And the 2013 Eisner Award Winners Are…

eisnerawards2013_25logoHawkeye, Saga and Chris Ware’s Building Stories emerged as the big winners in the 2013 Eisner Awards. Here’s the full list of nominees with the winners in bold.

BEST SHORT STORY

“A Birdsong Shatters the Still,” by Jeff Wilson and Ted May, in Injury #4 (Ted May/Alternative)
“Elmview” by Jon McNaught, in Dockwood (Nobrow)
“Moon 1969: The True Story of the 1969 Moon Launch,” by Michael Kupperman, in Tales Designed to Thrizzle #8 (Fantagraphics)
“Moving Forward,” by drewscape, in Monsters, Miracles, & Mayonnaise (Epigram Books)
“Rainbow Moment,” by Lilli Carré, in Heads or Tails (Fantagraphics)

BEST SINGLE ISSUE (OR ONE-SHOT)

Lose #4: “The Fashion Issue,” by Michael DeForge (Koyama Press)
The Mire, by Becky Cloonan (self-published)
Pope Hats #3, by Ethan Rilly (AdHouse Books)
Post York #1, by James Romberger and Crosby (Uncivilized Books)
Tales Designed to Thrizzle #8, by Michael Kupperman (Fantagraphics)

BEST CONTINUING SERIES

Fatale, by Ed Brubaker and Sean Phillips (Image)
Hawkeye, by Matt Fraction and David Aja (Marvel)
The Manhattan Projects, by Jonathan Hickman and Nick Pitarra (Image)
Prophet, by Brandon Graham and Simon Roy (Image)
Saga, by Brian K. Vaughan and Fiona Staples (Image)

BEST NEW SERIES

Adventure Time, by Ryan North, Shelli Paroline, and Braden Lamb (kaboom!)
Bandette, by Paul Tobin and Colleen Coover (Monkeybrain)
Fatale, by Ed Brubaker and Sean Phillips (Image)
Hawkeye, by Matt Fraction and David Aja (Marvel)
Saga, by Brian K. Vaughan and Fiona Staples (Image)

BEST PUBLICATION FOR NEW READERS (UP TO AGE 7)

Babymouse for President, by Jennifer L. Holm and Matthew Holm (Random House)
Benny and Penny in Lights Out, by Geoffrey Hays (Toon Books/Candlewick)
Kitty & Dino, by Sara Richard (Yen Press/Hachette)
Maya Makes a Mess, by Rutu Modan (Toon Books/Candlewick)
Zig and Wikki in The Cow, by Nadja Spiegelman and Trade Loeffler (Toon Books/Candlewick)

BEST PUBLICATION FOR KIDS (AGES 8-12)

Adventure Time, by Ryan North, Shelli Paroline, and Braden Lamb (kaboom!)
Amulet Book 5: Prince of the Elves, by Kazu Kibuishi (Scholastic)
Cow Boy: A Boy and His Horse, by Nate Cosby and Chris Eliopoulos (Archaia)
Crogan’s Loyalty, by Chris Schweizer (Oni)
Hilda and the Midnight Giant, by Luke Pearson (Nobrow)
Road to Oz, by L. Frank Baum, adapted by Eric Shanower and Skottie Young (Marvel)

BEST PUBLICATION FOR TEENS (AGES 13-17)

Adventure Time: Marceline and the Scream Queens, by Meredith Gran (kaboom!)
Annie Sullivan and the Trials of Helen Keller, by Joseph Lambert (Center for Cartoon Studies/Disney Hyperion)
Ichiro, by Ryan Inzana (Houghton Mifflin)
Spera, vol. 1, by Josh Tierney et al. (Archaia)
A Wrinkle in Time, by Madeleine L’Engle, adapted by Hope Larson (FSG)

BEST HUMOR PUBLICATION

Adventure Time, by Ryan North, Shelli Paroline, and Braden Lamb (kaboom!)
BBXX: Baby Blues Decades 1 & 2, by Jerry Scott and Rick Kirkman (Andrews McMeel)
Darth Vader and Son, by Jeffrey Brown (Chronicle)
Naked Cartoonists, edited by Gary Groth (Fantagraphics)

