Tagged: Mike Mignola

Marc Alan Fishman is Looking for Inspiration

Thanks in part to a very mystical social media maven, Unshaven Comics has recently enjoyed a bit of a renaissance on our Facebook page. With an increase of likes and, more important, engagement, I’ve been able to hold some really great conversations with our glut of fans. Most recently (as of my writing this), I brought up the question of our favorite artists. I did so because, to me, nothing immediately draws us all into the world of comic books before the art… pun wholly intended.

It’s the depiction – be it overtly bright and heroic or gothic and moody – of worlds impossible to live in that ultimately usher us into the pulp. The writing may, in turn, drive us further into our individual fandoms, but I’ll always believe that the visuals of comic bookery are inherently tied to our collective appreciation. Individual artists will hold our attention more than others. As such, I wanted to share with all of you a collection of these illuminated illustrators of whom I have felt a deeper connection to, that ultimately led me on my own long and winding path to being a creator myself.

Alex Ross

When tracking my love of comics, no artist comes to mind for me personally before Alex Ross. While I may have seen plenty of amazing illustrators in my youth prior, it was Ross and his affinity for the photorealistic that stopped me cold and forced me to enter into my now life-long love affair with sequential fiction. To see Batman, Superman, and Green Lantern per his brush, I was able to bridge the gap that had long stood between what felt like toy-box fodder and an art form. Not to dismiss the pantheon of amazing artists before him mind you. It was merely seeing heroes and villains in a new medium that opened my eyes to the potent pulp of Kirby, Ditko, and the like. Alex Ross makes the impossible seem possible, and because of it, his work on Marvels and Kingdom Come still remain my go-to examples when asked how best to break one’s self into the medium as a fan.

It was Alex Ross’s use of photo reference that calmed my own shaky nerves when it came time for me to dive into interior art. Knowing that I could use the tools of my fine art upbringing to help me build the worlds of the Samurnauts, I was able to overcome my lack of a skillset in creating something from nothing. It had long prevented me from ever trying to make comics. Seeing how Ross walked the line from a photo to a finished panel helped me, in my own meager way, do the same.

Mike Mignola

And let’s just go ahead and leap to the antithesis. Mike Mignola is one of those artists that captivated me the second I saw his angular and moody artwork. The way he balanced his awkward forms with garish shadows and minimal detail helped me see how an artist could make a world alien to our own even more alien. And because his work is most often simply colored, he helped me find an affinity for a less-is-more approach to a comic. While I myself can’t say that I see any of his influence in my own work… I oftentimes find myself with a comic or two of his on my side-table when I am in the very beginning of planning a page. And while someday I may trust myself to push my own style into a Mignola-esque direction, until then, I can simply enjoy the work he produces.

Mike Allred

Like many of my specific generation, my honest-to-Rao first look of Allred’s work was the animated intro to Kevin Smith’s Mallrats. Mike Allred’s simple-retro-hipper-than-thou art leaped off the movie screen far better than the dialogue deluge of Smith’s Generation X stoner flick ever could. Subsequent deep dives into the X-Statix, Madman, X-Force, and others only deepened my considerable admiration. And above Ross or Mignola, Allred’s work is presently on the tip of my own tongue – artistically speaking.

Mike Allred’s clean lines, kinetic figures, and throw-back style is 1000% what is pushing me towards my newest endeavors in the medium. With my forthcoming submission in Mine! to the subsequent spiritual sequel in the Samurnauts series, I am working hard to push my style into a similar vein. At present, my odd mashing of photo-realistic figures with overly fussy coloring served its purpose; continuing to revisit Allred’s work is forcing me to do what the best artists do… reinvent myself to become more myself such as it were.

Next week, I’ll be focusing on the yang to the artist’s ying. Excelsior!

 

All Pulp Interviews Bad Tiger-Final Interview- Steven Wilcox!

  • News
  • July 24, 2013

For the last interview in the BAD TIGER STUDIO series, ALL PULP takes on Steven Wilcox, Artist!

