I told you Daredevil would sweep the awards.
Here’s the list of the major awards, with a few notes here and there:
CONGRATULATIONS TO THE HARVEY AWARD WINNERS!
Here’s the list of the major awards, with a few notes here and there:
- Best Colorist: Dave Stewart, Hellboy: The Fury. Hellboy’s stylized coloring is a key element to the overall look of the book. A great choice by the panel.
- Best Syndicated Strip Or Panel: Cul De Sac, Richard Thompson. So sad that Parkinson’s is ending this strip….
- Best Letterer: Chris Eliopoulos, Fear Itself.
- Best Online Comics Work: Hark! A Vagrant, Kate Beaton (http://harkavagrant.com/). Beaton’s work is fabulous. She won several other awards as well. I also really liked the work by Mike Norton, who was nominated for Battlepug in this category.
- Best Inker: Joe Rivera, Daredevil. And Daredevil scores its first win…
- Best New Series: Daredevil. …And its second, beating Rachel Rising, which, if you’re not reading, you’re missing something amazing.
- Most Promising New Talent: Sara Pichelli, Ultimate Spider-Man. I can’t deny Pichelli, but Nathan Edmondson’s Who Is Jake Ellis? was also terrific.
- Best Original Graphic Publication For Younger Readers: Anya’s Ghost.
- Best Anthology: Dark Horse Presents.
- Best Domestic Reprint Project: Walt Simonson’s The Mighty Thor Artist’s Edition. Yes!!!
- Best Cover Artist: J.H. Williams, Batwoman. I can’t believe Paolo Rivera lost. I met him at Baltimore Comicon on Sunday—hell of a guy.
- Best Graphic Album Original: Jim Henson’s Tale Of Sand.
- Best Continuing Or Limited Series: Daredevil. Beating Rachel Rising again!
- Best Writer: Mark Waid, Daredevil.
- Best Artist: J.H. Williams, Batwoman beating Paolo Rivera again!
- Best Single Issue or Story: Jim Henson’s Tale Of Sand…Beating Daredevil!
As I strolled through Baltimore cc this weekend, I was amazed at how many “indie” creators there are out there with tremendous talent, yet the folks who really get attention are the ones who work (or have worked) for Marvel or DC. This goes to the argument in favor of the big two owning work for hire. Lots of folks gripe about how the page rate is too low, or how they screwed (Kirby/Moore/Ditko/fill in the blank), but all those folks could make money—real money!—in art only because they were part of the Marvel/DC corporate machine. It’s cool to see folks like Brubaker, Rivera, Waid and others make their bones in the creator-owned world now, because it means they can make way for the Pichellis of the world: Newer creators who can “slave” in the Marvel/DC “pit” before they, too, become famous enough to move on. That’s the way the world works in all professions, frankly