BEST DIGITAL COMIC

Ant Comic, by Michael DeForge
Bandette, by Paul Tobin and Colleen Coover
It Will All Hurt, by Farel Dalrymple
Our Bloodstained Roof, by Ryan Andrews
Oyster War, by Ben Towle

BEST ANTHOLOGY

Dark Horse Presents, edited by Mike Richardson (Dark Horse)
No Straight Lines: Four Decades of Queer Comics, edited by Justin Hall (Fantagraphics)
Nobrow #7: Brave New World, edited by Alex Spiro and Sam Arthur (Nobrow)
2000 AD, edited by Matt Smith (Rebellion)
Where Is Dead Zero?, edited by Jeff Ranjo (Where Is Dead Zero?)

BEST REALITY-BASED WORK (TIE)

Annie Sullivan and the Trials of Helen Keller, by Joseph Lambert (Center for Cartoon Studies/Disney Hyperion)
The Carter Family: Don’t Forget This Song, by Frank M. Young and David Lasky (Abrams ComicArts)
A Chinese Life, by Li Kunwu and P. Ôtié (Self Made Hero)
The Infinite Wait and Other Stories, by Julia Wertz (Koyama Press)
Marbles: Mania, Depression, Michelangelo & Me, by Ellen Forney (Gotham Books)
You’ll Never Know, Book 3: A Soldier’s Heart, by C. Tyler (Fantagraphics)

BEST GRAPHIC ALBUM – NEW

Building Stories, by Chris Ware (Pantheon)
Goliath, by Tom Gauld (Drawn & Quarterly)
The Hive, by Charles Burns (Pantheon)
Unterzakhn, by Leela Corman (Schocken)
You’ll Never Know, Book 3: A Soldier’s Heart, by C. Tyler (Fantagraphics)

BEST ADAPTATION FROM ANOTHER MEDIUM

Chico and Rita, by Fernando Trueba and Javier Mariscal (Self Made Hero)
Homer’s Odyssey, adapted by Seymour Chwast (Bloomsbury)
Richard Stark’s Parker: The Score, adapted by Darwyn Cooke (IDW)
Road to Oz, by L. Frank Baum, adapted by Eric Shanower and Skottie Young (Marvel)
A Wrinkle in Time, by Madeleine L’Engle, adapted by Hope Larson (FSG)

BEST GRAPHIC ALBUM – REPRINT

Cruisin’ with the Hound, by Spain (Fantagraphics)
Ed the Happy Clown, by Chester Brown (Drawn & Quarterly)
Everything Together: Collected Stories, by Sammy Harkham (PictureBox)
Heads or Tails, by Lilli Carré (Fantagraphics)
King City, by Brandon Graham (TokyoPop/Image)
Sailor Twain, or The Mermaid in the Hudson by Mark Siegel (First Second)

BEST ARCHIVAL COLLECTION/PROJECT – STRIPS

Alex Raymond’s Flash Gordon and Jungle Jim, vol. 2, edited by Dean Mullaney (IDW/Library of American Comics)
Mister Twee Deedle: Raggedy Ann’s Sprightly Cousin, by Johnny Gruelle, edited by Rick Marschall (Fantagraphics)
Percy Crosby’s Skippy, vol. 1, edited by Jared Gardner and Dean Mullaney (IDW/Library of American Comics)
Pogo, vol. 2: Bona Fide Balderdash, by Walt Kelly, edited by Carolyn Kelly and Kim Thompson (Fantagraphics)
Roy Crane’s Captain Easy: The Complete Sunday Newspaper Strips, vol. 3, edited by Rick Norwood (Fantagraphics)

