High School Debut Book 9
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Haruna, on the other hand, is full of enthusiasm, and friends speculate that her energy might break Yoh out of his shell a bit. The two have fun together practicing and planning, until Yoh gets nominated for grade captain, a school-wide election to pick group leaders. His increased duties mean more time and work away from her, as well as the kind of outgoing display uncharacteristic of him. There are also increased possibilities for jealousy, as the couple is thrown in with different people.

I didn’t enjoy this volume quite as much as I did previous ones because of the increased emphasis on school activities and the mechanics of such. It’s all very plausible, and the events are used to shed more light on the couple’s personalities and interactions, but … it didn’t seem quite as special to me. Plus, this book is all setup, with the festival presumably happening in the next installment.

I did appreciate the way it showed Haruna helping Yoh out, instead of the other way around, but it didn’t have the emotional punch I was hoping for. Maybe my expectations are just too high after so many excellent volumes so far; a merely good one suffers by comparison.

(A complimentary copy for this review was provided by the publisher.)

Starring Kate Melton as Daphne, Robbie Amell as Fred, Nick Palatas as Shaggy, Hayley Kiyoko as Velma

I like Fred’s updated look (although shouldn’t he be blond?), and while I miss Velma’s orange, her new outfit seems a lot more modern and better suited to her personality. The gang will come together to form Mystery Inc. when their high school is thought to be haunted, and the voice of Scooby-Doo will be provided by animation great Frank Welker.

Scooby-Doo: The Mystery Begins
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The DVD will list for $27.95 and includes the following extra features.

Coolsville Yearbook – The actors who play Fred, Velma, Daphne, and Shaggy reveal even more of their character’s back-story including what they do in their spare time, their favorite foods, what they want to do when they grow up, and a secret time capsule message for the future that can be solved by finding clues hidden within the DVD enhanced content.

Velma, Daphne, Fred, or Shaggy? Personality Quiz – Are you a brain, a drama queen, a jock, or a lovable nerd? By navigating a series of questions, you can decide which member of the Mystery Inc. gang you are most like.

Extras – Behind-the-Scenes, Shout-Outs, and Outtakes.

The movie will also be available on Blu-Ray for $35.99. That version includes the DVD and digital versions, as well as a pop-up track in which “Velma gives scientific and trivia factoids, Daphne gives stylish and dramatic interpretations, Fred flexes his muscles, and Shaggy, well everything reminds Shaggy of food.” That’s the feature that sounds most interesting to me; shame it’s Blu-Ray only.

The movie will also air on Cartoon Network and be supported by national ad campaigns and promotional tie-ins with Amtrack (sweepstakes), Keebler Graham Cracker Sticks (rebate), and Wendy’s (kids’ meal).

**Warning: Sundome is an adult rated series. This review contains some frank sexual language.**

This volume continues to explore the dysfunctional relationship between Hideo and Kurumi. At the same time, we see Kyouko and Katsu continue fumbling toward becoming a couple themselves.

Sundome Book 5
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The best word to describe this book is tenderness. Mind you, this is Sundome we’re taking about, so it’s tenderness relative to the prior volumes. However, this book marked a significant shift in tone for the series.

Absent from this volume is Kurumi asking Hideo to perform some crazy stunt or pass some test of obedience. Instead, we see them interact as normally as a couple can in this series. In the opening chapter, Hideo gets sick with a severe cold, and Kurumi shows up at his house to nurse him. Later, Hideo goes over to Kurumi’s apartment to help her change light bulbs. They actually have conversations about their relationship, and Kurumi hints that she may have feelings for Hideo.

What fascinates me in this volume is Kurumi’s openness. She reveals a couple of facts about her family and her past. She initiates kissing and scenes of intimacy. She actually even masturbates in front of Hideo. Kurumi is beginning to reciprocate Hideo’s affection. It appears that he has proven the sincerity of his love and devotion. Kurumi has realized that Hideo isn’t attracted to every girl; he is attracted to her. She is the only one he wants and wants unrestrainedly.

I get a sense that Kurumi’s openness comes from a new-found acceptance of her own body. Throughout the series, Kurumi has struggled with a mysterious illness. She is frail (almost anorexic), prone to nosebleeds, and gets sick often. It would be normal for her to come to despise her body. It has caused her great suffering and at times embarrassment. Hideo doesn’t see frailty or sickness; instead, he thinks that every inch of her flesh is wonderful. Quite literally, every part of her body turns him on.

I can understand why Kurumi is suspicious of Hideo’s desire. She is the new girl, and he knows nothing of her, let alone her physical ailments. How could find ‘this’ body appealing when there are so many other prettier and healthier girls to choose from? And not just attractive, but how can he find ‘this’ body erotic? How can he get so easily turned on by looking at her?

Yet, despite rebuffs and Job-like tests, Hideo’s erotic fervor never waivers. He desires Kurumi despite, and in the face, of everything she puts him through. Hideo’s ardor makes Kurumi rethink her own negative body image. In this volume, she begins to accept that her body is both beautiful and erotic. This self-affirmation tears down her own resistance to Hideo and his love. Now she is ready to express, and explore, her own sexual desires and romantic feelings.