ALL PULP: Tell us about yourself, your personal background, and how you got into writing/art/etc.
 
SW: I have been drawing, in some form or another, since I was able to hold a pencil – even before I could write. My dad cultivated my love of drawing things like Batman and Spider-Man into a love of comic books by subscribing to several titles when I was growing up. The love of drawing and love of comics seemed to go hand-in-hand for me. As my tastes matured, so, too, did my art ability. 
 
AP: What is your role at Bad Tiger?
 
SW: At Bad Tiger, I’m the co-creator, penciller, inker and colorist of The Black Viper: Enemy of Evil strip.
 
AP: In our modern society, some would say that there’s nothing new or original anymore.  What makes Bad Tiger stand out?
 
SW: While there is “nothing new” these days there are new ways of presenting old ideas and themes. Bad Tiger wants to be known as the New Home of Pulp Adventures!
 
AP: What are your inspirations, influences for the work you do?
 
SW: Personally, my wife of twenty years and my four children inspire me in everything I do. Artistically, I find inspiration in a lot of artists, mostly comic book artists like John Byrne, Alex Ross, Arthur Adams, Mike Mignola, Tim Bradstreet, and Jim Lee to name a few. Outside of comics, I love the work of Norman Rockwell and Alphonse Mucha.
 
AP: What do you think appeals to the public about heroic/genre fiction and/or comic strips?  Why will people come to Bad Tiger?
 
SW: Because most of us grew up on comics and pulp adventures, and like the old fashioned storytelling of ouryouth, we tend to make our comics/stories the way we would want to read them…
 
AP: Last question! Say whatever you’d like to about Bad Tiger, yourself, or the experience!
 
SW: Working with Bad Tiger has been a joy. They embraced a character that me and my co-creator Justin Jude Carmona came up with a few years ago and gave him a home. We’re about to embark on adventures of The Black Viper that haven’t been sitting in a drawer for a few years, (the first two episodes were done in 2008 or 2009).
 
BAD TIGER STUDIO- www.badtigerstudio.com

Happy Pancake Day!

  • News
  • February 12, 2013

Or if you prefer, happy Fat Tuesday, Shrove Tuesday, or good old fashioned Mardi Gras!

As you may know, today is also known as Pancake Tuesday, held on the day preceding Ash Wednesday because pancakes were a way to use up rich foods such as eggs, milk, and sugar, before the fasting season of the 40 days of Lent.

And so, we reprint the most famous pancake story in comics, featuring Mike Mignola’s Hellboy!

Hellboy Eats Pancakes

Scott Allie, Dark Horse Editor-In-Chief

Scott Allie becomes Dark Horse Comics Editor-In-Chief

  • News
  • October 9, 2012

Scott Allie, Dark Horse Editor-In-ChiefDark Horse Comics has announced that Scott Allie has been promoted to editor in chief. Allie, who celebrated his eighteenth year with the company last month, made his mark at Dark Horse quickly when he began editing Mike Mignola’s [[[Hellboy]]] only a month after joining the Editorial department. Since that time, he has gone on to both write and edit some of the company’s top-selling books, including [[[Buffy the Vampire Slayer]]] and cult favorites like The Goon, and he continues to collaborate with Mignola, including co-writing the upcoming series B.P.R.D. Hell on Earth: The Abyss of Time.

He has shepherded multiple projects with names outside the comics industry, such as Lance Henriksen with [[[To Hell You Ride]]] and Gerard Way with The Umbrella Academy. Along with Dark Horse’s director of public relations, Jeremy Atkins, and recently appointed VP of Marketing, Matt Parkinson, Allie helped to develop and edit the company’s first foray into digital publishing with the critically acclaimed anthology MySpace Dark Horse Presents. Most recently, he engineered a three-month publishing initiative that showcases some of the company’s best horror titles and introduces new miniseries by top-tier talent.

