Bookreporter.com Blog Posts

L.A. Times Book Prize Nominees for Graphic Novels/Comics

carol — Tue, 23 Feb 2016 16:56:54 +0000

The following have been nominated for L. A. Times Book Prizes in the Graphic Novels/Comics category. The L.A. Times Book Prizes will be given at a ceremony held at USC's Bovard Auditorium on Saturday, April 9, after the first full day of the L.A. Times Festival of Books. Tickets will be available online beginning March 8.

Sam Alden, "New Construction: Two More Stories" (Uncivilized Books)

Julian Hanshaw, "Tim Ginger" (Top Shelf Productions, an imprint of IDW Publishing)

Riad Sattouf, "Arab of the Future: A Childhood in the Middle East, 1978-1984: A Graphic Memoir" (Metropolitan Books)

Maggie Thrash, "Honor Girl" (Candlewick)

Carol Tyler, "Soldier’s Heart: The Campaign to Understand My WWII Veteran Father: A Daughter’s Memoir" (Fantagraphics)

A Super Afternoon with Gene Luen Yang

Shara — Fri, 22 Jan 2016 18:20:16 +0000

Contributors

Doré Ripley

Dore’ Ripley, a lecturer at California State University, East Bay (CSUEB), had a better afternoon than most on January 20^th. Why? Gene Luen Yang --- the recently named National Ambassador for Young People’s Literature and author of BOXERS & SAINTS, THE SHADOW HERO, AMERICAN BORN CHINESE and more came to visit! The CSUEB alum had a lot to say about Asian representation in comics, both today and throughout history. Dore’ recounts some of the most interesting parts of his talk, below, so read on --- your comics knowledge is about to get a lot more nuanced!

A fortress of solitude lies on a Bay Area hilltop inside the campus of California State University, East Bay…wait, a fortress of solitude? Is this the opening for a Superman comic?

Not exactly, but that would be fitting for a blog post about Gene Luen Yang, the current writer of DC’s man from Krypton who spent many hours creating his two-volume epic BOXERS & SAINTS (2013) in this fortress…er, library.

Yang, a CSUEB alumnus, visited the campus this January and spoke about ethnicity in comics to students taking The Graphic Novel: Form and Meaning in Comics, East Bay Comic Club alums and friends.

Before the talk, CSUEB’s President Leroy Morishita welcomed Yang and congratulated him on his recent success, which is much deserved. His 2006 graphic novel AMERICAN BORN CHINESE won an Eisner Award and the only graphic novel to be nominated for a National Book Award, and just last month, the Library of Congress named him the National Ambassador for Young People’s Literature. He’s also written numerous works that are fan favorites at CSUEB, including the 2011 graphic novel LEVEL UP, about a boy who wants to become a video game designer but whose parents want him to be a doctor; THE SHADOW HERO (2011); about a mild-mannered Asian American man growing up in the golden age of comics; and “Avatar: The Last Airbender” (2005-8).

In his talk, Yang discussed the “Asian invasion” taking place in comics today, pointing out that “comics represent Asian Americans more than any other medium.” In addition to the many Asian American artists and creators, there is Jim Lee, arguably “the most powerful person in comics today.” Lee is the co-Publisher of DC Entertainment and the winner of many Fan Awards, especially for his work on Batman.

Before the current “Asian invasion,” there was the traditional portrayal of the Chinese “yellow terror” prevalent in the late 19th and early 20th centuries. This perceived invasion resulted in the Chinese Exclusion Act of 1882. The political cartoons of the day stereotyped the “yellow peril villain,” which manifested on many comic covers including DC’s first issue starring Ching Lung, a “Fu Manchu knock off.”

But not all early comics displayed Asian Americans as villains. Yang mentioned Fun Chang from Pep Comics (1939), who was an international detective living in San Francisco without any real superpowers, except when he donned Chinese clothing. Then he could control some magic chessman, oh, and his “skin changed from pink to yellow whenever he put on Asian clothing.”

During the 1970s, Kung Fu comics were all the rage, in part, because of Bruce Lee. At Marvel there was Shang-Chi “the Master of Kung Fu.” But Yang is a child of the 1980s and loved the G.I. Joe franchise. When Hasbro hired Marvel to redevelop the property, both Cobra and Joe had Asian characters fighting on their teams. But how did G.I. Joe end up with so many Asian characters? According to Yang, that can be traced to Marvel’s Larry Hama, who did a lot of writing for the property. When Hama got to Marvel he strolled over to coloring and asked “Why do you color all Asian Americans bright yellow?” Answer: “That’s the way we’ve always done it.” Hama’s response, “Maybe we should stop.” And so they did.

Marvel’s X-Men have always been a “bastion of diversity” and some of Yang’s favorites are Sunfire (Shiro Yoshida) who can shoot super heated plasma from his fists, Jubilee (Jubilation Lee), a high school student from southern California --- Yang has a bit of a crush --- and Psylocke (Elizabeth “Betsy” Braddock), a Brit who was kidnapped by Ninjas.

Yang has often wondered why there are so many Asian Americans in comics today, and he and a few friends came up with some theories:

Theory No. 1: The structure of comics. Yang says that in the European world, text and pictures are separated and when combined, they are often seen as “vulgar” advertisements, “childish” picture books or “immature” comics. In traditional Asian culture however, “images are always paired with words --- there is no bias against words and pictures.”

Theory No. 2: The immigrant’s story. The golden age comic books of the 1930s were created by children of immigrants (usually poor and Jewish) and those immigrant children had a hard time finding work in other established art fields. When they got into comics, they wrote their stories. Look at Superman, says Yang; it’s a “sci-fi Moses story” where a baby is “put in a basket” and set adrift, in Superman’s case, in outer space. Yang believes this “outsiderlyness” resonated with Jewish immigrants and Asian immigrants alike. In fact, Yang jokes, “You could think of Superman as Asian American. He wears glasses, is mild-mannered and has two names.”

Theory No. 3: American cultural trends. Japanese pop culture is especially popular today. Like Yang, if you have been to a library or bookstore recently, you have tripped over the “manga hobos” reading in the aisles. Once comics were exported all over the world, they “grew up differently.” In Japan, they developed a whole series of emotion lines that “took on symbolic meaning.” Yang asserts that today’s comic readers expect that “amalgamated” form in comics.

