Suvudu’s Eisner Shakedown: Kyle’s Catch-up Post

So, it’s happened. I’m writing a catch-up post. When I first decided that shaking down the Eisner Awards would be a cool feature, I didn’t quite understand the work involved in putting it on and trying to select a winner when each and every nominee is worthy of an award. Let me go on record as saying, I don’t know how the actual judges do it. I imagine that there are a few Nerf weapons involved somewhere in the decision making process. Also, I think having as many judges as they do for the Eisner’s, while probably not speeding things up, is surely a help to making the right selection. Whereas, when I’m the only one reviewing a category, all my predjudices and preferences as a reader come into play all on their own and without the checks and balances of a group. So, my hat is off to you, Eisner judges.
Now, I’m not here to make excuses about all the other stuff that’s been going on. Nope. I’m here to get on with the Shakedown and with that in mind, we’re off again, into the world of graphic storytelling at its finest!
So, where were we when last we left off? Oh yes, how about we start with…
Best Reality-Based Work
• Alan’s War, by Emmanuel Guibert (First Second)
• Blue Pills: A Positive Love Story, by Frederik Peeters (Houghton Mifflin)
• Fishtown, by Kevin Colden (IDW)
• A Treasury of XXth Century Murder: The Lindbergh Child, by Rick Geary (NBM)
• What It Is, by Lynda Barry (Drawn & Quarterly)
Despite the brilliance of What It Is, Fishtown, and Alan’s War, I see this one as a race between The Lindbergh Child and Blue Pills. They couldn’t be more different (well they could, but you know what I mean). Blue Pills, the story of an HIV-negative man’s romance with an HIV-positive woman, is more than just a love story, but an honest examination of how such a relationship can change the way in which the author sees and interprets the world around him. In the other corner, Rick Geary handles The Lindbergh Child like a good crime writer, keeping to the facts as closely as possible and avoiding, almost always, allowing his own theories to leak on to the page. I’m going with Blue Pills, the mciteoir, but don’t be surprised if its Lindbergh. And the dark horse candidate? Fishtown. Honestly, I’ll say it again, I don’t know how the judges do this stuff.