“I’ve worked with Scott, day in and day out, for more than fifteen years now. In all that time he’s talked me off any number to cliffs, kept me going, kept me focused and organized (as much as anyone could), and, quite simply, made it possible for me to produce the best work of my career,” said Mike Mignola. “He’s been everything I could ever want in an editor and I cannot imagine a better choice at Dark Horse for editor in chief. Congratulations, Scott—you more than deserve it.”

“I’m delighted and relieved to hear that my great collaborator Scott Allie has been made editor in chief, because, to be perfectly honest, I thought he already was,” said Buffy the Vampire Slayer creator Joss Whedon.

“I’m very excited about this promotion for Scott. The position has been his goal for some time now and he’s worked very hard to achieve it,” said Dark Horse’s president and founder, Mike Richardson. “It has been very rewarding to watch Scott’s evolution as an editor over his eighteen years with the company and I look forward to working with him in his new role to make Dark Horse the best comics company in the world.”

“The first Dark Horse book I ever picked up was the DHP fifth-anniversary issue with the first chapter of Sin City. Now I’ve spent most of my adult life here, and every day it still feels new,” said Scott Allie. “I’m grateful to be at the core of what Mike Richardson’s created, working with him and Randy Stradley and an incredible list of people I admire inside and outside Dark Horse.”

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Marc Alan Fishman: Exclusivity Is For the Devils

For those not paying attention, this week Paolo Rivera broke the shackles that bound him to the House of Mouse. That’s right, after a 10+ year career at Marvel, he ended his exclusive contract. Presently, you might know him from his absolutely stunning work on Daredevil. And if you’re not familiar? Go down to your local comic emporium, and partake in a few books bearing his name. You won’t be disappointed.

So why the departure, here in what most critics would dub his “ascension to the A-List?” Ownership. Rights. Long-term gains. As he makes it clear in his blog detailing his decision, it comes down to surveying his body of work and seeing no island on the horizon. Let’s be clear, he’s not mad. Or sad. In fact, he’s very grateful for the decade of work he’s been thrown since the dawn of his career. At the end of the day though, he puts it best:

“…the sum total of that work is not enough to support me in the distant future. My page rate is essentially the same as when I started at 21, so I’ve decided to invest in myself.”

Now, this brings up a debate I know we’ve all had here on ComicMix in the past – that of creators’ rights, and compensation. It seems we as an industry can’t last more than a few months before yet-another-creator is irate over the profits gained on their blood, sweat, and arthritic hands, that never see their own pocketbook. On the business side of things, we know the rub already. To work as an artist or writer in comic books for “the Big Two,” the work you do is theirs. They pay you a fee (and a small percentage of royalties of the sales of the book) for your creativity. Now, when you have a mortgage, insurance, and a rumble in your tummy… do you try to negotiate for the best deal, or do you sign your life away to stay alive? Of course no one is in such dire straights these days, but Marvel and DC certainly have more lawyers and iron-clad contracts than Stan Lee has catchphrases. As Paolo makes clear, he’s done with that side of the business. It’s time to invest in himself.

Certainly there are creators out there who are kicking ass and taking names doing their own creator-owned books. Mike Mignola, Eric Powel, Robert Kirkman, Warren Ellis… All great men who once (and on occasion still do) made a living working for “the man.” But each of those men now can rest on their laurels that their main source of funds comes directly from material they created, they own, and they see to market. Certainly when Hellboy made a second profitable movie, many an indie-creator must have taken note. Yes, Dark Horse had a lot to do with the success of the property on the business end, but Mignola is the crown prince of Anung Un Rama. Without his blessing, nary a product makes its way past a marketing meeting.

The same doesn’t hold true for Mr. Rivera. Should Marvel decide to make a tee-shirt with some of his art? He may see some royalties back from the sale – but he’d get laughed out of the office if he opposed them selling merchandise with his work on it. And when they reboot the movie franchise… he’ll see a blind eye if they use any of his striking work as reference or source material. Blind eye. Heh.