When researching THE SHADOW HERO, Yang came across the original “Green Turtle” (1944), a 5-issue golden age comic published by Blaze Comics and written by Chu Hing, an Asian American. It is rumored that Blaze insisted that the Green Turtle be drawn as a white man (hence his pink skin), while Chu Hing felt that the character should be Asian. Yang thinks this is why “Hing never provided any backstory for the Green Turtle and never drew his face.” Is this Hing’s way of undermining the race issue? The Green Turtle is often drawn from a back view, or his face is covered by his cape, or even a fist. Yang collected the first edition and reprinted it in THE SHADOW HERO.

Yang decided to write the Green Turtle’s backstory in THE SHADOW HERO, which follows Hank Chu as he grows up in San Incendio’s Chinatown. He is pushed by his mother to become a superhero, but adores his mild-manner father, a grocer. After his father is murdered, Hank takes on the superhero role (no spoilers here). Yang gives a nod to the yellow skin/pink skin controversy of another age, dipping Hank into a chemical bath that makes him turn pink when wet. In the end, the story reinforces the idea that all Americans are aliens and we are who we make ourselves. “Maybe being a superhero would make me a part of them. Maybe it wouldn’t. Either way, it didn’t matter, because the Green Turtle had already become a part of me.”

Publishers Weekly Takes a Look at Graphic Novels Today

carol — Mon, 28 Dec 2015 01:23:10 +0000

Terrific overview from Publishers Weekly with industry insiders talking about what's been going on with graphic novels in the last decade.

New York Comic Con 2015: Heroes and Villains Take the East Coast

emily — Fri, 16 Oct 2015 15:29:02 +0000

Any nerd worth his or her comic book collection knows that Comic Con is one of the biggest pop culture events on planet Earth (and probably others, too). On October 6-9, East Coasters had their turn to dress up and head out for a weekend of fascinating panels, screenings and surprise trailer drops at New York Comic Con. Our very own Carol Fitzgerald braved the trip to the Javits Center --- unfortunately not dressed in costume, unless you count her signature turquoise digs --- and here, with the help of four TBRN friends, reports on all the crazy things she heard and saw. No spoilers, although multiple reports claim Jon Snow is alive and well and ate a BBQ brisket sandwich at the food court. Keep scrolling for some amazing photos, courtesy of Maya Gittelman.

Question: How many times have you been to NYCC?

Carol Fitzgerald: I guess this is my 10th! I still remember the first one, where the show shared floor space with another at Javits. I was at the press preview day, and it was very, very clear that this was the start of something big. The next day, the crowds were so big that the fire marshals were called in! Love to see how it has grown since then beyond Javits to events around the city for Super Week. Seeing NYCC trending on Facebook and the press coverage everywhere this year was really cool.

Maya Gittelman: Only once before, many years ago.

Jeff Ayers: This was my fifth time, and my wife and I go every year to celebrate our wedding anniversary!

Rebecca Munro: This was my first time!

Matthew Burbridge: Five times.

Q: What panel or event were you looking forward to the most?

CF: Sadly my schedule this year meant that I could only be there at the end of the day on Thursday. ICV2’s private reception that day gave me a chance to connect and catch up with industry colleagues quickly. NYCC is always about reconnecting for me. The floor that day was crazy busy, thus it was nice to saunter down there around 5:30 and catch the last one-and-a-half hours when the pace had quieted a bit.

MG: “We Need MORE Diverse Comics!”

JA: The “Comic Creators Consuming Coffee” panel, because a bunch of fun comic writers and artists get together and talk about their process, and their love of coffee! Plus, it was sponsored by the best coffee in the world, Death Wish Coffee Company.

RM: I was really looking forward to seeing the trailer for “The Magicians” --- the new SyFy show based on Lev Grossman's books --- and the We Need MORE Diverse Comics” panel. John [Maher] recommended it after last year.

MB: Went in blind this year. Was mostly looking forward to catching up with friends.

Q: What were your favorite panels? You can name up to three.

MG: “We Need More Diverse Comics!”

JA: Honestly, I didn’t go to many panels this year, as my wife and I love hanging out at artist alley way more, because we get to meet and converse with our favorite artists and writers.

RM: “We Need More Diverse Comics.”

MB: Dark Horse, The Expanse.

Q: What was the best costume you saw? You can name up to three, and it could be your own!

CF: It actually was the McCall’s booth where they were selling costume patterns. Heard that they started exhibiting last year and that seemed really smart. Here’s a piece on this from Bleeding Cool from last year that is worth checking out.

MG: The absolute best was the Sugar Plum Fairy from the Cabin in the Woods!! She was phenomenal! Runners-up include the Doc Oc with giant arms and the beautiful couple as Ruby & Sapphire from Steven Universe.

JA: Well, there was an amazing Darth White (Darth Vader/Snow White) mashup costume, a really rad BARF from Spaceballs and the Hulkbuster guy was just incredible --- it was like watching a movie come to life!

RM: Ugh, I hate the costumes, tbh (sorry if that's blasphemy). I did see a picture of a guy dressed in a big, brown robe with a box of Raisin Bran taped to his back and everything but "BRAN" crossed out (a.k.a. Hogar from “Game of Thrones”). I also saw two girls in period dresses with full hoop-skirts and Marie Antoinette-style hair and makeup. They were gorgeous, but ultimately a PAIN to walk around.

MB: Hulkbuster, War-Boys (any and all), Transformers.

Q: What was your best unexpected encounter with an author or fan?

CF: For me, I was on the 4th floor at one point overlooking the floor. I loved watching the excitement and energy as people moved from booth to booth. It was palpable even from my on-high perch. There is something wonderful about seeing people with a common passion coming together to celebrate, discover and buy. Also, seeing the big brands like Chevrolet, AT&T and Pepsi with promotions aimed at millennials, among others, was very interesting. There’s a good piece about this here.

MG: I met Erica Henderson, the author of the fantastic Unbeatable Squirrel Girl!!

JA: I got the awesome privilege of talking with one of my favorite artists, Nick Dragotta, along with the rock band The End Men because they wrote a song about his comic East of West, and he drew an exclusive piece of art for them! I got the whole conversation on tape; look for it on a future podcast from FanboysInc!

RM: Running into Ian McGinty, from Z2 comics. He and his girlfriend were super sweet, and both of them signed my comic!

MB: I really only run into people I know at the con.

Q: And, of course, the books! Tell us some of the books that you came away wanting to read. You can name up to three.

CF: TRASHED by Derf Backderf, which is coming out November 3rd.

MG: WELCOME TO NIGHT VALE, Jennie Wood's Flutter and A BOY LIKE ME!