Another joy in this volume is seeing the continued personal growth of Kyouko. At first, Kyouko came to the Roman club to get away from bullying boyfriends. Here, she could be the bully. However, we learn her choice of clubs wasn’t as random as she would have us believe. It turns out that she is actually a devotee of the paranormal and supernatural herself. She is also a video game junkie. These were aspects of her personality she wasn’t permitted to express when she was hanging out with the cool and dangerous kids. Now, she quickly jumps into discussions on the latest TV show exploring UFOs, haunted houses, urban legends, etc. Also, we see her asking for help in getting to the next level on the newest video games. It’s a pleasure to watch her come out of her shell and just be another fangirl.

Also, I get a kick out of watching Kyouko and Katsu awkwardly, and with glacial speed, becoming a couple. They are both attracted to each other, but neither wants to admit it. Katsu is too shy and uncertain for such a confession; Kyouko still isn’t ready to embrace her inner geek that completely. As is standard in most manga, their attraction to each other is obvious, they just have to overcome their personal reservations and fears. I love the scene where Katsu is showing Kyouko how to get to the next level of a game. It’s refreshing and cute to see them bond like that.

This is still Sundome, so fetishes abound. If bodily fluids make you squirm, then this volume won’t be to your liking. There are a wide variety of secretions to be found. There is even some toe-sucking action at the end. As always, this series is not for the faint of heart or weak of stomach. There are scenes I have to read quickly to make it through.

Okada’s artwork continues to communicate desire effectively. He makes passion tangible. As usual, there is a LOT of fanservice. There is no outright nudity, but plenty of wet shirts, loose shirts, and camel toe to leave little to the imagination. A couple of scenes are definitely softcore.

This volume really caught me off guard. I’m used to be conflicted and twisted up after reading Sundome. However, this time I actually enjoyed myself, without the self-loathing. Those following the series will find this volume a welcome change of pace. As usual, given the disturbing nature of the relationships in this series, I can’t recommend it, even though I continue to read it. You can read my previous reviews to see why.

1. DVDsWorthWatching.com has just gone live. This site is a sister to ComicsWorthReading.com and MangaWorthReading.com — but I think I should stop with three for a while.

2. CompuServe is dead, which makes me feel old and sad. That was the first commercial service with an outstanding comic presence, including much valuable professional participation, and the general level of discourse was very high (because you had to pay to be there, so why waste it?). Before AOL took its crown in the late 90s, the CIS Comics/Animation Forum was the best place for comic fans.

3. I love this guy’s short history of the internet (via Mike Sterling). What sums up 2009? What will be the next hot online place to be?

Inubaka: Crazy for Dogs Book 13
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Kanako had a Pomeranian named Czerny. She doted on her pet, dressing the dog up in special outfits every day and generally treating her as precious. Unfortunately, Czerny has passed away suddenly. In this book, Suguri helps Kanako come to terms with her loss.

There’s a whole gamut of reactions covered here. One shop worker needs to be educated on how significant this loss can seem to a pet owner, while others feel a lot of grief. The problem of different recovery rates — some get over their pain quickly, others need much more time — causes tension among friends. An owner, losing her closest friend, might even feel suicidal.

The others worry about Kanako. Should they let her recover at her own pace, or should they step in to help? What kind of support does she need, because every situation is different? We don’t often see much of Kentaro, one of the pet shop workers, but here, he demonstrates unusual depth and consideration. And the gang has a creative suggestion to reorient Kanako in a more positive direction when it comes to remembering her beloved pet.

The big question is whether a grieving owner should get another dog, and if so, how quickly. Things are complicated by a natural disaster, which leaves both owners and pets homeless. By the end of the story, I admit, I was tearing up, because reading about the love between people and dogs is so heart-warming.

I was surprised but pleased to see such an affecting story in what I previously thought was a much lighter series. There’s a lot of thought-provoking learning here, accompanied by lovely pictures of cute doggies (and girls!). Although rated for Older Teens, I would think this would be a good read for anyone, teen and up, wondering about how to deal with loss.

Oh, and there’s also another story to change the mood, a comedy about feuding pet owners whose dogs are friends. It involves a modeling session with outfits for the pets, so the writer works in some information about sizing and reasons for dog clothes.

Love*Com Book 13
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A couple, friends of main pair Risa and Otani, are facing separation, since she got into college and he didn’t. The relationship of the two seems vulnerable, with all these changes, so another boy, a judo champion, is muscling in on the girl. Otani winds up promising “let’s you and him fight” in a classic sitcom situation of having to train quickly for a competition one’s completely over-matched for.

Thankfully, not a lot of time is spent on the battle and training — the important thing is being willing to fight for the one you love, a message any young romantic will appreciate. The surrounding setup is a bit over the top, which provides the funny, but the underlying emotions are still plausible to readers. The artistic focus on well-drawn faces — eyes, mouths, and eyebrows — makes it easy to keep up with what the characters are thinking and feeling.

After that comes some family conflict, with Risa’s younger brother about to start at her high school, which he’s cranky about. (He wanted to aim higher.) She and her friends try to show him around while acting particularly juvenile, which doesn’t help his impression, but at least they seem like real kids. Brother thinks Otani is the only cool one and so should break up with Risa. This, understandably, doesn’t lead to harmony between the siblings. The real conflict arises, though, when the previously unseen Grandpa decides to set Risa up with someone better suited for her (i.e., taller) while distracting Otani with a professional flirt.