Ultimately, Rivera’s made a move that I hope works out for him. Admittedly I’ve come to the Daredevil party a bit too late, but I plan on picking up the issues as they are collected. Wherever Paolo roams from here on out, may his legion of fans follow. According to his musings, he’s kicking around an idea for an “original story, sci-fi in nature, with primal themes and a compact cast of characters.” He’s also looking into “experiments in both distribution and funding” a la Kickstarter. Thanks largely in-part to the interwebs, this very idea even exists. The last time artists with this much clout left Marvel, they made Image Comics. Certainly that won’t happen ever again, but in its place is something far more rewarding. Not necessarily in up-front hype and profits mind you, but rewarding none-the-less.

With Paolo Rivera setting his sites on the creator-owned market, I see the opportunity for a more level playing field. When the artists and writers have both a creative and monetary investment in a project, there is a passion that simply doesn’t exist on the other side of the aisle. As an Unshaven Comic, I care far more about The Samurnauts than I ever will about Kyle Rayner or GrimJack, even if I’m ever allowed to write or draw either of them. When I put my head to pillow, I know that my creations (made in part with two brilliant co-creators) are my own. And should the day ever come that our creation becomes “something,” it’s only fair that I (we) see the complete fruit of those labors.

Good on you, Paolo. May others follow suit as well.

SUNDAY: John Ostrander

 

MARC ALAN FISHMAN: To Sir, With Love… and Craposition

I’ve noticed lately the fine columnists here at ComicMix are paying tribute to a lovely woman I wish I could have met. It got my wheels turning. I’ve done plenty of moaning, groaning, hyping and griping up until now… but I’ve never paid tribute to those who helped shape me as I am. The desire to tell you all about my family is tempting, but it might be more apropos to give some love to special someone who directly changed the course of my career (and all of the subsequent creative endeavors). But enough preamble, eh? I want to pay homage to an amazing educator and mentor… Dean Auriemma.

Mr. Auriemma, or just Mr. A, was my high school art teacher for my sophomore and senior year in high school. Unlike your stereotypical art educator you might think of, he taught those willing to learn that art is a scholarly endeavor as much as math or science. A bit of backstory: The “art track” at my high school was a true four year journey, meant to be taken chronologically, ultimately ending with A.P. (that’s Advanced Placement, or college level) Studio Art. Well, the art bug bit me a year late, so I ended up taking both the junior and senior level courses both in my senior year. It wasn’t unheard of (as I recall one other student joined me in this undertaking), but it was certainly challenging. But I digress.

Mr. A made art hard. For me, this was (and still is) the most exhilarating concept I’ve ever wrapped my head around. You see, I was a very good student. Took all honors classes. Graduated in the top 5% of my class (of over 600 students). I’d happily admit that I coasted throughout High School without sweating over tests, and grades, and memorization. Not that I didn’t work hard mind you, but no class outside of Mr. A’s A.P. Studio Art ever put me in my place quicker. Mr. A never pulled a punch.

During critiques, he would tell me that I couldn’t draw my way out of a paper bag. He said my artistic prowess could best be described as “Craposition”… a term so beloved by the class, we used it as the title to our class mix tape. Best of all? His words rang true, because they absolutely were. I sucked. Beyond the harsh words though, came true support. Mr. Auriemma took time with me to show me where my strengths were, how to hone (and hide) my weaknesses, and explore not only technical proficiency but conceptual development at the same time.

One fond memory that sticks in my craw even today were Mr. A’s dreaded Gallery Journal entries. He forced our class to go to galleries every month and truly look (and write about) art. He challenged us to critique accepted “masterpieces” instead of simply enjoying them. He deconstructed a world most simply adhere to accept. In short, he forced each and every one of his students to take an intellectual leap beyond “I like this.” Most important, when I spoke and wrote of my love of comic books, and that art form, Mr. A did not once scoff. He knew that masters like Jack Kirby and Steve Ditko, and the modern artists that inspired me like Alex Ross and Mike Mignola, should be studied as much as Renoir, Titian, or Bacon. All art was equal in his class, so long as you could apply the lessons he taught to them.