JA: Well, I was really stoked to get VIRGIL by Steve Orlando; I picked up the first four issues of WE CAN NEVER GO HOME by Matt Rosenberg and Josh Hood; and the newest trade of THE ACCELERATORS from Blue Juice Comics, written by R.F.I. Porto and art by Gavin Smith and Tim Yates!

RM: This is an oldie, and not totally comics related, but Random House was there selling the new collector's edition of THE GOLDEN COMPASS and I snatched that up IMMEDIATELY. I also want to read Judah Friedlander's book because I missed his signing but heard he was awesome.

MB: The entire Ancillary Justice series, put out by Hachette, a hard copy of a short story originally only published online for the Expanse also put out through Hachette, and a variant-covered edition of a new series, Welcome to Showside, by Ian McGinty coming out through Z2 Comics.

Q: What’s your wildest memory of this weekend?

MG: Glimpsing Natalie Dormer and Norman Reedus from not too far away --- I WAS VERY EXCITED!!!

JA: Definitely a tie between an amazing time hanging out with Dean Haspiel and Christa Cassano at Hang Dai Studios in Brooklyn, and then drinking well into the night with Steve Orlando and sculptor Paul Harding.

RM: I guess just seeing the show floor and the crowds. Since this was my first time, it was all really amazing to see and people-watch.

MB: Catching up with every friend I had from college at the Gotham Market.

Q: Any additional thoughts?

CF: The extension of the 7 train to 34th Street/Hudson Yards is a dream come true for getting to/from Javits. What was always some version of hell has now turned into a pleasurable show add-on. The steepness of the escalators to and from the Hudson Yards stop have a thrill ride to them that seems to set the right tone. And the costumed folks on the train made it all the more fun. It was like Hogwarts Express, but the Comic Con version.

MG: While it was impressive that there was an emphasis on diversity in terms of the panels --- and this was the safest, most comfortable con I've ever attended (in terms of not getting harassed/witnessing harassment, etc.) --- I still did not see a wide assortment of diversity represented in the actual booths and merchandise. Despite the amount of Steven Universe and Welcome to Nightvale cosplay for example, they neither had official panels nor any amount of fan art comparable to mainstream media. Most art booths were still gratuitously filled with sexualized, objectified women, and actual queer/nonwhite representation (in terms of creators/artists/authors and products alike) was few and far between. One booth sold "Strong Female Character" t-shirts, and that tongue-in-cheek homage was the closest the con floor actually came to addressing misogyny and patriarchy in comics and nerd culture, which I found ultimately surprising. They talked the talk and it was great, but only the fans were really walking the walk. I hope the con catches up soon!

RM: They should hand out complimentary deodorants.

PHOTO GALLERY
[From top to bottom: Maya with Erica Henderson, creator of the The Unbeatable Squirrel Girl; R2-DToo Cute!; Maya fraternizes with the enemy; Maya with Dr. Travis Langley, author of WALKING DEAD PSYCHOLOGY/STAR WARS PSYCHOLOGY; Maya with Katie Cook, from MY LITTLE PONY: Friendship is Magic and the webcomic Gronk; Maya with Ana Matronic, former Scissor Sister and author of ROBOT UNIVERSE; Maya with Vish Singh, creator of the documentary “Red, White, and Beard”; the force is strong with this one.]

Alternative Press Expo 2015: There’s No Place Like Home

carol — Tue, 13 Oct 2015 03:19:28 +0000

Contributors

Doré Ripley

Like Dorothy says, “Toto, I’ve a feeling we’re not in Kansas anymore,” but when she touched down in Oz I bet she didn’t think it would take over a decade to get back to her roots. Dan Vado knows what it’s like. The owner of Slave Labor Graphics (SLG) and creator of the Alternative Press Expo (APE) returned to San Jose, California, October 3rd and 4th for an outstanding expo showcasing independent artists, creators and publishers.

Vado created APE in 1994 when he noticed there weren’t any conventions devoted to underground and alternative comics like the ones he was publishing at SLG. In 2000, APE moved to San Francisco where it remained until 2014. Somewhere along the yellow brick road, APE came under the auspices of San Diego Comic Con, but this year the great APE clicked its heels and found itself home at the San Jose Convention Center.

And what a congenial homecoming! This is THE show for new talent. Seriously, who needs to plug Jim Lee or John Romita, Jr.’s latest work? Don’t get me wrong, their stuff is great, but there are so many fantastic up-and-coming artists to meet and so many new works to enjoy --- and at APE it seems like they are all gathered under one roof making a stroll through the aisles last all day. Oh, and talk about friendly. These creators are more than willing to chat for a few minutes about their works, their process and their inspiration. Lots of books and bills were changing hands, making this show successful for artists, creators and authors, some driving 10 hours in barely-there autos. Hats off to you!

APE did something this con attendee has never seen before. They let all teachers and librarians in gratis and gave them a bunch of free stuff...and not just stickers. SLG Publishing offered REX LIBRIS: BOOK OF MONSTERS (Volume 2) by James Turner, who presents the story of the world’s favorite butt-kicking, sesquipedalian librarian whose “primary mission is to acquire, prioritize, classify, organize, and disseminate information.” Kicking alien ass is just incidental. It doesn’t take long for Rex to get sucked into the Book of Monsters as he battles Krakens and Zombies and Nazis and other bad guys. The black-and-white artwork is done in an updated retro-deco geometric style, while the protagonist talks in a tough-guy brogue reminiscent of noir film. BOOK OF MONSTERS is a fun journey that will exercise your little gray cells as you read your way through a book about a book within a library.

Kymera Press is run by women and publishes stories about women, created, drawn and written by women. GATES OF MIDNIGHT features Raven Moon, a combat medic recently returned from Afghanistan who suffers from PTSD. She soon has to face the monsters who killed her father with the help of a mysterious stranger, a stranger that can help her fight the monsters coming through a rogue gate. Sepia tones lend a dark tenor to this supernatural thriller that pits Raven against monsters from another time and space.

Andy Warner, Cartoonist, Journalist and Illustrator, is a comics journalist whose work has been published by KQED, the United Nations Human Rights Council, Slate and many others. He is a teacher at Stanford’s Comics Journalism School and has created comics on the Syrian crisis, Beirut and the invention of the Slinky. Yes, that’s right, the Slinky, a certain generations's favorite toy. The Slinky chapter is one of the entries found in BRIEF HISTORIES OF EVERYDAY OBJECTS. Warner’s style is reminiscent of Will Eisner with its thick blacks and hand-lettered text, while his storytelling is engaging and precise. Who’d a thunk the Slinky would walk its way into a toy empire?

