#good graphix

[wormsagainstnuclearkillers]

angry 12 year old boy sends you death threats

[bigcats-birds-and-books]

post nocturnal binge read update: so i do love animorphs with My Entire Chest, right, and i'm definitely gonna do a series reread once i have access to all my books again.

however.

i...don't love the graphic novels as much? like the visual body horror of morphing is delightful, don't get me wrong, but. i don't think the graphic form, as adapted by this particular artist at any rate, does the story justice? so much of the nuance and depth and Big Themes comes from the first person POV narration, which (aside from book 3) has been Very Quiet in these adaptations--it's the same plot but not really the Same Story, told this way, and the only reason i have any reaction to the graphic novels at all is because i'm bringing years of emotional context and history and familiarity to my read. very little of that made it On Page in the graphic version of THE MESSAGE (although again: iirc THE ENCOUNTER handled it a little better).

tl;dr: as a long-time animorphs fan, i'm enjoying the graphix adaptations but i don't think they're good enough to stand alone

[emilylovesbooks]

Dog Man by Dav Pilkey

Genre: Graphic Novel

Targeted Age Group: elementary school age

Summary: Dog Man is a police officer in his town with the head of a dog and the body of a man. He fights crime, especially trying to stop the notorious bad guy Petey the cat from wreaking havoc and taking over the town.

Why I chose this book: I chose this book because I have seen many children at my local library check out Dog Man and its many sequels. As far as I know Dog Man has not won any awards, but how much it is read by children at my library tells me it is a good book. We have at least two copies of each of the books at our library, but they are too well loved to spend much time on the shelves. Another reason I chose this book is because Dav Pilkey is a renowned author for many of his other popular children's books, such as the Captain Underpants series and Caldecott Honor The Paperboy.

Evaluation:

Since Dog Man is a graphic novel, the pictures are an important part of telling the story. In this book, the author uses the pictures to add to the plot of the story. While most pictures in the book have words or dialogue written on them, there are some that have no words. The wordless pictures are still crucial to the story because they show characters' emotions, affect the tone, or add feeling to the story. In the example below, 4 of the 6 panels on the page have no words. The author uses the wordless panels to tell the reader something about Dog Man's personality that is best understood by just a visual.

Another notable aspect of Dog Man is the writing style and language. Pikley writes the book as if it is written a young boy (about the age of the target audience) writing comics in class. This means that the language is simple and straightforward. As with most graphic novels, there is very little text outside of character dialogue. While some might argue that the lack of "vocabulary words" or complex sentences makes Dog Man "low quality literature", I would argue that the simplicity is an important and definitive aspect of what makes the story likable. Pilkey's use of illustrations along with simple style and language makes the story accessible and enjoyable even to those who might struggle with reading full paragraphs or chapter books.

A third defining feature of Dog Man is the lighthearted and funny mood. Even though Dog Man is fighting the "evil" Petey, no reader would be scared of Petey because the mood of the book is not scary. The target audience for this book (elementary or middle schoolers) is a group that is notorious for not taking things seriously. Therefore, a book that is not serious is a good thing for this audience. Pilkey does a good job of creating a fun and humorous mood by incorporating some jokes that might be considered "immature" by some. But as anyone who has spent time with 9 year old boys can tell you, there is nothing they love more than goofy and immature jokes.

Citation: Pilkey, D. (2016). Dog Man. Graphix, an imprint of Scholastic. 

[balanceoflightanddark]

The Metal Tyrant

The 70s were...an odd time to be a Godzilla fan. For a while now, the series had been slowly but surely been reworked to appeal more to kids. Granted the signs were there since Ghidorah the Three-Headed Monster by turning Godzilla into a good guy (I for one don't have a problem with that, it's mainly a question of execution), and had been ramping up to right before Destroy All Monsters by giving Godzilla a son (again, it's more a question of execution as opposed to the very idea being bad).