The best panels and issues of modern comic books utilize complex composition, juxtaposition of focal points, value balance, and harmony all to visually communicate what only a 1000 words might. Again, I can’t hit on this fact enough; where some art teachers hand you a canvas and a brush and tell you to let your mind go wild… Mr. Auriemma did it too, but forced you to use the skills and tools honed over time to produce more than whimsy and feelings.

It doesn’t take a rocket scientist to figure out Mr. A’s lesson plan. Tough love gave me the drive to do better. His “acceptance” was earned through hard work and dedication. It was a tribute to these abilities that drove so many of us alumni to trek back to the hallowed halls of Homewood-Flossmoor High just so we could show him what we were doing in college. Certainly when Unshaven Comics published its first graphic novel, I raced back to his class room to show that I’d learned to draw out of that paper bag. OK, I won’t lie. Matt drew the first book… I just colored, lettered, and co-wrote it. But like JD looking for that hug from Dr. Cox on Scrubs, I wanted that approving “Good job, buddy” like Courtney Love wants attention.

Not even a few years after I’d been away at college, Mr. Auriemma got his masters in Education, became a top-notch school administrator, and is still to this day (to the best of my knowledge) now a principal. I dare you to find another Art Teacher that took that path. I bet you find a bunch of paint-strained smocks, and some weed.

Suffice to say, Dean Auriemma instilled in me a drive and determination that exists to this day. In fact, I happily admit that my love of A.P. Studio Art was so great, Matt and I still meet every Friday to work on our art projects. We may have grown beards, got wives, had sons, and bought houses… but thanks to Mr. A, we’re still just two kids in class, hoping one day to make it in the business. And if this bit of brown-nosing doesn’t land me that damned ‘A’ I’ve been after… I don’t know what will.

SUNDAY: John Ostrander and Humphrey Bogart

Jean Giraud, aka “Moebius”: 1938-2012

English: Jean Giraud at International Festival...

The BBC has bad news to report: Jean Henri Gaston Giraud, who first came to widespread prominence in America with the importing of Heavy Metal and known worldwide to his fans as Moebius, has died in Paris after a long battle with cancer. He was 73.

He was popular in the US and Japan, working with legend Stan Lee and manga artists, as well as in his homeland.

He also worked on design concepts and storyboards for a number of top science fiction films, including Alien, Tron, The Abyss and The Fifth Element.

Giraud trained at art school and turned to comics after working as an illustrator in the advertising and fashion industries.

His best known work in his native country was probably the Lieutenant Blueberry character but he also worked on the Silver Surfer with Stan Lee.

via BBC News – France comics artist Jean Giraud – Moebius – dies at 73.

Active in comics since the 60s, Girard was a three-time Harvey Award winner and a two-time Eisner Award winner, and a Hall of Fame inductee for both. He also won the Shazam, the Yellow Kid (twice), the Angouleme International (three times), the Haxtur, and the World Fantasy Awards.

Here’s a trailer from the documentary Moebius Redux: A Life In Pictures, with commentary from Jim Lee, Mike Mignola, and Enki Bilal, where Giraud talks about his life and his work.

[youtube]http://www.youtube.com/watch?v=RxsJgtrA5mw[/youtube]

Our condolences to his family, friends, and fans.

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MARC ALAN FISHMAN: Creators Are People Too

Hot off the lips of far better men and women than I (aka all the other ComicMix columnists) comes a little discussion weighing in on all this legal mumbo-jumbo going on in comic-book-land. Not to be outdone (remember when I lit a wee fire under Michael Davis a few weeks back?), I figured I’d let loose a few witticisms on the injustices being faced by far too many comic creators these days. Or just as every week, I’ll bury my foot in my mouth making wild assumptions, and asking dumb questions. Either way, you’re entertained… right?