TRANSCAT was at APE flexing superhero muscles to fight crime in a magic cat hat that allows her to change genders at will. Claiming to be the first transgender superhero, Knave Murdok’s protagonist heads off voyeuristic up-skirt photographers at her local comic convention as she grapples with the evils of society in a funny way. The black-and-white pencil sketch style enhances the reading experience with its clean look and smart text.

Debbie Huey showed off BUMPERBOY, a sweet young kid and his pup. Together the rubber-suited Bumberboy and Bumperpup bounce through different adventures that are fun for all ages. The stories are sweet but won’t give you a toothache. The slightly seedy Onomatopeople can’t do much harm because they have friends that are always there to calm them down. The artwork is clean, strong and evokes an innocence that feels a bit anime in style, like Winnie-the-Pooh meets Astro Boy. Huey is also organizing Comics Arts Fest for the San Mateo County Library held throughout October and featuring Mariko Tamaki (SKIN, THIS ONE SUMMER), Alex Fajardo (KID BEOWULF!), Mario Hernandez (LOVE & ROCKETS), Raina Telgemeier (SMILE, SISTERS) and inker Steve Leialoha (FABLES, IRON MAN, THE X-MEN).

Ajuan Mance’s 1001 BLACK MEN is a sketchbook project recording, like the title says, African American men. In a recent interview, Mance remarked, “I have only positive associations with Black men, based on the first Black men I knew. I always have the privilege of seeing anything that doesn’t feel nurturing and loving and affirming as an outlier. But that is not even how all Black people experience representation of Black men.” Her style is Sharpie-thick line in stain-glass style panels with a modern graphic art aesthetic. Really beautiful stuff, and the sketch book is revealing in what surprises this urban professor.

Have you ever wondered where young monsters go to school? MONSTER ELEMENTARY, of course. These little fiends have to learn the proper etiquette for eating humans or committing random acts of violence, or the proper use of guano bombs. The 2015 Gold Medal Independent Best Humor Graphic Novel is a great read for all ages, offering enough gross-outs for kids and some delightful tidbits for adults. There is a good balance of text to graphic, and the full-color artwork is clean and Nickelodeonesque. Don’t take my word for it, read MONSTER ELEMENTARY and find out what happens when the FBI raids ME, forcing all the monsterettes to experience the horror of growing up in public school.

Jason Shiga, the newest member of the First Second (:30) publishing family was showing off DEMON. But wait, who is that helping out? It’s Thien Pham (LEVEL UP, SUMO) swiping cards and bagging books. Shiga’s DEMON will be published in four volumes beginning fall 2016. DEMON began as a pencil project and then, as desperation hit, a web comic where it finally took off. Jimmy Yee, the main character, has traversed the gutter moving from one work, MEANWHILE, a create-your-own-story work any kid would love, to the adult side of the street in DEMON. There is an autobiographical vein running through DEMON, but I hope that doesn’t apply to the first few pages. DEMON is fully available online where it will remain even after printing. The killer style emulates newspaper daily cartoons with a few deep, rich colors to reinforce the mood.

Teachers and librarians were not only welcomed at APE, but could learn a lot from the many panels aimed at them. “’Where Are Your Comic Books?’ Getting Graphic Novels in Your Stacks and Classrooms” discussed the serious ins, outs and vagaries of comics curation. At a school where I teach, librarians argue about whether comics/graphic novels should be shelved separately or in the stacks. Quite the controversy. “Make Read Write Draw: Enhancing Library Programming and Classroom Activities with Comics” featured success stories, tips and resources for hosting fabulous events while building partnerships with your local comics’ community. There was even “Advanced Topics in Graphic Novels: Comics and Critical Reading,” which shared how to read between the lines of graphic novels and comics to provoke readers into deeper thought and higher levels of learning. Choosing between panels and browsing the aisles wasn’t easy.

Going through my goody bag of temporary tattoos, books, prints, postcards, comics, business cards, graphic novels, flyers and books, this professor is ecstatic to discover new works to add to the shelf. I look forward to sharing these books with classes who often times know way more than me about big-market superheroes, but need a more thorough grounding in independents. What is it about comics and graphic novels that so many find attractive? Partly it is the ability to slow down and savor a work rather than have a tornado of video spit at you demanding your attention RIGHT NOW! Wandering the aisles at APE allows people to have a brief conversation with creative people who believe in a good, beautifully rendered story, and we all can use the benefits that come from a good story in our lives.

Educators and Librarians at NYCC 2015

John — Wed, 30 Sep 2015 18:56:48 +0000

Contributors

John Maher

It's almost here! That's right --- New York Comic Con is around the corner, and with it the thousands of costume-clad fans waiting to catch a glimpse of somebody dressed as their favorite iteration of Batman. (Or maybe even their actual favorite iteration of Batman --- here's looking at you, Mr. Keaton.)

Conventions can be a bit daunting for first timers, especially for educators and librarians trying to pick out salient panels in a sea of content. But here at Graphic Novel Reporter, we believe in making things easy. To that end, we've included a list of all the educator- and librarian-oriented programming at this year's SDCC below. Have a look, and enjoy the show.

EDUCATORS

Creating Comics as Part of a Literacy Curriculum Workshop
Thursday, October 8, 2015
11:00 am - 12:00 pm
Room 1E04

Elementary and secondary school educators discuss creating comics in the classroom and implementation of graphic novels in a Common Core world in order to scaffold literacy skills. This lesson planning and demonstration will illustrate specific strategies on utilizing the creative nature of drawing as a means for communication and a stepping stone to next level thinking by working through adapting a complex text to a visual medium by following a prose to script to comic process.

Educator Networking Session
Thursday, October 8, 2015
12:15 pm - 1:15 pm
Room 1E04

Meet like-minded professionals, swap ideas and create new professional relationships in this networking session! This networking event is aimed at Teachers, but those of related professions are also welcome. Note NYCC is not leading this session, but is providing the space and time for this professional meet-up.

Comics and New Literacy: Exploring Classroom Innovations
Thursday, October 8, 2015
1:45 pm - 2:45 pm
Room 1A05

This Panel of educators and industry professionals will explore the ever-changing climate of literacy and its connection to the graphic novel/comics classroom. As comics have begun to play a bigger role in classrooms around the country, educators have been able to explore more creative ways to use comics to engage students. This Panel will explore and discuss the amazing ways in which comics have been utilized to expand student literacy including multiple ways in which to build vocabulary, use graphic novels to bridge difficult texts (such as Shakespeare), and engage reluctant students as both readers and writers. The Panel will also discuss and predict the future for comics in the classroom.