I’m impressed by how Aya Nakahara keeps a very basic premise — tall girl and short boy in love — fresh by introducing different twists and characters as needed. The types may seem familiar, but that just makes it easier to get into situations quickly. At first, the conflicts keeping the two apart were created by themselves: ignorance (of their feelings), then mismatched timing. Now, to keep the story going, the conflicts are external, based on the objections of family members. It’s a movement from the self to the community, although ultimately, it all comes back to trust, an interior virtue.

(A complimentary copy for this review was provided by the publisher.)

This volume continues, and concludes, the adventures of Mao-chan and the Special Defense Corps as they attempt to fight off the aliens who want to steal all of Japan’s cultural landmarks. The two female alien spies disguised as high school students face new hardships as they run out of money and have to find jobs to pay the bills while continuing their mission. Once the alien leader appears, the final battle begins. What will become of Japan’s national treasures?

Mao-Chan Book 2
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As in volume 1, Del Rey has combined the third and fourth volumes of the Japanese edition into one book for US release.

Part of the charm of this series has been the over-the-top humor. Akamatsu continues to weave light satire into this series. He pokes fun at such diverse targets as Dominion Tank Police, Galaxy Express 999, Gon, and Tenchi Muyo. The jokes are genuinely funny; several times, I actually burst out laughing at a scene. Wait until you see what happens when a tank with artificial intelligence turns to a life of crime.

Surprisingly, the biggest target is Love Hina, with two chapters of Akmatsu making jokes at his own expense. We are introduced to Keinosuke Urashima, a student who keeps failing the entrance examine to Tokyo U, and his girlfriend Nana Nanasegawa. Together, they run a hot spring resort called Hinata Ryokan. The funniest moment in the book is when Nana and Private Mishima (both modeled after Love Hina’s Naru) meet, and everyone remarks on how they look identical.

But the series doesn’t rely solely on satire. Mao-chan is filled with appealing characters. The three young girls of the Special Defense Corps all really care about each other. Their grandfathers may try to make everything a competition, but they wisely ignore them and focus on being friends and developing teamwork. They also take seriously their role to preserve Japan’s landmarks. They’re earnestly trying their best in the face of overwhelming odds. It’s easy to find yourself drawn in by their youth and sincerely.

RAN continues to provide excellent artwork. He’s certainly an accomplished mimic. I would like to see a series where he gets a chance to develop his own style. Just a brief word of warning. There is plenty of fan service. No nudity, but lots of bikinis and towels.

Overall, Mao-chan was an enjoyable read. It was a good break from all the more serious manga I’ve been reading lately. The decision to keep Mao-chan short was wise. It prevents the humor or the characters from getting stale. I’m optimistic that Mao-chan will most appeal to anime and manga fans who like a good parody. However, the jokes are broad enough on their own that anyone can read and enjoy Mao-chan.

They’re well-done, with professional-level art, and I like the extra touches: cover design and a back page that explains the genesis of the stories and tells a little bit about the creators.

Choco Mimi Book 1
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Choco (Chiyoko Sakurai) is the sporty one interested in moody boy Ando. Mimi is the cuter, frillier one with the adorable dog Chiffon. He’s my favorite character. Although a fluffy dachshund, he thinks of himself as a man serving his master, dedicated to making Mimi happy and being stoic in light of the goofy things she does to him. There’s also Mumu, a cross-dressing little boy who causes conflict in weird ways.

Although we’re told several times they’re 8th graders (making them, what, 14?), they’re drawn in a little kid style (as seen on the cover) that reminds me of Junko Mizuno (only without the grossness). The few introductory pages tell you everything you need to know about them, their likes and dislikes. After that, it’s a series of 4-koma, vertical four-panel comic strips, with the characters being cute and silly at school or elsewhere.

Jokes revolve around Mimi having an unexpected response or the girls and their clothes or how the boys act. There are also half-page images of the girls hanging out, as well as fashion half pages, often seasonally oriented, where their outfits and accessories are described in detail. Sometimes the strips take up a full page or more, with more panels, creating little stories. The result is a lot of content, with plenty to read and lots of detail to look at.

I found it surprisingly readable. I liked entering the ChocoMimi world for a little while, when all that matters is looking cute and having fun with friends. It’s great escapism with an unexpected amount of creative imagination. Although rated for all ages, I don’t know that I’d recommend it for very young kids. It’s best for those who can evaluate what the characters do and figure out which parts make sense (taking care of animals) and which are fictional exaggerations (how Mimi acts in class, like wearing a bikini to school). It’s also not for those who are allergic to “girly”, a word used frequently and accurately within.

(A complimentary copy for this review was provided by the publisher.)

Nobody was required to submit the ballots (I didn’t either year; mostly because I was disgusted by the scheme), but I’m sure we still had two- or three-dozen nearly identical ballots sent for both of those years. The worst part is that they were so pathetically obvious about it. In 2007, completely blank ballots were e-mailed to Gemstone employees… and then we were told to not touch those, but to instead wait for the “J.C. Vaughn-approved” (pre-filled) versions to be passed around.

