leialoha, Andrew Pepoy et al. (Vertigo/DC)

Irredeemable, by Mark Waid and Peter Krause (BOOM!)

Naoki Urasawa’s 20th Century Boys, by Naoki Urasawa (VIZ Media)

The Unwritten, by Mike Carey and Peter Gross (Vertigo/DC)

(WINNER) The Walking Dead, by Robert Kirkman and Charles Adlard (Image)

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Filed under Comic-Con 2010, Comic-Con International: San Diego, Comics, Will Eisner Comics Industry Awards