BEST ARCHIVAL COLLECTION/PROJECT- COMIC BOOKS

Crime Does Not Pay Archives, edited by Philip Simon and Kitchen, Lind & Associates (Dark Horse)
David Mazzucchelli’s Daredevil Born Again: Artist’s Edition, edited by Scott Dunbier (IDW)
Wally Wood’s EC Stories: Artist’s Edition, edited by Scott Dunbier (IDW)
Walt Disney’s Uncle Scrooge: Only a Poor Old Man, by Carl Barks, edited by Gary Groth (Fantagraphics)
Young Romance: The Best of Simon & Kirby’s Romance Comics, edited by Michel Gagné (Fantagraphics)

BEST U.S. EDITION OF INTERNATIONAL MATERIAL

Abelard, by Régis Hautiere and Renaud Dillies (NBM)
Athos in America, by Jason (Fantagraphics)
Blacksad: Silent Hell, by Juan Diaz Canales and Juanjo Guarnido (Dark Horse)
The Making of, by Brecht Evens (Drawn & Quarterly)
Monsieur Jean: The Singles Theory, by Philippe Dupuy and Charles Berberian (Humanoids)
New York Mon Amour, by Benjamin LeGrand, Dominique Grange, and Jacques Tardi (Fantagraphics)

BEST U.S. EDITION OF INTERNATIONAL MATERIAL – ASIA

Barbara, by Osamu Tezuka (Digital Manga)
A Chinese Life, by Li Kunwu and P. Ôtié (Self Made Hero)
Naoki Urasawa’s 20th Century Boys, by Naoki Urasawa (VIZ Media)
Nonnonba, by Shigeru Mizuki (Drawn & Quarterly)
Thermae Romae, by Mari Yamazaki (Yen Press/Hachette)

BEST WRITER

Ed Brubaker, Fatale (Image)
Matt Fraction, Hawkeye (Marvel); Casanova: Avaritia (Marvel Icon)
Brandon Graham, Multiple Warheads, Prophet (Image)
Jonathan Hickman, The Manhattan Projects (Image)
Brian K. Vaughan, Saga (Image)
Frank M. Young, The Carter Family (Abrams ComicArts)

BEST WRITER/ARTIST

Charles Burns, The Hive (Pantheon)
Gilbert Hernandez, Love and Rockets New Stories, vol. 5 (Fantagraphics)
Jaime Hernandez, Love and Rockets New Stories, vol. 5 (Fantagraphics)
Luke Pearson, Hilda and the Midnight Giant, Everything We Miss (Nobrow)
C. Tyler, You’ll Never Know, Book 3: A Soldier’s Heart (Fantagraphics)
Chris Ware, Building Stories (Pantheon)

BEST PENCILLER/INKER (TIE)

David Aja, Hawkeye (Marvel)
Becky Cloonan, Conan the Barbarian (Dark Horse); The Muse (self-published)
Colleen Coover, Bandette (Monkeybrain)
Sean Phillips, Fatale (Image)
Joseph Remnant, Harvey Pekar’s Cleveland (Zip Comics/Top Shelf)
Chris Samnee, Daredevil (Marvel); Rocketeer: Cargo of Doom (IDW)

BEST PAINTER/MULTIMEDIA ARTIST (INTERIOR ART)

Brecht Evens, The Making Of (Drawn & Quarterly)
Juanjo Guarnido, Blacksad (Dark Horse)
Teddy Kristiansen, The Red Diary/The RE[a]D Diary (MAN OF ACTION/Image)
Lorenzo Mattotti, The Crackle of the Frost (Fantagraphics)
Katsuya Terada, The Monkey King vol. 2 (Dark Horse)

BEST COVER ARTIST

David Aja, Hawkeye (Marvel)
Brandon Graham, King City, Multiple Warheads, Elephantmen #43 (Image)
Sean Phillips, Fatale (Image)
Yuko Shimizu, The Unwritten (Vertigo/DC)
J, H. Williams III, Batwoman (DC)