That gives some idea of how few nominations it may take to get on the ballot.

Hikaru no Go Book 13
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Hikaru has become a professional go player, and as the book begins, he’s dressing up for the recognition ceremony. He’s still learning how his new occupation works, who plays whom when and what it all means, but he’s still focused on catching — and passing — Akira Toya, son of the reigning champion.

They’re all so indoctrinated in the rules and roles of the competition that a slight or inadvertent insult becomes grounds for a vow to win against them in a match. That keeps the games emotionally involving both for the characters and the reader. Yet the characters recognize how much they all, as go players, have in common, as part of a tradition much bigger than they are. There’s also a mysticism about certain people sensing something special about Hikaru that fits right into a story that features a ghost.

Also in competition are Hikaru and Sai, since both want to play using Hikaru’s hands. Hikaru’s become a strong enough player on his own that his rise in professional ranking is believable, but he needs to continue making his own decisions in order to really learn the subtleties of the game.

Given how long Hikaru’s been chasing Akira, their match isn’t to happen yet. (The reader will remain in suspense even longer.) Akira is kept away from the games when his father, holder of five championship titles, has a medical emergency that hospitalizes him. Coincidentally, that wraps back to a previous plot point about playing go on the internet, an outlet that allows Sai to compete without others becoming suspicious. The champion player takes up online gaming when he must stay in the hospital, bringing him back into contact with Sai and Hikaru, whose childish exuberance and lack of thinking result in an unexpected wager with major consequences.

Hikaru no Go Book 14
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I realized in this volume that I really missed seeing women in major roles. Most of the competitive players and observers are male, so it’s only the rare wife or female assistant who gets to speak. I suppose it’s realistic that Hikaru no longer keeps in touch with his schoolmates, since his life has gone in a different direction, but I loved seeing his cute little friend appear again.

I haven’t said much about the art because it’s so excellent. Beautifully rendered, clear expressions, dramatic shots… the standout sequence, though, has to be when Sai plays on the internet. The game is staged with the two players, their board, and nothing else, just surrounded by black space. Sai’s presence comes into view behind Hikaru and then subsumes him as the ghost begins directing the play, one of the most important games of his (after)life. It’s impressive and intimidating, focusing only on the showdown between two giants.

The online game, watched by curious players all over the world, continues in Book 14. Hikaru sees something very important during the game, demonstrating to Sai that the boy has reached a whole new level of play. This is the most significant turning point in both of their lives. The way the match was arranged also causes some to be curious about Sai’s connection to Hikaru, causing him additional consternation.

Hikaru no Go Book 15
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Although Hikaru and Sai’s relationship is non-traditional, there are some very universal aspects to it. This turning point marks where the father figure gives up on his own plans and instead does what he can to see that his child will carry on into the future to become the best he can be. While Sai and Hikaru have this transition spiritually, Akira and his father face it physically. In both cases, they’re chasing their destinies.

Book 15 is where the most important change occurs. I don’t want to say too much about it, for fear of spoiling anything for readers, but I will say that I never expected the series to go in that direction, although it’s a stunningly good choice in retrospect. (According to one source, this is 2/3 of the way through the overall series, which ran to 23 volumes, so it’s a good time for it, too.)

The event shows how Hikaru is growing up while reminding us in many ways that he’s still a young boy, with a lot to learn about life and behavior. His enthusiasm and energy need tempering before he drives everyone around him crazy. And he doesn’t realize the truth of what he’s got until it’s gone.

Also in this volume is a tour of significant go history sites and shrines, reminding the reader just how long this game has been played and revered.

(Along those lines, accusations of “ballot stuffing” are misguided. It’s not about stuffing — which generally implies a surfeit of questionable votes — it’s about a lack of participation giving those few professionals who do bother to submit nomination lists disproportionate power to affect the results.)

In the spirit of setting a good example, herewith are my suggestions for possible improvements.

1. Create an awards committee. There’s too much work for any one person to do in running the awards. Careful selection could also result in more balanced representation. I would recommend picking members with different areas of comics knowledge, such as superheroes, art comics, manga, or webcomics.

With a committee, the awards would not be dependent on just one person and could ensure current and diverse knowledge of the field. With that awareness, it would be easier to make eligibility rulings on whether a comic has to be carried by Diamond in the previous year, or whether a limited release hand-selling to customers at conventions counts. Or how reprints should be considered. (This is different from the Eisners because the committee members would not be judges but administrators.)

Plus, having more than one person running things would mean splitting up the workload and having continuity if, heaven forbid, something happened to someone or other obligations arose.

2. Require publisher and/or artist submissions, similar to how the Emmys work. A submitter would send in her/his/their best work for evaluation. This would help winnow the field while still allowing a kind of “campaigning”, but only those from who were willing to spend some money instead of just sending email to all their friends. (Later, these works could then be donated to a library or university for an archive.)

3. Provide guidance in nominations. It’s understandable that nominators don’t want to face the blank page in determining the best of last year. A list of suggestions could be created from submissions above, and/or committee members could create a comprehensive list of options in their particular areas of awareness.

4. More outreach to publishers. (Although this has been done in the past few years, and it doesn’t seem to make much difference.) If every publisher could be counted on to distribute ballots to their list of working professionals, with or without suggestions, perhaps more would participate to build the nominating ballot.