For those not following the drama, read a few posts (such as here and here) and catch up. Basically Gary Friedrich got torched by Marvel for having the gall to turn a pocket out to them now that Ghost Rider is making them a few greenbacks. Gary isn’t alone in doing this. The creators of Superman did it. The family of Jack Kirby did it. And even over in the land ruled by Robert Kirkman, his longtime friend is doing it. And in all the cases, there seems to be a very simple precedent: When the check was cut to these creators for their initial involvement, signing it waived their rights to own their creation. Before the 1980s these checks had the contract right there on the check. I assume in the Kirkman case there were contracts and papers and lawyers, etc. In any event, for a small-time creator like myself, it’s scary and sad to read. A large part of me is angry. A smaller, more Jewish part of me is saying “Didn’t they know what they were signing?”

Please note, I am Jewish. So, it’s cool for me to go there.

Honestly, I’m torn on the subject. On one hand you’d figure that the person who did the legwork creating something should see the eventual fruit of their labor, when the money starts flowing. Would Marvel or DC be anywhere near as big as they are right now without the hard work and creativity of guys like Jack Kirby, Bob Kane, Bill Finger, Stan Lee, Jack Kirby, Steve Ditko, and the rest? The short answer: Hell No!

Creating a character that becomes a cultural icon, even for five minutes, takes real skill. And a suitcase of money doesn’t make Spider-Man’s rogues gallery, or designs Superman’s iconic costume. When the profits from the Spider-Man franchise, or the Nolan Bat-Franchise started rolling in, is it wrong to think that the person who initially created the character be able to see a little cash come their way? Certainly, as a compassionate person, I say of course. I’m not looking to be a communist here, but seriously, are a few shekels sent to the Mr. Friedrich when Nic Cage’s movie sells a few pairs of Underoos really going break Marvel’s bank? I doubt it.

On the other hand… if the paperwork is all signed, these creators are up a creek without a paddle. When I signed on the dotted line for my car, it’s mine. Even if I hate it the second I take the keys from the salesman… I’m stuck with it. Not a perfect metaphor, but I think my point is clear enough, no? When Gary, or any of the aforementioned creators were given their assignments from their editors… was there not a discussion about compensation? Assuming there was, it’s really on the head of said creators to know exactly what they are getting into. At the end of the day, if you sell your soul to the Devil, there’s no way out of Hell. Even if everyone agrees that you got screwed. It’s your name on the dotted line, and it’s your duty to read every word above it.

Face facts, no comic book artist or writer I know is living in a mansion, with extra money flowing out of their pockets. The fact is as I write this very column, I’m scouring Craigslist for freelance gigs in hopes of earning a few more bucks so I don’t have to send my wife back to work, so we can barely pay for daycare for our son (who is only a few weeks old). If Marvel or DC came calling at my door right now and told me they wanted to offer me a book, I’d sign papers so fast they’d need a fire extinguisher to cool my hands off.

Why? Money. I need it. They have it. And I’m safely assuming most anyone working in comics before me was in the same position. And therein lies the problem. The bigwigs behind these publishers have all shared the same evil grin behind their creators’ faces. Having the rights to the characters means raking in all the money from all the avenues open to said characters. Movies, TeeVee, T-shirts, action figures, sippy cups, night lights, toothbrushes, online fan club memberships, cereal, and oh yeah… comics. There’s no doubt in my mind that those with the cash have maintained the mentality that it’s their money, and they’ll hold onto it by any means necessary.

Remember that whole #OccupyWallStreet thing? Well, I’m certain the people behind the people behind the people at both the House of Ideas and the Brothers Warner aren’t in the 99%.

At the root of all this is the human factor. Money doesn’t grow on trees, and when you need to pay a bill, you do what you have to do to pay it. If the check is sitting on your desk, and all that stands between your next meal is your integrity, do you starve with a belly full of pride? Do you go the route of Robert Kirkman or Mike Mignola, and take your million dollar ideas to places where they let you keep your soul? Well, it’s different for everyone in comics. And when the good guys like Paul Levitz (see John’s column) step down, who will be there to fight for the little guys? Cause let’s face it… the second someone turns heels and walks away with their idea, there’s a line out the door and around the block of people waiting for a chance to walk right in.