BEST COLORING

Charles Burns, The Hive (Pantheon)
Colleen Coover, Bandette (Monkeybrain)
Brandon Graham, Multiple Warheads (Image)
Dave Stewart, Batwoman (DC); Fatale (Image); BPRD, Conan the Barbarian, Hellboy in Hell, Lobster Johnson, The Massive (Dark Horse)
Chris Ware, Building Stories (Pantheon)

BEST LETTERING

Paul Grist, Mudman (Image)
Troy Little, Angora Napkin 2: Harvest of Revenge (IDW)
Joseph Remnant, Harvey Pekar’s Cleveland (Zip Comics/Top Shelf)
C. Tyler, You’ll Never Know, Book 3: A Soldier’s Heart (Fantagraphics)
Chris Ware, Building Stories (Pantheon)

BEST COMICS RELATED PERIODICAL/JOURNALISM

Alter Ego, edited by Roy Thomas (TwoMorrows)
ComicsAlliance, edited by Joe Hughes, Caleb Goellner, and Andy Khouri
The Comics Reporter, edited by Tom Spurgeon
Robot 6, produced by Comic Book Resources
tcj.com, edited by Timothy Hodler and Dan Nadel (Fantagraphics)

BEST COMICS-RELATED BOOK

The Art of Daniel Clowes: Modern Cartoonist, edited by Alvin Buenaventura (Abrams ComicArts)
Marie Severin: The Mirthful Mistress of Comics, by Dewey Cassell (TwoMorrows)
Marvel Comics: The Untold Story, by Sean Howe (HarperCollins)
Mastering Comics, by Jessica Abel and Matt Madden (First Second)
Team Cul De Sac: Cartoonists Draw the Line at Parkinson’s, edited by Chris Sparks (Andrews McMeel)
Woodwork: Wallace Wood 1927–1981, edited by Frédéric Manzano (CasalSolleric/IDW)

BEST EDUCATIONAL/ACADEMIC WORK

Autobiographical Comics: Life Writing in Pictures, by Elisabeth El Refaie (University Press of Mississippi)
Comics Versus Art, by Bart Beaty (University of Toronto Press)
Crockett Johnson & Ruth Krauss: How an Unlikely Couple Found Love, Dodged the FBI, and Transformed Children’s Literature, by Philip Nel (University Press of Mississippi)
Lynda Barry: Girlhood Through the Looking Glass, by Susan E. Kirtley (University Press of Mississippi)
The Poetics of Slumberland, by Scott Bukatman (University of California Press)

BEST PUBLICATION DESIGN

Building Stories, designed by Chris Ware (Pantheon)
Dal Tokyo, designed by Gary Panter and Family Sohn (Fantagraphics)
David Mazzucchelli’s Daredevil Born Again: Artist’s Edition, designed by Randy Dahlk (IDW)
Mister Twee Deedle: Raggedy Ann’s Sprightly Cousin, designed by Tony Ong (Fantagraphics)
Wizzywig, designed by Ed Piskor and Chris Ross (Top Shelf)


Comments

  1. Well-deserved wins all around, especially Aja and Samnee both walking away with Best Artist.

  2. Chris Ware with the well deserved sweep!

  3. Having finally read the first trade of Saga earlier this week, I can say that it completely lived up to its hype, and deserved all those awards. Good to see a win for Samnee, which also reminds me that I need to read that Rocketeer series he did. I don’t read Hawkeye, but do agree that Aja’s covers are first rate. Building Stories has been on my to read list since it came out — I like what I’ve seen of his work in the past. Need to track down The Mire sometime . . .

  4. Was Tom Spurgeon one of the judges?

    • Paul Montgomery Paul Montgomery (@fuzzytypewriter) says:

      You can find a full list of the judges here:

      https://ifanboy.com/articles/2013-eisner-nominatons-announced/

    • They let Frank Santoro continue as a judge after he said he was boycotting so many artists and writers for personal reasons?
      I’ll keep those kind of political shenanigans in mind whenever the Eisner Award comes up in personal conversation here on out.