5. Reward nomination participation. This is perhaps the goofiest part of my suggestions, but maybe something could be done to recognize those who submit valid nominating ballots. Not in public, of course, not with names, but some kind of bonus to be sent to those who submit? A discount offer at an online comic store?

6. Here’s an even worse idea, but I provide it for discussion: You have to be present to win. Very few nominees are present to receive the award, which again creates the perception that it’s not very important, leading to more people not taking it seriously. The awards deserve more respect than that.

Which sums up this catch-22 — until creators take the awards more seriously, they won’t participate, and if they don’t participate, skewed results will continue to occur, making people take them less seriously. It becomes a self-fulfilling prophecy, when potential voters say “I won’t nominate manga because the awards are all about superheros” or “they’re indy focused, no point in me recommending a great webcomic”.

Update: Or, like Tom Spurgeon, you could just say “kill ‘em and be done with it.” He’s much nicer about it, but he says they don’t add anything special and people obviously don’t care. He also has this take on the award history:

… the Harveys have always been subject to the manipulation of one or two devoted individuals, it’s just that it used to be the very smart and genial Kim Thompson and his admirably, relatively catholic-comics reading circle of influence on behalf of a certain kind of comic instead of random and self-interested flashpoints popping up year to year on behalf of specific projects.

The 2009 Harvey Awards Nominees have been announced with the release of the final ballot, presented by the Executive Committees of the Harvey Awards and the Baltimore Comic-Con. Named in honor of the late Harvey Kurtzman, one of the industry’s most innovative talents, the Harvey Awards recognize outstanding work in comics and sequential art. They will be presented October 10, 2009 in Baltimore, MD, in conjunction with the Baltimore Comic-Con.

Nominations for the Harvey Awards are selected exclusively by creators – those who write, draw, ink, letter, color, design, edit or are otherwise involved in a creative capacity in the comics field. They are the only industry awards both nominated and selected by the full body of comic book professionals. Professionals who participate will be joining nearly 2,000 other comics professionals in honoring the outstanding comics achievements of 2008. Thank you to all that have already participated by submitting a nomination ballot.

Final ballots are due to the Harvey Awards by Friday, August 28, 2009. Full details for submission of completed ballots can be found on the final ballot. Voting is open to anyone professionally involved in a creative capacity within the comics field. Final ballots are available for download at www.harveyawards.org.

This will be the fourth year for the Harvey Awards in Baltimore, MD. Our Master of Ceremonies this year will be Scott Kurtz.

Johanna comments: Full list after the break. And congratulations to John Gallagher and Sky Dog Comics, who placed in most categories despite not releasing an issue of Buzzboy in 2008 that I could find. Buzzboy: Sidekicks Rule #2 came out in February 2007; #3 came out last month.

Kind of cool to see so many webcomics under Best New Series.

Oh, I forgot to say: If it were up to me, I wouldn’t consider Diary of a Wimpy Kid eligible, because it’s not a comic. It’s illustrated text.

BEST WRITER

Kyle Baker, NAT TURNER, Abrams Books
Ed Brubaker, CAPTAIN AMERICA, Marvel Comics
John Gallagher, BUZZBOY, Sky Dog Comics
Jeff Kinney, DIARY OF A WIMPY KID, Amulet Books
Grant Morrison, ALL-STAR SUPERMAN, DC Comics

BEST ARTIST

Gabriel Ba, UMBRELLA ACADEMY, Dark Horse Comics
Kyle Baker, NAT TURNER, Abrams Books
Jimmy Gownley, AMELIA RULES, Renaissance Press
Jason Kruse, WORLD OF QUEST, Yen Press
Frank Quitely, ALL-STAR SUPERMAN, DC Comics

BEST CARTOONIST

Lar deSouza, LEAST I COULD DO, www.leasticoulddo.com
John Gallagher, BUZZBOY, Sky Dog Comics
Al Jaffee, TALL TALES, Abrams Books
Jeff Kinney, DIARY OF A WIMPY KID, Amulet Books
Thom Zahler, LOVE & CAPES, Maerkle Press

BEST LETTERER

Jimmy Gownley, AMELIA RULES, Renaissance Press
Rob Leigh, THE SPIRIT, DC Comics
Doug Sherwood, LOCAL, Oni Press
John Workman, MARVEL 1985, Marvel Comics
Thom Zahler, BUZZBOY, Sky Dog Comics

BEST INKER

Rich Faber, BUZZBOY, Sky Dog Comics
Jamie Grant, ALL-STAR SUPERMAN, DC Comics
Jeff Kinney, DIARY OF A WIMPY KID, Amulet Books
Mark Morales, THOR, Marvel Comics
Ryan Winn, THE DARKNESS, Image Comics

BEST COLORIST

Frank Cammuso, OTTO’S ORANGE DAY, Raw Junior, LLC
Jamie Grant, ALL-STAR SUPERMAN, DC Comics
Laura Martin, THOR, Marvel Comics
Wil Quintana, THE MICE TEMPLAR, Image Comics
Dave Stewart, UMBRELLA ACADEMY, Dark Horse Comics