Starting with All Monsters Attack! though, the series had kicked into the kiddie appeal fully. There's a lot of reasons I can point to such as trying to compete with the rise of television at the same time, but regardless, Godzilla's glory days were far behind him. And the resulting dork age had colored the public's perception of the King of the Monsters for a long time.

...kind of surprising then that Mechagodzilla, one of the Big Five (Toho's most popular monsters: Godzilla, Mothra, Rodan, King Ghidorah, and Mechagodzilla) originated from this period. Even more surprising that Godzilla vs Mechagodzilla and Terror of Mechagodzilla actually ended the series on a high note (in my opinion) before declining tickets sales put the series on ice before the Hesei reboot.

Again, some of the reasons include a return to a darker tone in line with the early Showa era films, but one of the big reasons is Mechagodzilla himself. And how different he was from the rest of the later Showa era villains.

In wanting to appeal to kids, the newer monsters like Gigan and Megalon had personalities that would appeal to kids. They were evil, but were expressive in an odd childlike way. Gigan celebrated whenever he got a hit on Godzilla while Megalon was a bit of a simpleton. Again, evil but not necessarily a threat.

Mechagodzilla on the other hand?

He didn't give a fuck.

Designed as a robotic duplicate with the purpose to kill Godzilla, Mechagodzilla had the demeanor and cold-bloodedness of a Terminator. The 1992 book Special Graphix Godzilla vs Mothra sums up why exactly the mech stood out so much compared to the rest of the rogue's gallery:

If King Ghidorah is a dignified villain, then Mechagodzilla has the image of a nihilistic killer. Gigan has a similar image of a killer but his image of a bloodthirsty, ferocious cutthroat serves as contrast, as Mechagodzilla has a strong image of a consistently cold-hearted and composed professional. This is because Mechagodzilla is a literal mecha, so its true feelings are unable to be seen. Thus is the charm of Mechagodzilla.

Mechagodzilla wasn't just cold hearted, he was brutally efficient. His first fight with Anguirus (disguised as Godzilla) literally had him breaking the ankylosaur's jaw. He then followed that up by wounding Godzilla and forcing him to retreat to heal up. All with the demeanor of a seasoned killer getting a job done. Which ironically makes him more terrifying since you're basically up against something that will butcher you with all the passion of a calculator.

And it's that dedication to actually getting the job done that made him a terrifying threat. Mechagodzilla doesn't take a moment to relish in getting a hit on Godzilla. He'll just pour in his entire arsenal of missiles, lasers, and weapons without relent just to make sure Godzilla doesn't get up again. Hell, I wouldn't be surprised if he unloaded his whole destructive capabilities into Godzilla's corpse just to be on the safe side.

It's that unrelenting brutality which made him such a threat. Godzilla needed the help of King Caesar just to even the odds, and Mechagodzilla still turned the lizard king into a blood fountain. Hell, Mechagodzilla got even closer in the next film when along with Titanosaurus they beat Godzilla so bad he couldn't stand up and literally buried the King of the Monsters. Mind you, Godzilla at this point had defeated virtually everything after Destroy All Monsters with varying degrees of difficulty. Yet every battle against Mechagodzilla turned into a fight for survival.

And his popularity quite reasonably skyrocketed. He'll come back again and again in subsequent series to deliver more beatdowns with (outside of the Millenium series) the same demeanor that almost spelled doom for Godzilla in the first place.

[literaticat]

I've been an Art Director and graphic artist for many years, but my heart lies in kid-lit. I know that portfolios should be very strict to one style to attract a literary agent. I've spent my career adapting to every art style imaginable, so it's challenging to work in one strict style, but I'm trying! Still, I find my PB style differs from my MG style.. and am recently working on a Graphic Novel involving bold lineart which feels very different again. Any advice? Am I overthinking it? Ty.

I'd say you're overthinking. And I think it's... a GOOD thing if your MG and PB and GN styles are different? like... those are different formats with different norms and expectations. My client who does gorgeously saturated watercolors for PB is just not going to use that style for a GN, it would be weird as hell. (I mean - it COULD be cool - but it would probably end up being like, an experimental art book from Phaidon or something, not a Scholastic Graphix GN, you know?)