Best Short Story
• “Actual Size” by Chris Ware, in Kramers Ergot 7 (Buenaventura Press)
• “Chechen War, Chechen Women,” by Joe Sacco, in I Live Here (Pantheon)
• “Freaks,” by Laura Park, in Superior Showcase #3 (AdHouse)
• “Glenn Ganges in ‘Pulverize,’” by Kevin Huizenga, in Ganges #2 (Fantagraphics)
• “Murder He Wrote,” by Ian Boothby, Nina Matsumoto, and Andrew Pepoy, in The Simpsons’ Treehouse of Horror #14 (Bongo)
I wish I were allowed to slowly back away from this category and respectfully leave it to the judges. I’m torn between two of these: “Freaks” by Laura Park and “Chechen War, Chechen Women” by Joe Sacco. Both are extraordinary. I’m letting my gut decide for me in one of the most subjective decisions I’ve made while looking at the Eisner’s list and predicting that “Freaks” will win the day. I guess it’s a matter of preference: the large event vs. the small one. Both reveal truths but take different approaches. I love a story that shows me a lot from an event that, to the outside eye, may seem smaller. And while Joe Sacco’s story isn’t about the war as the story element, it’s hard to make this story feel like a small one with such a major event looming. So I’m saying “Freaks” with the conviction of a man who feels the story deserves the honor just as much as its competition does.
Best Graphic Album—Reprint
• Berlin Book 2: City of Smoke, by Jason Lutes (Drawn & Quarterly)
• Hellboy Library Edition, vols. 1 and 2, by Mike Mignola (Dark Horse)
• Sam & Max Surfin’ the Highway anniversary edition HC, by Steve Purcell (Telltale Games)
• Skyscrapers of the Midwest, by Joshua W. Cotter (AdHouse)
• The Umbrella Academy, vol. 1: Apocalypse Suite deluxe edition, by Gerard Way and Gabriel Bá (Dark Horse)
Only one year removed from being the feel-good story of the Eisner’s, Gabriel Bá’s Umbrella Academy, vol. 1 is back again. It’s tempting to think that it will snatch up another Eisner award for itself. It won’t. Not here. This one boils down to Hellboy Library 1 & 2 and Sam & Max. I’m going with Hellboy here. I know the Sam & Max anniversary edition packs some extras along with collecting their original run, but Dark Horse comics really outdid themselves in collecting and showcasing these Hellboy arcs.
Best Archival Collection/Project–Comic Books
• Breakdowns: Portrait of the Artist as a Young %@&*! by Art Spiegelman (Pantheon)
• Creepy Archives, by various (Dark Horse)
• Elektra Omnibus, by Frank Miller and Bill Sienkiewicz (Marvel)
• Good-Bye, by Yoshihiro Tatsumi (Drawn & Quarterly)
• Herbie Archives, by “Shane O’Shea” (Richard E. Hughes) and Ogden Whitney (Dark Horse)
This one is difficult, for all the right reasons. The field is, as you would expect, fiercely competitive and diverse. Here’s what I’m talking about. I have Breakdowns and it’s an incredible collection, vintage Art Spiegelman. Creepy Archives contains comics that were, are, and likely will remain some of the best examples of horror/thriller comics committed to page and Elektra is Frank Miller at it again. For as strong as those titles are (and they are strong), I think this one really plays out between the Herbie Archives (that’s Herbie Popnecker, not the lovebug) and Good-Bye by Yoshihiro Tatsumi. I’m giving the edge to Good-Bye for it’s emotional weight and the power of Yoshihiro’s writing. But I could be wrong and in my heart of hearts, I’d love to watch Creepy slink away into the shadows with this one.
Best U.S. Edition of International Material
• Alan’s War, by Emmanuel Guibert (First Second)
• Gus and His Gang, by Chris Blain (First Second)
• The Last Musketeer, by Jason (Fantagraphics)
• The Rabbi’s Cat 2, by Joann Sfar (Pantheon)
• Tamara Drewe, by Posy Simmonds (Mariner/Houghton Mifflin)
Here’s the thing, Jason is freakishly talented. And that’s why I’m predicting he’ll take the Eisner here. But don’t go away thinking it’s a cake walk. The Rabbi’s Cat 2 is a strong contender here, being a well-adapted and well-loved storytelling vehicle for the similarly talented Sfar. Also in the mix is Alan’s War who, after missing out on Best Reality-Based Work (see above), might be given the nod here. But I’m going with my gut, and my gut tells me Jason.
Best Publication Design
• Breakdowns: Portrait of the Artist as a Young %@&*! designed by Art Spiegelman (Pantheon)
• Comic Book Tattoo, designed by Tom Muller, art direction by Rantz Hoseley (Image)
• Hellboy Library Editions, designed by Cary Grazzini and Mike Mignola (Dark Horse)
• What It Is, designed by Lynda Barry (Drawn & Quarterly)
• Willie and Joe, designed by Jacob Covey (Fantagraphics)
There are some beautiful choices to be had here, but I’m giving the win to Art Spiegelman’s Breakdowns. This is an oversized book that’s sturdily constructed, featuring lots of color, glossy pages…it’s just beautifully executed from cover to cover. Once again, Hellboy looms and What It Is poses a very strong threat, but in the end, I think that Pantheon’s efforts with Breakdown come out ahead. This is another one where I must fully admit, I’m going with my gut more than anything else.
Best Painter/Multimedia Artist

• Lynda Barry, What It Is (Drawn & Quarterly)
• Eddie Campbell, The Amazing Remarkable Monsieur Leotard (First Second)
• Enrico Casarosa, The Venice Chronicles (Ateliér Fio/AdHouse)
• Scott Morse, Tiger! Tiger! Tiger! (Red Window)
• Jill Thompson, Magic Trixie, Magic Trixie Sleeps Over (HarperCollins Children’s Books)
I love Scott Morse’s Tiger! Tiger! Tiger! and it’s visually arresting style and heartfelt storytelling. That said, I think that this is where Lynda Barry will be recognized for her work on What It Is. Obviously any of these artists are deserving of the award, but I think that Morse’s and Barry’s works will be the two main contenders. And Barry’s work, by this point has been nominated previously without picking up a win (by my estimations anyway and for what they’re worth*), so I think this is where she’ll be honored for the incredible work that she’s done. But put me on record as having had a really difficult time deciding. Morse’s work is strong: well-conceived and well-executed. Looking for a “dark horse” nominee in this one (if there can be said to actually be such a thing here – I’m stretching the definition a bit)? It’s Enrico Casarosa, for The Venice Chronicles. His watercolors are pretty fantastic.