BEST COVER ARTIST

Frank Cho, BUZZBOY: SIDEKICKS RULE!#3, Sky Dog Press
James Jean, FABLES, Vertigo Comics
Jay Lynch, MINDSHAFT #23, Mindshaft Publishing
Ken Rocafort, PILOT SEASON: CORE #1, Top Cow
Alex Ross, JUSTICE SOCIETY OF AMERICA, DC Comics

BEST NEW SERIES

THE DREAMER, IDW
ECHO, Abstract Studios
HIGH MOON, www.zudacomics.com
NIGHT OWLS, www.zudacomics.com
SUPERTRON, www.zudacomics.com

BEST CONTINUING OR LIMITED SERIES

ALL-STAR SUPERMAN, DC Comics
CAPTAIN AMERICA, Marvel Comics
DIARY OF A WIMPY KID, Amulet Books
MICE TEMPLAR, Image Comics
UMBRELLA ACADEMY, Dark Horse Comics

BEST BIOGRAPHICAL, HISTORICAL OR JOURNALISTIC PRESENTATION

DRAW!, edited by Mike Manley, Twomorrows Publishing
HOW TO MAKE WEBCOMICS, Brad Guigar, Dave Kellett,
Scott Kurtz, and Kris Straub, Image Comics
KIRBY: KING OF COMICS, Mark Evanier, Abrams Books
SCORCHY SMITH AND THE ART OF NOEL SICKLES,
edited by Dean Mullaney, IDW
WORDLESS BOOKS: THE ORIGINAL GRAPHIC NOVELS,
edited by David A. Berona, Abrams Books

BEST SYNDICATED STRIP OR PANEL

BREWSTER ROCKIT: SPACE GUY!, Tim Rickard, Tribune Media Services
GET FUZZY, Darby Conley, United Features Syndicate
MUTTS, Patrick McDonnell, King Features Syndicate
THE NORM, Michael Jantze, Uclick Gocomics
PEARLS BEFORE SWINE, Stephan Pastis, United Features Syndicate

BEST ANTHOLOGY

COMIC BOOK TATTOO, edited by Rantz Hoseley, Image Comics
FLIGHT VOLUME 5, edited by Kazu Kibuishi, Villard
MOME VOLUME 10, edited by Eric Reynolds, Fantagraphics Books
PIXU #1, edited by Gabriel Ba and Fabio Moon, Self-Published
POPGUN VOLUME 2, edited by Joe Keatinge and Mark Andrew Smith, Image Comics

BEST GRAPHIC ALBUM – ORIGINAL

BOTTOMLESS BELLY BUTTON, Fantagraphics Books
DIARY OF A WIMPY KID: RODRICK RULES, Amulet Books
ESSEX COUNTY: THE COUNTRY NURSE, Top Shelf
SKIM, Groundwood Books
TOO COOL TO BE FORGOTTEN, Top Shelf
WORLD OF QUEST: VOL. 2, Yen Press

BEST GRAPHIC ALBUM – PREVIOUSLY PUBLISHED

AMELIA RULES!: FUNNY STORIES, Renaissance Press
M, Abrams Books
NAT TURNER, Abrams Books
THE MICE TEMPLAR: VOL. 1, Image Comics
QUEEN AND COUNTRY: VOLUME 3, Oni Press
SKYSCRAPERS OF THE MIDWEST (HARDCOVER), Adhouse Books

BEST SINGLE ISSUE OR STORY

ACME NOVELTY LIBRARY #19, Self-Published
FIRST BORN: AFTERMATH #1, Top Cow
LOVE AND ROCKETS, VOL. 3 #1, Fantagraphics Books
M, Abrams Books
NASCAR HEROES #5, NASCAR Comics
NAT TURNER, Abrams Books
THE AMAZING REMARKABLE MONSIEUR LEOTARD, First Second
Y: THE LAST MAN #60, Vertigo Comics

BEST DOMESTIC REPRINT PROJECT

ASTOUNDING SPACE THRILLS, IDW
COMPLETE PEANUTS, Fantagraphics Books
COMPLETE TERRY AND THE PIRATES, IDW
SCORCHY SMITH AND THE ART OF NOEL SICKLES, IDW
WACKY PACKAGES, Abrams Books

BEST AMERICAN EDITION OF FOREIGN MATERIAL

GUS AND HIS GANG, First Second
POCKET FULL OF RAIN, Fantagraphics Books
RED COLORED ELEGY, Drawn and Quarterly
SOLANIN, Viz
WITCHBLADE TAKERU MANGA #’s 11 & 12, Top Cow

BEST ONLINE COMICS WORK

BLACK CHERRY BOMBSHELLS, Tony Trovarello and
John Zito, www.zudacomics.com
HIGH MOON, Scott O. Brown, www.zudacomics.com
LEAST I COULD DO, Lar deSouza and Ryan Sohmer, www.leasticoulddo.com
NIGHT OWLS, Bobby & Peter Timony, www.zudacomics.com
PVP, Scott Kurtz, www.pvponline.com

SPECIAL AWARD FOR HUMOR IN COMICS

Lar deSouza, LEAST I COULD DO, www.leasticoulddo.com
John Gallagher, BUZZBOY, Sky Dog Comics
Al Jaffee, TALL TALES, Abrams Books
Jeff Kinney, DIARY OF A WIMPY KID, Amulet Books
David Malki, WONDERMARK, www.wondermark.com