And I’ll be damned if I’m not one of them.

SUNDAY: John Ostrander Changes The Subject

 

Win a Signed Dylan Dog Case Files

  • News
  • August 30, 2011

Remember when we told you all about the wonderful Italian Dylan Dog comic series from writer Tiziano Sclavi? It became a less than beloved feature film adaptation which was released on DVD earlier this month from director Kevin  Munroe.

Well, we have obtained three copies of the perfect blend of  sources as Munroe has autographed copies of Dark Horse Comics’ The Dylan Dog Case Files, an omnibus collecting Dylan Dog #1-6 and Dylan Dog: Zed. The book also has a cool Mike Mignola cover.

Between now and 11:59 p.m. Saturday, September 3, tell us what makes the international comic so good and we’ll pick the three best answers. The judgment of ComicMix will be final.

SDCC: 2011 Eisner Awards Winners!

SDCC: 2011 Eisner Awards Winners!

  • News
  • July 22, 2011

201104071920.jpg

2:40: And that’s the way to end the show! Enjoy the after parties, everybody!

2:35: Best Graphic Album-New: TIE! Return of the Dapper Men, by Jim McCann and Janet Lee (Archaia); Wilson, by Daniel Clowes (Drawn & Quarterly)

2:31: Best Graphic Album-Reprint: Wednesday Comics, edited by Mark Chiarello (DC)

2:28: Best Adaptation from Another Work: The Marvelous Land of Oz, by L. Frank Baum, adapted by Eric Shanower and Skottie Young (Marvel)

2:18: Best Continuing Series: Chew, by John Layman and Rob Guillory (Image)

2:13: Best Limited Series: Daytripper, by Fábio Moon and Gabriel Bá (Vertigo/DC)

2:11: That King fella on American Vampire has talent. Of course, he’s no Joe Hill…

2:08: Best New Series: American Vampire, by Scott Snyder, Stephen King, and Rafael Albuquerque (Vertigo/DC)

2:06: Russ Manning Most Promising Newcomer Award: Nate Simpson for Nonplayer

2:03 AM: Best Reality Based Work: It Was the War of the Trenches, by Jacques Tardi (Fantagraphics)

2:00 AM: Best Single Issue (or One-Shot): Hellboy: Double Feature of Evil, by Mike Mignola and Richard Corben (Dark Horse)

1:56: Best Short Story:“Post Mortem,” by Greg Rucka and Michael Lark, in I Am an Avenger #2 (Marvel)

1:52: Best Writer/Artist: Darwyn Cooke, Richard Stark’s Parker: The Outfit (IDW)

1:48: Best Writer: Joe Hill, Locke & Key (IDW)

1:41: Hey, look, everybody! It’s John Stewart, Virgil Hawkins, Remy LeBeau and Samurai Jack!

1:36: In Memoriam. Can we have a year where we don’t need this segment, please?

1:31: Voters’ Choice for Eisner Hall Of Fame: Roy Thomas, and Marv Wolfman.

1:28: Voters’ Choice for Eisner Hall Of Fame: Harvey Pekar.

1:23: Voters’ Choice for Eisner Hall Of Fame: Mort Drucker! Congratulations to one of the usual gang of idiots.

1:16: Hall Of Fame Inductees: Ernie Bushmiller, Jack Johnson, Martin Nodell, and Lynd Ward.