So if you're really good at a couple different styles, I would just embrace that. And on your website portfolio, have tabs. PB illustration samples, B&W Spot Art illustration samples. Book Jacket illustration samples. GN illustration samples. (Or whatever).

[first-mistake-forever-more]

What do you like about Illustrator, if you don't mind me asking?

i like that its vector based some stuff ive tried to do for a few yrs only rly works on vectorized graphix so its a good step to take for me but im not moving software just broadening my toolkit im a fan of very simple shapes so i just making simple stuff w the most basic features so far but its fun af

[werewolfinthelivingroom]

Rating Different Versions of Will Blake

Because Fever Swamp Brain is real

Official

OG Book: Not much to say, he was clearly just a dude. A guy alright. Twist is there just because we need a twist, but you can feel a good chunk of personality whenever Cassie antagonizes him.

8 R.L. Stines/10

Graphix: Great design since the art style is killer, and absolutely love the way it’s more obvious here that he’s actively interested in Grady for some reason. The gay undertones are slowly becoming apparent.

10/10

OG TV Show: Will’s actor has to take on both Will and Cassie’s roles in the story since Cassie got cut, but he really does bring Will to life as a character. He’s a more active threat, even if he canonically dies in this version. The eclipse scene though? * Chef’s kiss * absolutely gay as hell, if Will Blake was in Twilight (and the actors were all the same age) he would’ve bagged Bella AND Edward. 

11/10

Movies: My personal headcanon is that the monsters in the Manuscripts are beta versions of the characters in the official books, and this is why almost none of them match their book versions in either personality and design. The design is absolutely killer, but it’s obviously not the twelve-year-old if his six pack and tattoo weren’t obvious enough. Even the branding makes it clear that this is “The Werewolf of Fever Swamp” as a character, rather than Will Blake.

If he was a character in the book I can totally see him as like, Will’s cooler older brother who’s also a Werewolf and maybe Will would have less trauma in my fic.

0/10 as a Will, but 10/10 as a Design.

Horrortown: Just like Bart.

IDK maybe the designers just saw the word “flat-top” and went buck wild, I would believe his character design belonged to CONAN before Will Blake (ToT). Personality wise, he’s straight ;^; also if he wants Marty to leave Courtney alone, he should just date him - boom, problem solved. When he isn’t being the “Am Am Werewolf” in Courtney King’s General direction he’s pretty fun since he’s basically a Dogboy.

6/10

- IDK if Will cameos or even gets a mention in the Fever Swamp comics besides sharing the name “Blake” with a main character. Hit me up if he ever appears in anything else. Fanfic Will’s in the Readmore.

Non-Canon

The Werewolves of Fever Swamp by Monokuma_memes(X): My own Will and I’m not deluded enough to rate my own writing, so read it yourself and make your voice heard. He’s gay and has trauma and that’s all I’m spoiling now.

?/10

You Never Grow Out of Your Goosebumps Phase by bluemandycat(X): Kickstarted me actually sitting down to write my fic, mostly because I wanted to put my own fucked up Will out there. Beware because Grady and Will aren’t really healthy at the point the protags of this fic find them, but you do feel a little bad for Will when he’s not being a dick. For what little we see of him, very interesting.

6 bullets from Cassie/10

Goosebumps United... (2014) by Lord Candycane(X): Aw yes, the Infinity War of Goosebumps/j. Not much for Will to do in this fic besides cameo every once in a while, since there are like...100 characters here. Though I do like the idea that Grady and Cassie just keep him in check like it’s their job. He also gets to be emo about being a Werewolf here! No gay undertones, since Grady holds most of them in that one chase scene.