SPECIAL AWARD FOR EXCELLENCE IN PRESENTATION

COMPLETE LOCAL: HARDCOVER EDITION, Ryan Kelly and
Brian Wood, Oni Press
KIRBY: KING OF COMICS, Mark Evanier, Abrams Books
QUEEN AND COUNTRY: VOLUME 3, Greg Rucka, Mike Norton,
Steve Rolston, and Chris Samnee, Oni Press
TALL TALES, Al Jaffee, Abrams Books
WONDERMARK, VOL. 1: BEARDS OF OUR FOREFATHERS,
David Malki, Dark Horse Comics

BEST NEW TALENT

Matt Cassan, NASCAR: HEROES, Nascar Comics
Bryan J.L. Glass, THE MICE TEMPLAR, Image Books
Laura Innes, THE DREAMER, IDW
Tim Sievert, THAT SALTY AIR, Top Shelf
Bobby Timony, NIGHT OWLS, www.zudacomics.com

Congratulations to all the nominees! If you know a nominee, please pass on the good news!

The Harvey committee and the Baltimore Comic-Con will make every effort to contact all nominees. If you are a nominee and do not hear from us by the end of June, please contact us at baltimorecomiccon@yahoo.com. We would love to discuss your involvement in the ceremony and the Baltimore Comic-Con.

Peter Blood was a soldier who choice to put away his sword to become a doctor. However, during the Duke of Monmouth’s rebellion against King James II, Blood treats the town’s lord, who is an ally of the Duke. For this act of treason, Blood is sold as a slave to the plantations in Jamaica.

Captain Blood: Odyssey #1
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Captain Blood: Odyssey is based on the 1922 novel by Rafeal Sabatini. The book has been adapted into three Hollywood movies; the most famous is the 1935 Captain Blood, which made Errol Flynn a movie star. This, however, is the first comic adaptation of the novel. I haven’t read Sabatini’s novel so I can’t comment on how accurate an adaptation the comic is.

Captain Blood is an adventure story set against the backdrop of real events. I like the use of specific historical episodes to give the book a more tangible feel. This story doesn’t take place sometime in the 17th century; instead, the book opens in 1686. Knowing this means we already have an idea of the people we will encounter, the political climate of the time, and even the clothes they are likely to wear. Shepherd and Shoyket have chosen to make this comic as accurate to that section of the 17th century as possible.

Shepherd writes a sharply paced and engaging comic. I was impressed with how quickly he was able to tell Blood’s backstory. There is no excess in Shepherd’s writing. We are given the circumstances that lead to Blood being a slave in Jamaica and no more. Once we are up to speed, Shepherd keeps the narrative moving by focusing on key events. At the same time, the story doesn’t feel rushed or that we’re getting simply an outline of the events.

Shepherd also does a good job with the dialogue. We are spared tortured attempts at Shakespearean English loaded with ‘thee’, ‘thy’, and ‘thou’. Instead, the educated and aristocratic speak with an eloquence that sounds old-fashioned to modern ears. They are polite and use either suggestion or metaphor to make a barbed point. The working class speak plainly and directly. It’s a subtle detail, but it reminds the reader how important class distinction was during this period.

Shoyket’s artwork is superb. The use of sepia tone is perfect to give the book a historical feel. Shoyket’s work is loaded with details. I have two minuscule qualms with the art. Shoyket has chosen to give the comic a sketchbook look. This includes keeping the pencil stroke marks. I would have preferred the line work be blended to remove these marks. Second, there is a lot of shadow in this book, which is probably accurate to a time when the sun and candles were the only light sources. However, I would prefer less shadow so that more of the details are visible.

Caption Blood: Odyssey is a great comic. It’s everything you want from a good historical adventure book: it gets the historical details right and moves quickly. I look forward to each new issue and the eventual graphic novel. Go experience life on the high seas with a well-educated pirate. Previews are available at the publisher’s website.

(This review is based on a PDF copy of the comic supplied by the publisher.)

Superman/Batman: Public Enemies will be released on September 29, 2009. It’s based on the graphic novel by Jeph Loeb and Ed McGuinness, adapted by Stan Berkowitz (Justice League: The New Frontier) and directed by Sam Liu (The Batman). The plot is described as follows:

United States President Lex Luthor uses the oncoming trajectory of a Kryptonite asteroid to frame Superman and declare a $1 billion bounty on the heads of the Man of Steel and his “partner in crime,” Batman. Heroes and villains alike launch a relentless pursuit of Superman and Batman, who must unite — and recruit help — to stave off the action-packed onslaught, stop the asteroid, and uncover Luthor’s devious plot to take command of far more than North America.

The voices will be familiar to fans. Superman is played by Tim Daly (Superman: The Animated Series), Batman by Kevin Conroy (Batman: The Animated Series), and Lex Luthor by Clancy Brown.

There will be three versions released: A two-disc special edition listed at $24.98, Blu-Ray for $29.99, and a single disc edition for $19.98. The special features include three featurettes:

The Blackest Night: Inside the DC Comics Event
Behind the scenes of Blackest Night, the epic DC superhero event in which the dead shall rise.