Content Literacy: Teaching STEM with Comics
Thursday, October 8, 2015
3:00 pm - 4:00 pm
Room 1A05

Bring a one-two punch to teaching STEM: text and images teaming up in comics! Comics have been shown to improve reader engagement while enhancing both comprehension and retention. And with the new emphasis on reading nonfiction, academic vocabulary, and reading in the subject areas, comics are more relevant than ever. Join educators and comic creators as they present the best in comics and graphic novels for teaching STEM topics, including recommended titles and lesson ideas.

Assembling your "Nerd Herd:" Creating a Safe Space for Students in Your School
Thursday, October 8, 2015
4:15 pm - 5:15 pm
Room 1A05

Despite Geek culture being at the forefront of popular culture today, many young comic con lovers feel isolated in their school community. With bullying of young people on the basis of their interests being one of the most challenging problems to overcome, how can teachers help foster their students' interests and give them a safe place to share them with like minded peers? Educators come together to talk about how they built their "Nerd Herd" and how it has done just that. They share their stories and those of their students on how bringing like minded people together can not only create a barrier against outside negativity but also help build confidence and self-respect.

LIBRARIANS

We Need More Diverse Comics
October 8, 2015
11:15 AM - 12:15 PM
Room 1A05

This panel of librarians, and comics creators will look at the history and future of diversity in comics. They will discuss representations of race, gender, sexuality, and the role of "the other" in graphic literature. Personal experiences of groundbreaking creators will be matched with scholarly commentary by librarians. While this panel will discuss the history of diversity in comics it will also have a focus on the future of diverse comics and how the industry can welcome and develop a wide range of talent and voices.

So You Want to Cosplay? Bringing Cosplay to Your Library
October 8, 2015
12:15 PM - 1:15 PM
Room 1A01

Cosplay, or the hobby of costuming, offers a unique outlet for patrons both young and old to combine creativity and expression. Consisting of librarians and library professionals who are also cosplayers, this Panel will explore the history of cosplay, highlight the benefits of cosplay to patrons, show how to incorporate cosplay and cosplay programming into the library and provide tips and advice to librarians on how they can cosplay, even if they have limited or no sewing skills.

*organized by the Nassau County Library Association's (NCLA's) Pop Culture Committee

Librarian Networking Session
October 8, 2015
1:30 PM - 2:30 PM
Room 1E04

Meet like-minded professionals, swap ideas and create new professional relationships in this networking session! This networking event is aimed at Librarians, but those of related professions are also welcome at this professional meet-up.

CBLDF Presents: Banned Comics!
October 9, 2015
2:45 PM - 3:45 PM
Room 1B03

It’s hard to believe that books are still banned in the United States and yet each year hundreds of incidents are recorded. CBLDF springs to action in these cases, providing expert support for the librarians and individuals who fight back when calls to censorship arise. The CBLDF will also examine the comics that have been banned and challenged this year, showing how they fit into recent trends in comics censorship. They'll also preview Banned Books Week 2015, celebrating Young Adult books!

Graphic Novels & Manga about Disabilities
October 8, 2015
2:45 PM - 3:45 PM
Room 1A01

Has the evolution of disabilities in comics and graphic novels kept pace with society’s changing views of persons with physical and mental impairments? This panel will explore the persistence and/or elimination of stereotypes, the impact of disabilities as superpowers, the range and factual accuracy of medical conditions being tackled by comic creators today, as well as the spectrum of portrayals from well-rounded protagonists to also-ran sidekicks to stock characters.

* organized by the Nassau County Library Association's (NCLA's) Pop Culture Committee

Breaking Badges: Gamification at the Bucks County Library System
October 8, 2015
4:00 PM - 5:00 PM
Room 1A01

Gamification is the application and incorporation of game mechanics and design elements into mundane tasks or programs. The Bucks County Library System recently created two digital badge programs -- "Let's Play School" an online educational program which helps parents prepare children to enter school, and "Breaking Badges" an online digital badge program to encourage literacy and library engagement in elementary school students. In both programs, children completing activities, earn digital badges and physical items such as stickers and patches while practicing skills that are essential for school success. This session will provide an overview of the gamification and games-based learning, the application of game mechanics to both Let's Play School and Breaking Badges, the development of both programs, as well as the successes and set-backs we saw in both programs.

Geeks in the Stacks: Engaging Your Library Community with Pop Culture|
October 8, 2015
5:15 PM - 6:15 PM
Room 1A01

Geek culture is here: librarians all across the country are holding Comic Cons, building graphic novel collections, supporting gaming clubs, and planning parties to celebrate the release of the newest TV shows and movies. Focusing on how to get started, this panel will feature representatives from academic and public libraries who have planned geeky events in their libraries from start to finish. These events include a public library Comic Con organized almost entirely by teens, a college campus Comic Con, and an academic conference on women in science fiction, fantasy, and comics. Come find out how to engage your community with pop culture events, no matter who they are.

#BlackComicsMonth: Diversity in Comics
October 8, 2015
6:30 PM - 7:30 PM
Room 1A18

#BlackComicsMonth was birthed during Black History Month and spotlighted 28 days of black comic creators. After realizing that 28 days wasn't enough, BlackComicsMonth.com has continued featuring black creators in the mainstream as well as independent comics community, along with black comic characters. When #BlackComicsMonth was featured on several sites, we realized the community was craving Diversity in Comics as a whole. This Panel will feature several creators of color & discuss Diversity in Comics.

She Made Me Do It: FanGirls Lead the Way
October 8, 2015
8:00 PM - 9:00 PM
Room 1B03

As the demographics of the industry continue to change, this Panel focuses on the impact of female Fans (not female creators) and how they are changing comics from the ground up in surprising and positive ways. More than ever, their grassroots efforts can be seen everywhere from comic shops and conventions and from cosplay to social media.

ALA Booth
Booth #282

Libraries and librarians are an important part of any community, including the comics community. Stop by the booth to talk to local librarians about what comics, anime, and other geek-ery are available @ your library.