    • That’s not exactly what happened. You might want to do a little more reading about the situation before you bring it up in conversation.

    • How is it not what happened?
      Santoro stated he was blacklisting a mass of creators: check.
      Santoro stated he was doing so for personal reasons and not those creators’ talents: check.
      Santoro is a judge for Eisner Awards: check.

      Yup, got my facts straight here.

    • Well first of all I’d consider what he did was for professional reasons not personal, but that’s semantics so let’s put that aside.
      Second, he said that BEFORE he was an Eisner judge and as soon as he was put on the panel he immediately retracted his statement. You can choose to believe him or not but considering one of the artist he vowed never to vote for ended up WINNING an Eisner I’d say that somewhat vindicated him.
      Third it sounds like you’ve got the generalities but not the particulars. Such as why Santoro said that, who the creators were, and the fact that he retraced the statement. If all you want is the vague generalities then you’re good. If you want the particulars then I was suggesting you read an article or two about what really happened.
      Just to be clear I’m not defending Santoro, I think what he said was petty, but I just think people should actually know what he said before they go around bashing him.
      And again, one of those “banned” creators did in fact win an Eisner.

    • Professional reasons? So he based it on their talent? Well, that can’t be since as you state one of them won an award.
      I don’t believe he was honest when he said he retracted that statement. If his motive was professional he would have stepped down. Either his ego was so big he was worried if he stepped down no one else could do as good a job as he did, or he said whatever he could have to shine the spotlight of attention on something besides his shortcomings as a judge.

      And one winner from his entire (huge) blacklist? Maybe he let one slide to “prove” his objectivity …

    • I suppose it could be he “let one slide” to prove a point. Or it could be that only one of the creators on his so called blacklist won because only on of them was nominated. I honestly don’t think you know which creator I’m referring to because I don’t think you know what caused him to say that.

    • I know it was over creators’ rights, which only makes having Neal Adams on the list even more insane.

      “During the 1970s, Adams was politically active in the industry, and attempted to unionize its creative community. His efforts, along with precedents set by Atlas/Seaboard Comics’ creator-friendly policies and other factors, helped lead to the modern industry’s standard practice of returning original artwork to the artist, who can earn additional income from art sales to collectors. He won his battle in 1987, when Marvel returned original artwork to him and industry legend Jack Kirby, among others.[68][69] Adams notably and vocally helped lead the lobbying efforts that resulted in Superman creators Jerry Siegel and Joe Shuster receiving decades-overdue credit and some financial remuneration from DC.”

      http://en.wikipedia.org/wiki/Neal_Adams#Creator.27s_rights

      Santoro’s blacklist here: (with Neal Adam’s name front and center)
      http://franksantoro.tumblr.com/post/44167659773

      So there you have a real picture of rationality for someone to judge awards with.

    • Yes I know who Neal Adams is and what he has done for the comics industry but thank you for the history lesson. Pretty much anyone who reads comics seriously knows Neal Adams. But what Santoro said had nothing to do with any of that. Not a thing. In fact Santoro probably whole heartedly agrees with Adams on creators rights, which is why his name is at the top of that list. All this has done is reinforce that you aren’t really familiar with this situation and what spawned Santoro’s list. Which reinforces my initial point that you might want to read about what happened before bringing it up in conversation. Well, at least before bringing it up again.

      And just want to say again I’m not defending Santoro. Just stating that it’s important to get facts correct.

    • You keep saying that like it is some big mystery. He blacklisted those creators for participating in the Before Watchmen projects in support of Alan Moore. As stated in his post containing the blacklist. And as presented here (for your amusement)
      http://www.slate.com/articles/arts/culturebox/2012/05/before_watchmen_controversy_alan_moore_is_right_.html

      It’s not a secret.

    • Regardless of Santoro’s reasoning (or irrationality) he is not basing his blacklist one iota on talent, or lack thereof. It is a clear window to seeing how Eisner’s can or have become an insider’s way of promoting their personal agenda.