A Test of Minds
Superman and Batman featurette with Jeph Loeb, giving viewers a fresh and revitalized look at the team-up of Superman and Batman working together despite their often competitive and challenging relationship. 

Dinner with DC: With Special Guest Kevin Conroy
Kevin Conroy joins the crew for dinner to discuss their creative approach and what the Superman/Batman team-up means. The evening will be hosted by Voice Director Andrea Romano, Producer Bruce Timm, and DC’s Gregory Noveck.

Plus, an “extended sneak peak” at the next DCU film and two Justice League Unlimited episodes chosen by Bruce Timm. The Blu-Ray version has four more cartoon episodes.

Solanin
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Meiko graduated from college and took an office job while waiting for her “epiphany”, when she figures out what she wants to do. Her boyfriend, a freelance artist, moved in with her, but she’s tired of him, just like she’s tired of everything else. She knows what she hates, but she doesn’t know what she loves.

Her days are defined by boredom, especially after she quits the job to figure things out. She thinks she’s getting the freedom she needs, but she wastes her time hanging out at home, too apathetic to try any of her dreams or fancies. Her boyfriend’s also part of a band that doesn’t do anything but rehearse, and most of the other members have similar reactions to things. They claim “depression” because they’re too sensitive to deal with daily life.

Simple faces with detailed emotion convey every feeling in a way the reader can easily relate to. And most will have gone through this or known those who have. When I first heard about this story, my jaded side thought “why do I want to read this when I lived it?” But I found myself caught up in their uncertainty about life. I enjoyed the book more, having survived it and come out the other side. It gave me perspective that made the story richer as the characters discuss various philosophies and purposes.

The question of “what is happiness” is something everyone has to determine for themselves, and Meiko’s mom seems to have the right idea, saying it can be simple if you don’t make it hard for yourself. Bandmate Rip finds his own kind of contentment, while Meiko struggles for the strength to forge a new direction.

At first, she piles her drive into her boyfriend, encouraging him to pursue the music he loves, but that’s not a long-term solution for her, and fate makes that clear. That particular event was the most disappointing part of the book for me, because I got the feeling it was going to happen before it did, and I found it a little heavy-handed and cliched. But the point is to more fully develop Meiko. She tried to break out of routine, of settling for what she had, but while she had enough determination to make that choice, she didn’t have enough to keep pushing through to the next step. She too easily settled back into a new routine. It took shock and the removal of the guy she was clinging to to really make her change stick.

While Meiko is often aimless, the book is not. If you like Honey & Clover, try this for a more realistic, less wacky take on sometimes similar happenings. And be sure to linger over the outstanding art capturing the band’s stage performance. It captures music and energy wordlessly.

Here are a few more reviews:

• “like Scott Pilgrim but without the video game realism, and twice as much of the drama” — Christopher Butcher
• “a classy, beautiful book and at over 400 pages, a bargain to boot” — Greg McElhatton
• “exactly the kind of book that fans of manga who want to read mature, adult work have been hoping for” — Matthew J. Brady

Another Inio Asano work, What a Wonderful World!, has just been offered for order through the Previews catalog. Two volumes, 210 pages/$12.99 each, JUL09 1105 and JUL09 1106. They’re due out in October. (A complimentary copy for this review was provided by the publisher.)

I noticed, in the latest Previews catalog, that the new Wonder Woman collection, Rise of the Olympian, is being published simultaneously in hardcover and paperback. It’s due out November 4 at $24.99 for hardcover and $14.99 for paperback, reprinting Wonder Woman #20-27.

Is that the first time DC has done such a thing? Are they experimenting with lessening the delays before they put out collections? Or trying to maximize sales by putting out both formats at once, the deluxe hardcover for the dedicated reader and the cheaper trade for the bargain shopper?

The Comics Before 1945 (hardcover)
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Each decade from 1900 through the forties gets a chapter, consisting of an introduction that sets the historical stage, both culturally and in terms of significant comic strip changes; a series of one-page biographical profiles of key artists from that period, followed by examples of their work; and samples of other key strips of the period, often grouped thematically. There are also short pieces on cultural issues, such as the use of racial caricature and changing roles for female characters (praised for being both “hardworking and attractive”; although there are no female artists profiled in the book, there is a short section mentioning some of the best-known names in the 40s chapter introduction).

The decade overviews are written as surveys, briefly mentioning as much as possible in a dry, reporter-like “just the facts” style. As the book progresses, strips change from goofy comedy drawn in ways that look incredibly immature to our eyes to cliffhanger-driven adventure tales with fine illustration and graphically developed styles.

The biggest problem with the book is the same that mars any such survey volume: the desire for more. One or two strips from classic runs are hardly enough to understand why they’re so revered, but the only way to solve that would be to make it a DVD instead of a book, and reading comic strips on a screen would be even further removed from the original experience. Many of the better-known later period adventure strips are becoming available in comprehensive reprint volumes from other publishers, though.

I still don’t understand why Krazy Kat is so beloved, but I got to see Blondie back when she was a flapper and Dagwood a millionaire’s son. I look forward to seeing the companion volume, The Comics Since 1945, where I’ll be more familiar with the strips it contains.