2016 Scholastic Art and Writing Awards Call for Submissions

John — Thu, 17 Sep 2015 15:50:08 +0000

Contributors

Maya Gittelman

The Alliance for Young Artists and Writers invites inspired students in grades 7–12 to submit original artwork and writing, and to join the legacy of Awards’ alumni such as Lena Dunham, Stephen King, Sylvia Plath and Andy Warhol

Attention young writers and artists of all backgrounds! The Scholastic Art and Writing Awards, the nation’s longest-running and most prestigious recognition initiative for creative teens, are now accepting submissions from students across the country in grades 7–12. For 93 years the Awards, presented by the nonprofit Alliance for Young Artists and Writers, have identified the early promise of some of our nation’s most accomplished visionaries, and encouraged young artists and writers to pursue a variety of creative career paths and endeavors. Each year, exhibition, publication and scholarship opportunities are made available to students honored through the program for their creative work in 29 categories, with opportunities expanding each year. And this year, for the first time since its inception, the Awards now include a category for editorial cartoons!

The Scholastic Art and Writing Awards are a wonderful way for young creatives to recognize their own skills, push themselves to improve their art and begin to receive recognition and support. I began submitting to the Scholastic Art and Writing Awards in 10th grade, and wish I had began earlier. The impetus to polish your work and submit it to a nationally recognized publisher encourages young artists and writers to understand their own potential. When young creatives begin their craft, it is often a messy thing. No matter how much theory they’ve learned, the practice of art is always a personal journey. Young artists and writers carry stories in their hearts, see art echoing in the footsteps of their homes and hallways, scribble poetry in notebook margins, doodle cartoons about their day, and don’t necessarily realize that their voices can resonate with so many others. The Scholastic Art and Writing Awards say: Hey --- we’re listening.

Especially now, with their new category for editorial cartoons, the Awards emphasize the potential creative expression across styles and forms. The Awards understand that young artists and writers have their own unique stories to tell, and encourage them to create and communicate in the best-fitting medium. Your story can have impact. Your vision is important. Your voice is worthy of being heard. You don’t need an Award to be a creative teen --- but the process of validating your own work, improving, and learning just how far you can reach is an invaluable one to young creatives everywhere.

To learn more about the Scholastic Art and Writing Awards and to read the full rules, visit the Scholastic media room online.

Fancy a Tour of the Comics of Yore?

John — Wed, 02 Sep 2015 21:18:02 +0000

Contributors

John Maher

In New York City, the vast and varied strands of American creative history are omnipresent, and the world of comic books and graphic novels is no exception. Walk down any street in Manhattan and you're likely to amble past a locale crucial to the history of comics, be it the inspiration for Superman's Daily Planet building or the locale of Spider-Man's big fight with Doctor Octopus. But it takes a trained eye to find the hidden secrets behind the veneer of city life.

That's where Evan Levy comes in. Founder of e.t.c. custom events, her company aims to help visitors and residents alike to find new ways to experience the city through walks, talks, workshops, parties and events, all with an artistic or educational bent.

“The aim of all the programming is to help people see New York in a new way,” said Levy. “The comic book tours came about in part because I am a Marvel fan, which is a little bit funny because it’s not keeping in all with my personality."

The idea to explore the history of comics-rich New York appealed to Levy --- "I was interested in something that was a little more quirky and off-beat," she said. But she had a problem. In order to host tours in New York, the host has to be a licensed NYC tour guide --- and in this case, that person also needed to know comics inside and out. So after a bit of hunting, Levy finally called Forbidden Planet. The immediate response: "We have a guy."

The guy is Michael Skloff, who, when he's not guiding tourists from the top of a double-decker tour bus, runs e.t.c.'s "New York is Comic Book Country" tours. The tours have been custom-fitted to both pop culture --- one walk, called "Look-Up in the Sky," shows off the sites associated with Marvel's --- and Skloff's own interests in cosmic/science-fiction and old Marvel comics.

And his interest, like his knowledge, is massive. Michael met me on a sweltering day at the corner of Delancey and Essex in the Lower East Side for the Jack Kirby deep cuts tour, "It Started on Yancy Street," and I was led on a tour that winded along the crooked streets of lower Manhattan all the way to the doors of Forbidden Planet, e.t.c.'s partner in the tours.

Along the way, I learned more about Marvel's Penciller Supreme and cosmic comics master than years of reading Kirby comics could ever have provided. We passed locations from Kirby's childhood home and first studio to the site of Doc Oc's lab in the Spider-Man movies and the actual street address of Doctor Strange's famed Sanctum Sanctorum.

The tours may be brand new, but for a program that just launched at the beginning of this summer, the experience was surprisingly tight. The whole way, Michael's sheer breadth of knowledge was made obvious --- he discoursed on everything from the pre-planned tour material to 50's science-fiction to cast-iron architecture with equal knowledge and interest. And thanks to the partnership with Forbidden Planet, I went home with some adorable knick-knacks.

After the recent slew of Hollywood attention, a whole new group of people have found their way to comics. Here's hoping those new fans care as much about the history of the medium as they do about its present, and that they find the right people to guide them to it.

Jack Kirby

30 Years Later, Who’s Reading WATCHMEN?

John — Wed, 02 Sep 2015 20:45:33 +0000

Contributors

Doré Ripley

Comics in the college classroom are no longer the controversy they once were. What was once seen as children’s fare has exploded across the campus, media and popular culture; simply put, comics are everywhere. But like any other media, there are good and bad comics and graphic novels. In the college classroom, questions often arise: “What is a classic?” “What is the canon?” Alan Moore and Dave Gibbons’ WATCHMEN is definitely a cross-medium classic, but is it relevant to traditional-age incoming college freshmen? Students seem to think so.

“WATCHMEN is a seminal work,” notes one student. “It is near-universally praised for its sheer level of craft that the writer Alan Moore and artist Dave Gibbons put into it, as well as the way it tackles mature topics and skewers the superhero genre. Even if you have never read a comic book in your life, you have probably heard about WATCHMEN. Even today, nearly thirty years after the first issue was published, there is still relevance to be found in WATCHMEN.” I couldn’t have said it better myself.

Spending a year teaching WATCHMEN involved students across English classes of varying levels and abilities, from College English 101 to an upper division course on Comics as American Literature. Some of the students in the traditional English classes were skeptical at first. “Huh? A comic? Do you think we’re stupid?” But they soon discovered that reading a comic is no easy task --- in fact, it is sometimes harder than reading a traditional text. Why? If a reader does not interpret both the text AND the pictures, they will miss a lot of what is going on in the panels --- especially in WATCHMEN. In order to immerse themselves in WATCHMEN, each student was assigned a chapter to present to the class, allowing them to delve deeper into the work. That exploration often led to ideas students wanted to explore in an in-depth critical paper.