5/10

Goosebumps United (2021) by Sweetiebuttons(Ao3:X and FFN:X): Okay, so SB made a fic based on Candycane’s fic(basically their own take on the idea) and just went hamwild. It’s crossposted on FFN and Ao3 but for some reason under different names and also FFN has more chapters uploaded(maybe they’re retooling the fic for ao3??). SB portrays him much more sympathetically, sometimes to a kinda cheesy degree? Honestly. it’s pretty endearing in a “webkinz milk cat” kind of way. Absolutely love him becoming friends with people that did this to him:

Not to expose myself for having terrible taste as a kid, but I like the touch of comparing Will to another gay-coded werewolf. Will gets to meet other werewolves and it’s definitely fascinating to think how he’s the only lycanphobic werewolf in GB canon - there’s even some more Fever Swamp lore based on what little we had in the first United fic. I do like how Will is now the straight man and just has to deal with constant BS from his fellow werewolves, and I especially like the idea of Will not being comfortable with how gung-ho Grady is about being a werewolf. 

The dialogue is kinda confusing, and Will just goes all over the place and never finishes the interactions so we don’t get much. But I do like the ideas that are presented here.

6/10

Werewolf of Fever Swamp by sweetie buttons(X): Okay this fic is a revisionist piece on Grady having a Father/Son relationship with the Swamp Hermit, and Grady doesn’t become a Werewolf. Will is irrelevant in SB’s sequel to this fic, but for what was shone he sticks closely to his book counterpart. Except for the reveal, because like...Will did not even feel like he wanted to eat Grady. Like every description of him felt like Will wanted to cry and throw-up over how beautiful his boyfriend is. This Will would’ve bit Grady on purpose 100% and the Hermit and [REDACTED] were homophobic to get in the way of that/j.

5/10

Welcome to Goosebumps High by DanielDaponte(X): Not much to say, its Monster High but Goosebumps and it got put on permanent hiatus. But Will shows up for one chapter, now an adult and the school’s gym teacher(C.E. Teacher??), which is honestly the funniest thing that has happened with the character. I also forgot about the main character thirsting after him, which is doubly funny.

10 Werewolf Thirst Traps/10

The Goosebumps School(and it’s many sequels) by SquadMemberK17(X): This series is so fascinating, I could go on about how bonkers the sequels get and how weirdly engaging this self-ship fic about the hat guy from the Dead House live action episode. Like, a bunch of Goosebumps protags are brutally murdered in this fic it is so mindboggling. BUT we are here for Will and he’s a side character in the MC’s friendgroup, in fact, he’s the first person she meets. Will is weird because the author has a bunch of weird ships besides the main one with her self-insert, but Will gets paired with Hannah Stoneman from Werewolf Skin in what I can only call...Monster race shipping? Will honestly had more chemistry with the main character and Grady. Speaking of Grady!

The plot has Sarabeth doing weird shit to destroy the main character for some reason and it would take forever to explain, but one of her plans include getting the Swamp Hermit to kill the MC and Will. You see, in this canon the Swamp hermit killed Grady when he got turned and reveals Will’s past to the MC. Will then saves MC and kills the hermit, and after this traumatizing event it’s never talked about again?? Also, Grady’s cameo just involves his severed head so have fun with that (ToT). Will still had better chemistry with a Dead Grady than he did with HANNAH. 

Goosebumps Adventure by Stone-Man85(X): It took me too long to realize this fic plagiarized the Haunting Hour movie, and even a more embarrassing amount of time to realize Grady and Will don’t show up (even in the Fever Swamp chapter). This led to a rabbithole that decimated one of my non-GB discords, but as for the Fever Swamp chapter I did not expect that much homophobia to be thrown into my face. Also, RL Stine is a real person in this fic and dies in the first chapter.

-85/10 a plague upon the Author’s house.

- I’m not talking about the fic where a dude’s fursona has a yaoi moment with the Movie version of Will. Or the Wattpad selfship fics. 

[fipindustries]

Today i had another of those dreams where the graphix card in my brain ended up being a bit too powerful.

I was on a tourist trip in golgotha, they had built a tourist trap there with what was supposed to be a replica of jesus at the cross with the other two criminals.