      P.S. Sorry for the split post. Hazard of my location for the time being.

    • I wasn’t trying to pretend it was a secret, it just didn’t seem as if you know the controversy was in regard to Before Watchmen.

      He was only one judge on a panel and didn’t have anywhere near enough influence to completely exclude the BW creators, as evidenced by Cooke winning an Eisner. I agree that Santoro acted irrationally with his ridiculous blacklist but I also think making a broad and generalized statement like “It is a clear window to seeing how Eisner’s can or have become an insider’s way of promoting their personal agenda,” is equally irrational.

    • You don’t know what sort of influence Santoro may or may not have. But he did just open the door to speculation that had he any influence over the other judges a very personal agenda would have been carried out. Your point of view may be right in that he did not influence any judges and maybe not even let it influence himself wirth his vendetta. My point is that he might have or might have tried and that is not a unreasonable assumption to make in light of his outspoken views.
      How do we know that his vote was not the crucial one that resulted in Samnee having to share his Eisner in a tie? We don’t, and therefore having one perspective or another on the matter is not irrational.

    • This is a bit off the subject:
      USPUNX, your picture/avatar, those wouldn’t happen to be the UFO apartments of SanZhi are they?

    • That’s very true. I suppose he could have cast a crucial vote one way or the other. I think Santoro was out of line with what he said as his blacklist and I think making him an Eisner judge was a mistake. But I also feel that people overreacted a bit to his being on the panel. But the safe bet would have been to exclude him.

      And yes! Those are the Shanzi UFO apartments. I saw pictures of them years ago and fell in love with them. I find them so intriguing.

    • Santoro raises the spectre of shenanigans. At least to me.

      You know those Sanzhi UFO buildings were haunted? Something about breaking a dragon statue cursed the place to endure hundreds of car accidents. They are just about the weirdest (and thus most interesting) abandoned buildings ever.

  5. Very pleased that Brandon Graham got some recognition with King City, shame about Prophet & nice one for Naoki Urasawa 20th Century Boys is a truly awesome series!

  6. It’s always interesting to see a small amount of superhero publications being nominated or winning the Eisner’s. I know Daredevil won a lot last year, but that seemed to be an exception as opposed to a norm. Eisners are really like the Oscars in that what most people read (superhero genre) are rarely recognized the “academy.”

    • Right. Because so many of last year’s best picture films were small art house releases. You know, things like Argo, Django Unchained, Les Miserables, Life of Pi, Lincoln, Silver Linings Playbook, Zero Dark Thirty. All of those films were released by major studios. All of those films except for Zero Dark Thirty were among the top 30 grossing films of the year. How is that not recognizing what most people watch? It’s not the mid-90’s anymore. Small indie films do not dominate the Oscars.

  7. Solid list of winners this year and I think the judges got all of it right.

    In my heart of hearts I would have loved to see ATHOS IN AMERICA win for ‘Best U.S. Edition of International Material’ but I know everyone is gaga for BLACKSAD so I can’t say it disappoints me it lost to great competition.

    The only thing though is the ‘Best Single Issue/One-Shot’ category because I literally haven’t heard of any of those issues before. Guess I’ll have to go back issue shopping and see how great they were.

    • Personally I would’ve loved it if Brecht Evens had won at least once in one of the two categories Blacksad won. But to lose from that book is… like you sad… not even disappointing.

  8. And once again I am sad that I sold my set of King City floppies…even though I kinda like the trade better…sigh. But congrats to Brandon Graham. King City opened my eyes to the possibilities of comic booking and I haven’t been the same since.

  9. Congrats to all the winners and nominees but nothing at all for FuryMax? It’s the best comic series in recent memory, in my opinion.

  10. Yeah for Saga, Yeah for Aja, and Yeah for Darth Vader and Son. The rest of the stuff I don’t know/don’t care. It’s like the hipster comic book awards.