Using a cultural lens, one student observed that “the turmoil of America in the 1980s is depicted with various characters in different social classes that share the same problems of power in our current world. All the characters in WATCHMEN are extreme and psychologically deficient, reflecting an unstable world.” This international exchange student explored topics of moral right and wrong: Ozymandias “killed many people to conquer and unite countries”; “Adrian justified that sacrifice is needed for [a] better world (utopia) which generated the idea for the carnage of New York.” She concluded with the justification for Adrian’s attempt to prevent the war. “If the reds [Russia] win the war, under the ideology of communism, he has to return all of his property to the government.” This observation led this reader to “doubt his genuineness in uniting the world for good. He seems like he [is] interested in controlling and ruling the world for profit rather than peacemaking.” This is some excellent analysis for a student who is not only trying to internalize English, but also wading through American popular culture and American history.

Students who grew up with superheroes enjoyed the subversive nature of Moore’s masked vigilantes. “When we think of superheroes, a handful of faces come to mind: Superman, Wonder Woman, Spider-Man, Batman,” writes one student. “These characters uphold certain qualities that we expect in a superhero. They are just, they are good. We love them because they can do no wrong. Even in the face of complete evil, they stand solid in their morals and are unyielding in their desire to protect the innocent. But in the face of Alan Moore’s WATCHMEN, the glowing cutout of a superhero is blown to smithereens. The typical portrayal of an incorruptible superhero is challenged. Through the events in the lives of his dysfunctional vigilantes and the traits and themes that they embody, Moore explores what it really takes to be a defender of justice, and how that may contradict the ‘norm.’” There were quite a few explorations into what kind of individual would want to dress up and be a masked vigilante, and students often used psychoanalytic theory and themes to explore those subjects.

When students new to critical theory begin performing critical analysis, themes can help make the rhetorical jump into theory a bit easier. One student wrote that the “Nite Owl, Ozymandias, the Comedian and finally Rorschach” were all driven by the call of duty. Dan Drieberg, the Nite Owl, was motivated because he “understood that there was injustice in the world and that it was his duty to fight it” using his inheritance.

Another wrote about the theme of hope: “[H]ope for revival is portrayed in new life and reconstruction. Throughout this book, we can observe the development of this theme in what the characters do, what events take place, and the images…[h]ow it contributes to the idea of hope for revival, why this theme is important for the novel, and how the theme is relevant to our lives.” This opening led to a very thoughtful paper about how the masked vigilantes have to create entirely new identities after Ozymandias’ Manhattan holocaust. Adrian (Ozymandias) “creates a new brand for himself: ‘Millennium.’” Dan and Laurie (Nite Owl and Silk Spectre) “take on entirely new identities as Sam and Sandra Hollis,” an act that pays tribute to the old Nite Owl, Hollis Mason.

In addition to themes, students looked at some formal schools of critical theory, with one of the most popular topics being feminism. As one student put it, “The world of graphic novels and comic books are dominated by men; graphic novels are often written and illustrated by men, for men/boys as the main target audience. Consequently, graphic novels are created from a male perspective…. To explore this, I chose Alan Moore and Dave Gibbons’ WATCHMEN as it is particularly colored with male and female stereotypes making it ripe for this topic…. Men are portrayed as smart, strong leaders, and are self-directed. Whereas women are represented as sex symbols who take on sidekick supportive roles.” You can feel the rhetorical analysis at work in this student’s introduction, examining the motivations of comic creators and how that translates into a product to satisfy the desires of a given audience.

Other students explored the depiction of women from “inept homemaker and nagging wife,” such as Dr. Long’s wife, to Laurie, the Silk Spectre, whose “actions portray women as incapable. Such as when she accidentally sets the Owlship on fire trying to light her pipe and is unable to put the fire out herself.” Many examined the violence towards women. “Women are beaten, shot on multiple occasion, and raped through[out] the novel…. A pregnant woman is shot by Eddie Blake, the comedian…for stating that he would walk away from his responsibility to their child.”

But misogyny in WATCHMEN is not always as overt as violence or stereotypical female roles. Negative stereotypes of women were also discussed based on their vigilante costumes. One young woman wrote “Laurie Juspeczyk, known as The New Silk Spectre…wears a yellow latex suit with long sleeves, a super mini skirt, purple heels, and a black choker necklace with a skull in the middle. I learned in my psychology class that the color yellow can be interpreted in many ways. Some believe it is the color of optimism or cheerfulness. Others say that it is the color of impatience, or criticism. I can totally see Laurie being one of those girls [who] gets impatient when someone is doing something wrong or too slow and just does it herself.” This is a nice example of what teachers call writing across the curriculum using critical thinking by engaging with material learned in another class. This is what college professors are supposed to do --- steer students away from memorizing material and toward applying material to the world around them.

Another young woman described Silk Spectre’s outfit as a “super-tiny, extra-revealing, black spandex leotard beneath an ultra-mini, teeny-tiny, sheer dress. This teensy-weensy leotard is just big enough to cover the bare minimum of her lady parts…. To complete her outfit, Laurie sports a pair of super high heels. It is a very eye-catching, provocative costume that relates to her personality as a masked avenger.” Now that is quite a statement, and further reading revealed the student’s analysis. Laurie’s “outfit is very sexy and while she is in it she seduced not one but two men, Dr. Manhattan and Dan.”

But it wasn’t just the women in these classes that commented on the disparity of costumes. Costumes need to be practical, don’t they? One young man said, “The men are entirely covered up, even with layers of clothing. The men’s costumes include capes, armor, hoodies, which completely conceal every part of their body.” The women, on the other hand, wear “extremely short dresses…. Laurie herself mentions how she had to wear a tight latex outfit, which she hated.” There was a practical bent to this line of reasoning; “Walking around in tight latex outfits and clothing, which reveals a lot of skin, makes females seem more vulnerable.” Seriously, how can you fight crime in spandex and six-inch heels?

Psychoanalyzing masked vigilantes took many forms. “By analyzing how… each character developed in different environments, we can form a better understanding of how they are represented.” Rorschach was the topic of quite a few psychoanalytical critiques. “Rorschach was conditioned by his society to turn towards heroism but his intention wasn’t to save it,” wrote one student. “A corrupt society led him to vigilantism; Rorschach doesn’t protect it but fights against it, which was conditioned by his childhood trauma, resulting in his rejection of social norms, and the reconstruction of his identity.”