Of course the place is a labyrinth of gift shops and stands and pamphlets. This big building filled with cheap merchandise. I just wanted to see the crucifixion out of mild curiosity. I didnt expect much, just a quaint historical curiosity. I was aware that these things were built to impress and evangelize. You are meant to see something that shocks you and moves you into start believing. but i was resolved to not be moved by it.

Eventually i reach a court yard and come outside. It was night.

Holy shit

The thing was big, like really fucking big. You dont take dimension of how big things are until you are in front of them. 30 meters tall is really fucking big. Those three croses were really fucking impressive. Specially because they were kind of disproportionate.

The human figures were natural sized but the poles that held them up were unnervingly long. and as a cherry on top jesus was framed by the moon behind it. Also the crosses and the figures in them were almost entirely dark, highlighted only by a silver lining of pale white moonlight glinting off the edges.

It was a little scary, not gonna lie. Specially because in a dream emotions are a bit more unhinged

Still, even though i was shook i kept enough of my composure to be like " damn that really is impressive, good job, i still dont believe though, anyone can do what you did with enough money and talent for presentation"

Then the jesus started floating off the cross and someone next to me explained that they were moving him with a crane to put it inside because they had to dissasemble the thing and keep it in when they close off the shop every night.

[wormsagainstnuclearkillers]

[canvasgraphix]

How Much Should You Pay for a Canvas Print?

When decorating your home or office,Canvas online prints offer a stylish and personal touch. However, with so many options on the market, it can be challenging to determine how much you should actually pay for a canvas print. This guide will help you understand the factors that influence the pricing of canvas prints and provide tips on finding the best value for your money. One excellent example of a provider with competitive pricing and high-quality products is Canvas Graphix.

Size of the Print

The size of the Canvas prints shop near me is one of the primary factors that affect the cost. Naturally, larger prints will cost more due to the higher amount of material and ink used. At Canvas Graphix, sizes range from small desk-friendly canvases to large statement pieces that can dominate a wall. Prices are scaled accordingly, so it's important to consider the impact you want your print to have versus your budget.

Quality of Materials

The type of canvas and ink used in the printing process also plays a crucial role in determining the price. High-quality canvases made from durable, long-lasting materials such as heavy cotton or linen, combined with archival ink, can be more expensive, but they offer superior color depth and longevity. Canvas Graphix uses only premium materials, ensuring that your artwork remains vibrant and intact for years.

Complexity of the Design

Custom prints, especially those that require additional graphic design or intricate detailing, may cost more. This is because of the extra time and resources needed to ensure the final product meets quality standards. Canvas Graphix offers both straightforward options for simpler designs and custom services for more complex artworks.

Framing Options

Whether you choose to have your canvas stretched over a wooden frame or opt for a rolled canvas can affect the cost. Stretched canvases are ready to hang and offer a professional look, but they are generally more expensive due to the labor and materials involved. Canvas Graphix provides various framing options to suit different tastes and budgets.

Production and Shipping

The cost of producing and shipping your canvas print must also be considered. Some companies include shipping in the cost of the print, while others charge it separately. Canvas Graphix offers transparent pricing with detailed information on production times and shipping costs, allowing you to make an informed decision without unexpected fees.

Brand Reputation and Customer Service

Investing in a canvas print from a reputable company ensures you receive a product that meets your expectations. A good reputation, backed by positive customer reviews and reliable customer service, can justify a higher price point. Canvas Graphix prides itself on exceptional customer service and has garnered a loyal customer base through consistent quality and support.

Conclusion

The cost of a canvas print can vary widely based on the factors discussed above. At Canvas Graphix, you are investing in quality and durability, ensuring that your canvas print is a lasting addition to your space. For specific pricing, visit Canvas Graphix and explore their extensive range of options to find the perfect canvas print at a price that fits your budget.

For More Info:-

Custom canvas prints

Newborn personalised gifts

[letragraphix]

Lubricant Labels Printers in India -Letra Grpahix

Letra Graphix is an ideal place for superior lubricant label printing in India! With a focus on accuracy and originality, we create labels that effectively convey the quality of your goods. Improve the visibility of your brand with our custom printing options.