    • A lot of the other stuff on this list is pretty cool. Particularly Parker: The Score, Building Stories, and 20th Century Boys. You should check them out for yourself before you write them off as “hipster.” Whatever that even means…

    • Guess I’m a hipster then… whatever.. and whatever the F that means anyway 😀 You’re missing out on great books like Parker, Blacksad, Building Stories, The Red Diary/The Re[a]d Diary and The Making Of.

    • Building Stories and Blacksad both look pretty cool to me. And I like Darwin Cooke, so maybe I would enjoy Parker.

      I just wish these awards were a little more mainstream – not like Wizard fan awards or anything, but maybe a 50/50 split between indie and mainstream? It just seems so heavily tilted toward indie books.

      And I’m not totally anti-hipster, but the idea that anything that is mainstream isn’t cool can be tiresome.

    • Maybe the mainstream books aren’t as good as a lot people make them out to be. I’m rarely (if ever) dissatisfied with an Eisner award winning book. I can’t say that about “mainstream” books. “Indie” books are able to push the medium into places that are new and exciting in both subject matter and delivery in ways that mainstream books can’t because of editorial decisions and movie futures (see DC), so it would make sense that awards like these favor books from arenas that foster such creativity. That said, the winners weren’t all that “indie,” and these aren’t the “cool” awards. They are the “best” awards. I hope I don’t sound like a dick, but there is a lot of great stuff out there that deserves attention.

    • Totally agree with theWAC1 mainstream books are the pin-up or the advert that we all see they’re constantly in your face because of money that can be thrown at those companies by their rich shareholders, plus they also make a huge amount of the industry money, but that doesn’t mean they are the best books that money can buy there is so much out there from all kinds of independent’s & small press to great foreign comics so we unfortunately seem to ignore or overlook a great selection of books that are out there.

      It can be said that it’s the same for a lot of other industries too like film/TV, music, art even sport. So BCDX97 go out there & experience all that good shit because there is plenty of it!

    • I’m with @thewac1 and @rileyarmpit, I think the Eisner’s are wonderful. They honor really cool “indie” books but also don’t ignore the mainstream superhero books. I think it’s a great balance because they honor quality over anything else. If your book is unique and interesting, it’ll get recognized. Plain and simple. The Eisner’s have turned me on to a ton a fantastic new books over the years. The last thing I would want to see happen is for the Eisner’s to turn into the Grammy’s. Whoever sells the most records wins! Quality and content not considered!!!

    • This worst thing about these awards is that they were so predictable. How does a tie happen? Ive always been an Indy guy ,, but you have to weed through a lot of shit to find gems if you are truly someone that reads a lot of Indy stuff. I buy a few books a month from publishers ive never even heard of … man did i read some stinkers this month… I keep hoping ill find the next Bone.. but all ive been finding is the next Youngblood. And building stories is just depressing as fuck (although im only half way through it so far… whatever half way means in this case). Happy for the Blacksad artist though.

      http://robot6.comicbookresources.com/2013/04/is-superheroes-vs-the-rest-of-comics-still-a-thing/

    • @ilovecomics That us why I love the Eisners. They point me in the direction of books I normally read due ti time and money.

    • @theWac1.. Ya i hope more comic fans are at least as open minded as you. The little guys need our support. Not to say i dont love the big 2. I love all comics.

  11. I’m not suprised Dave Stewart won for colorist, the man is phenomenal! Him and Jordie Bellaire make books practically must buys for me.

  12. I had the chance to see Kupperman read out MOON 1969 at MoCCAfest lest year, glad to see it win here. It’s quite funny,

    I admit, I’m a little perplexed by how books can be voted in both NEW and CONTINUING categories. I get the logic, but it seems selfdefeating.

    Good lot of winners though.

  13. GAAAAH! I’ve had Building Stories just sitting for a couple months waiting to be read!!!

  14. Some really great stuff listed here.

    i have a friend who will be absolutely thrilled to see Blacksad getting that well-deserved recognition.

  15. Just read Becky Cloonan’s The Mire and it was excellent! I can see why it won.