Another look at childhood environment came from a student who asked, “The golden question is; why are Laurie and Walter, two characters from the comic WATCHMEN, so distraught with who they really are? Laurie and Walter had a childhood filled with the heartache of feeling unwanted; the type of heartache that can make for a lost adult.” The loss of a father “affected the way [Laurie] respected herself and how much she yearned to find a man that could fill the void of the missing father…. For Walter, this affected the way he acted as a man. Walter never had anyone to teach him how to be a man.” There is something to learn from students who grew up without a parent and how that loss is a lens for how they see the world and the literature they read.

One writer looked at the comic-within-the-comic, examining “Tales of the Black Freighter” and how it “challenges the reader’s intuition and narrates the actions of the Watchmen’s decisions.” This student was particularly interested in the way “Tales of the Black Freighter” “illuminates the stories of Rorschach, Ozymandias, Doctor Manhattan, and the perspective of the larger picture in WATCHMEN, through parallelism and conflicting views” --- a rather large thesis, but an enjoyable ride for this instructor. “The sea captain’s desperation to show that this situation can be applied to the modern world is shown when he breaks the fourth wall, a theater term for…interaction with the audience. ‘Reader, take comfort from this; in hell, at least the gulls are contented.’ The sea captain issues these warnings to the readers, but they usually brush them off since it seems like the masked vigilantes know what they are doing and we can trust them. Little do readers know that the masked vigilantes actually have a hidden agenda.” This student, again, is applying concepts across the curriculum, and presents some nice analysis pointing out the unreliability of the narrator and the different layers found in WATCHMEN.

Another student even conducted a comparative lit study between WATCHMEN and “Gunga Din” by Rudyard Kipling (yes, this is a first year college English student). “The references to the poem “Gunga Din” are usually hinted at by either the diner itself or a piece of trash from the diner in the background of a scene, while Ganesha is alluded to by the big zeppelin elephant that advertises the restaurant,” the student writes. “It is through the juxtaposition of these visual elements with others that we see that the literary Gunga Din is meant to parallel the hero Rorschach, and the deity Ganesha is intended to be a present force throughout the WATCHMEN story.” This was a delightful paper, and unexpected. The student concluded by arguing that Gunga Din “died doing what he believed was his duty, contrary to what common sense might have led most of us to do in his situation…. Rorschach’s uncompromising drive to have justice be served ultimately led to his death.” When a student comes to me with a thesis like this, we discuss what kind of evidence he or she might use and then I set them loose, telling them they have to prove their case --- and this student clearly did.

Students enjoyed exploring WATCHMEN through large group discussions, debates, group presentations and art projects. One class in particular made Peep (yes, those springtime marshmallow confections) dioramas with their own scenes from “Watchpeep.”

Most teachers know that coming at a work from as many angles as possible opens doors to new insights leading to some thoughtful experiments --- in this case, in critical theory. Theory can be taught with anything from novels, poems and drama to comics and graphic novels. For some reason, when asking students to analyze comics they tend to see it as an easier assignment than, say, analyzing HAMLET or FRANKENSTEIN. This seems to be the trick --- if students think an assignment is going to be easy, they relax long enough to think about what they are being asked to do. Try this in your own classroom. Take a lens and practice with it: Look for all the examples of identity or masks or patriotism or time in WATCHMEN. How about symbols? What does the smiley face represent? What about the clock?

When students start to see beyond the text, it can lead to a scavenger hunt kind of fun. They start making connections to current politics, cultural phenomena, family dynamics and social movements that help keep the work relevant. They also often make new and different observations, and that’s what I love most. It’s the moment when I say, “Wow, I never thought of that before!”

Actually, it’s the smile that brightens my student’s face when they know they taught me something.

Alan Moore

Dave Gibbons

2015 Eisner Award Winners

John — Mon, 13 Jul 2015 06:35:36 +0000

Contributors

John Maher

The 2014 Eisner Awards were awarded this past weekend at San Diego Comic-Con. Below are the nominees in select categories, with the winners marked in bold. For all the nominees, visit our previous blog post. To see all winners, visit the SDCC website's Eisner Awards page.

Best Short Story: “When the Darkness Presses,” by Emily Carroll (webcomic)

Best Continuing Series: Saga, by Brian K. Vaughan & Fiona Staples (Image)

Best Limited Series: LITTLE NEMO: Return to Slumberland, by Eric Shanower & Gabriel Rodriguez (IDW)

Best New Series: Lumberjanes, by Shannon Watters, Grace Ellis, Noelle Stevenson, & Brooke A. Allen (BOOM! Box)

Best Publication for Early Readers (up to age 7): THE ZOO BOX, by Ariel Cohn & Aron Nels Steinke (First Second)

Best Publication for Kids (ages 8-12): EL DEAFO, by Cece Bell (Amulet/Abrams)

Best Publication for Teens (ages 13-17): Lumberjanes, by Shannon Watters, Grace Ellis, Noelle Stevenson, & Brooke A. Allen (BOOM! Box)

Best Humor Publication: THE COMPLETE CUL DE SAC, by Richard Thompson (Andrews McMeel)

Best Anthology: LITTLE NEMO: Dream Another Dream, edited by Josh O’Neill, Andrew Carl, & Chris Stevens (Locust Moon)

Best Reality-Based Work: HIP HOP FAMILY TREE, VOL. 2, by Ed Piskor (Fantagraphics)

Best Graphic Album, New: THIS ONE SUMMER, by Mariko Tamaki & Jillian Tamaki (First Second)

Best Graphic Album, Reprint: THROUGH THE WOODS , by Emily Carroll (McElderry Books)

Best Writer: Gene Luen Yang, Avatar: The Last Airbender (Dark Horse); THE SHADOW HERO (First Second)

Best Writer/Artist: Raina Telgemeier, SISTERS(Graphix/Scholastic)

Best Comics-Related Book: GENIUS, ANIMATED: The Cartoon Art of Alex Toth, Vol. 3, by Dean Mullaney & Bruce Canwell (IDW/LOAC)

Best Scholarly/Academic Work: GRAPHIC DETAILS: Jewish Women’s Confessional Comics in Essays and Interviews, edited by Sarah Lightman (McFarland)

Hall of Fame: Judges’ Choices: Marge (Marjorie Henderson Buell), Bill Woggon; Elected: John Byrne, Chris Claremont, Denis Kitchen, Frank Miller