Call us today : +91-2764666602

[artbymike1]

Dog Man: The Scarlet Shedder, March, 2024, Graphix/Scholastic Inc.

3.5/5

When I saw this book I was actually kind of excited. The cover made it to be a really good possibility of a story.

After reading the book, the cover ends up not being the main story. It ends up being a side story taking place in the main story.

That was a disappointment, I was expecting more story of what the cover was telling you then what actually happened.

The title of this book should have been Wally and Dr. Scum.

[the-firebird69]

Watch "KTM 105SX Walk Around" on YouTube

So the guy from before just another one of these idiots but he's reselling them and we don't care it's a good way to get them out the door and he's accepting the liability and he's frauding so he can get arrested people and threaten before stuff but this is the bike that's ideal size for most people on earth I mean you're all small it's a 100 and the power level is there they just make a street bike like this that sell like hotcakes and he wants to make one and he wants to make one ATK and she wants to make one at KTM really and she says it's not a gas gas and you don't have you don't have to but it'll be nice because it would sell better as gas gas and really they don't build any bikes anymore nor does ATK so they're both looking at the 100 two-stroke and they're going to try and make it into a street bike and it be like a super Moto look and for a scooter motorcycle it's really a motorcycle it's awesome it's just a small motorcycle people love it love it top speed would be like 80 85 and you could hold 300 lb to go everywhere and really we probably should start making them they won't be as cheap but they'll be inexpensive I don't think we sell them for five grand or four grand they're not worth that much as a 100 cc in the dirt bikes and so forth they're around 2,800 so he says that that's the other brands and they're well known and it's true so you can probably get away with selling it for like $2,300 and it's because it's a small motor and cheap and we certainly get that and she says you're right so we're going to start making these to have these all over China but motorcycles like this size but they look like like a cafe racer cruiser type with the safety bars and stuff it's crazy there's millions of this out there cuz this thing has a lot of power for a small bike and this is what we're thinking of even to put this out as an Enduro at first and a little bit beefier motor is a 110 or 125 and Cafe erase your style golden shock look the Chinese kind of bike it's not a Chinese style it's a it's like a super mode of look for a small bike and we're going to go ahead and start making them

Thor Freya

[transmissionsfromthebattlefield]

Lately I really like going on Discogs and examining all of the album art across the years for whatever musical artist my brain reminds myself of. It’s a fascinating journey, going through the evolution (sometimes devolution) of an artist’s publicly purchasable portrayal (there’s Power in that). The Disney pop stars going from clandestine pop to clandestine pop that happens to have somewhat Blink 182 adjacent guitar and some skinshowing. The punkers who somehow kept on truckin’ into the digital age and their beautifully clunky transitions from cut-and-paste analog collage to top-tier digital vomit. And all the bands where it’s obvious that the deal they struck with their label sold away their license to have an album cover that isn’t genetically engineered to appeal to whatever hip graphix trends are sweeping the nation. From nineties wannabe grunge intentionally-shit photography and questionable font choices to double-0’s vector awesomeness to pseudo-vaporwave hipsterdom for the early tens, maybe an awful eyesore 80s Memphis throwback to show how quirky you are. Nowadays, it’s…well, I’m not quite sure what the dominant style is nowadays. Anachronism? In politics, it’s surely anachronism.

Image is all over the news lately. I mentioned The Wall earlier, and now I’m Germany they’re trying to “probe” Roger Waters for doing the same fascist satire that Pink Floyd’s been doing since the seventies. He’s 79—you’re never too old to have the official Twitter account for ISRAEL call you out because they didn’t like that you called out their awful occupation on your video screen. I don’t agree with everything Roger says; you can’t agree with EVERYTHING someone famous says. (Too many people make the mistake of forgetting this.) But his dedication to calling out that authority is pretty inspiring. Sometimes, being a cranky old man with production values can lead to some good in the world. Respect.