1:04: Best U.S. Edition of International Material-Asia: Naoki Urasawa’s 20th Century Boys, by Naoki Urasawa (VIZ Media)

1:00 AM: Best U.S. Edition of International Material: It Was the War of the Trenches, by Jacques Tardi (Fantagraphics)

12:51: Best Archival Collection/Project-Strips: Archie: The Complete Daily Newspaper Strips, 1946–1948, by Bob Montana, edited by Greg Goldstein (IDW)

12:47: Best Anthology: Mouse Guard: Legends of the Guard, edited by Paul Morrissey and David Petersen (Archaia)

12:44: Bob Clampett Humanitarian Award, presented by Ruth Clampett to Patrick McDonnell (Mutts)

12:41: Best Publication Design: Dave Stevens’ The Rocketeer Artist’s Edition, designed by Randall Dahlk (IDW)

12:38: Best Archival Collection/Project-Comic Books: Dave Stevens’ The Rocketeer Artist’s Edition, edited by Scott Dunbier (IDW)

12:35: Best Comics-Related Book: 75 Years of DC Comics: The Art of Modern Mythmaking, by Paul Levitz (TASCHEN)

12:31: Best Comics-Related Periodical/Journalism: ComicBookResources, produced by Jonah Weiland (www.comicbookresources.com)

12:28: Best Cover Artist: Mike Mignola, Hellboy, Baltimore: The Plague Ships (Dark Horse)

12:25: Best Painter/Multimedia Artist (interior art): Juanjo Guarnido, Blacksad (Dark Horse)

12:22: Best Penciller/Inker or Penciller/Inker Team: Skottie Young, The Marvelous Land of Oz (Marvel)

12:11: The Bill Finger Excellence in Comics Writing Awards go to Bob Haney and Del Connell.

12:08: Best Digital Comic: Abominable Charles Christopher, by Karl Kerschl, www.abominable.cc

12:05: Best Lettering: Todd Klein, Fables, The Unwritten, Joe the Barbarian, iZombie (Vertigo/DC); Tom Strong and the Robots of Doom (WildStorm/DC); SHIELD (Marvel); Driver for the Dead (Radical)
Best Coloring: Dave Stewart, Hellboy, BPRD, Baltimore, Let Me In (Dark Horse); Detective Comics (DC); Neil Young’s Greendale, Daytripper, Joe the Barbarian (Vertigo/DC)

12:02: Best Humor Publication: I Thought You Would Be Funnier, by Shannon Wheeler (BOOM!)

11:57: Best Publication for Teens: Smile, by Raina Telgemeier (Scholastic Graphix)

11:54: Best Publication for Kids: Tiny Titans, by Art Baltazar and Franco (DC)

11:30 EDT: And awaaaaay we go! Fellow NYU classmates Thomas Lennon and Ben Garant take the stage.

Welcome to our coverage of the 2011 Eisner Awards ceremony from the San Diego Comic-Con. We’ll be updating this post throughout the evening, boldfacing the winners as they’re announced. You can also follow our updates by following ComicMix on Twitter or Facebook.

Leading the 2011 nominees with five nominations is Return of the Dapper Men, a fantasy hardcover by writer Jim McCann and artist Janet Lee and published by Archaia, with nominations for Best Publication for Teens, Best Graphic Album–New, Best Writer, Best Artist, and Best Publication Design. Two comics series have four nominations: Morning Glories by Nick Spencer and Joe Eisma (published by Shadowline/Image) and Locke & Key by Joe Hill and Gabriel Rodriguez (published by IDW). A variety of titles have received three nominations, including the manga Naoki Urasawa’s 20th Century Boys (VIZ Media), John Layman and Rob Guillory’s series Chew (Image), Daniel Clowes’s graphic novel Wilson (Drawn & Quarterly), and Mike Mignola’s Hellboy titles (Dark Horse).

The creator with the most nominations is Mignola with five (including cover artist), followed by Spencer and Hill, each with four. Several creators received three nominations: McCann & Lee, Rodriquez, Urasawa, and Clowes, plus writer Ian Boothy (for Comic Book Guy: The Comic Book and other Bongo titles) and cartoonist Jimmy Gownley (for Best Publication for Kids plus coloring and lettering on his Amelia Rules! series). 15 creators have two nominations each, a new record.

Good luck to all the nominees!

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