I’m still reeling of that rewatch of The Wall, so much so that I watched it again. I felt like I had to to provide some closure and healing for my hammer-traumatized brain. But it was a numb watch. I was itching for more, more than just consumption, even if it was active. Two-ish weeks ago, rewatching Bob Geldof strut his stuff with no eyebrows and leather boots made me know that I couldn’t just sit idle while stupidity continues to be prescribed to insufferable teenagers and close minded geriatrics alike. While the lowest common denominator continues to be served on a golden platter to the masses. While I’m supposed to care about who’s dating who and who’s having a baby. While politicians and companies regurgitate and pander to humanity’s most base, primal impulses. While dehumanization and stereotype drive sales of dumpster-ready sweatshop shirts emblazoned with empty messages of empowerment and printed denim, and sales are going up, up, up. I was scared. Scared for my agency as a freethinking young woman.

Nothing that $200 worth of FL Studio can’t fix.

[smashpages]

Nominees announced for the 2023 Eisner Awards

Comic-Con International has announced the nominees for this year’s Will Eisner Comic Industry Awards. This is the 35th year for the awards, which will be given out at this year’s Comic-Con International on July 21.

In terms of publishers, Image Comics received the most nominations, followed by DC, Fantagraphics, Marvel and Dark Horse. Creator-wise, Zoe Thorogood led the pack with five nominations. Hall of Fame nominees and inductees were announced earlier this month.

And the nominees are …

Best Short Story

“The Beekeeper’s Due,” by Jimmy Stamp and Débora Santos, in Scott Snyder Presents: Tales from the Cloakroom (Cloakroom Comics)

“Finding Batman” by Kevin Conroy and J. Bone in DC Pride 2022 (DC)

“Good Morning,” by Christopher Cantwell and Alex Lins, in Moon Knight: Black, White & Blood #4 (Marvel)

“Silent All These Years,” by Margaret Atwood and David Mack, in Tori Amos: Little Earthquakes (Z2)

“You Get It,” by Jonathan Hickman and Marco Checchetto, in Amazing Fantasy #1000 (Marvel)

Best Single Issue/One-Shot

Batman: One Bad Day: The Riddler, by Tom King and Mitch Gerads (DC)

Mary Jane & Black Cat Beyond, by Jed Mackay and C. F. Villa (Marvel)

Moon Knight: Black, White, and Blood #3, edited by Tom Brevoort (Marvel)

Star Trek #400, edited by Heather Antos (IDW)

A Vicious Circle Book 1, by Mattson Tomlin and Lee Bermejo (BOOM! Studios)

Best Continuing Series

Daredevil, by Chip Zdarsky, Marco Checchetto and Rafael de Latorre (Marvel)

The Department of Truth, by James Tynion IV and Martin Simmonds (Image)

Killadelphia, by Rodney Barnes and Jason Shawn Alexander (Image)

The Nice House on the Lake, by James Tynion IV and Alvaro Martinez Bueno (DC)

Nightwing, by Tom Taylor and Bruno Redondo (DC)

She-Hulk, by Rainbow Rowell, Rogê Antônio, Luca Maresca, and Takeshi Miyazawa (Marvel)

Best Limited Series

Animal Castle, by Xavier Dorison and Felix Delep (Ablaze)

Batman: One Bad Day, edited by Dave Wielgosz and Jessica Berbey (DC)

The Human Target, by Tom King and Greg Smallwood (DC)

Miracleman by Gaiman & Buckingham: The Silver Age, by Neil Gaiman and Mark Buckingham (Marvel)

Superman: Space Age, by Mark Russell, Michael Allred, and Laura Allred (DC)

Best New Series

The Atonement Bell, by Jim Ousley and Tyler B. Ruff (Red 5)

Love Everlasting, by Tom King and Elsa Charretier (Image)

Public Domain, by Chip Zdarsky (Image)

Star Trek, by Collin Kelly, Jackson Lanzing, and Ramon Rosanas (IDW)

Traveling to Mars, by Mark Russell and Roberto Meli (Ablaze)

Best Publication for Early Readers (up to age 8)

Beneath The Trees: A Fine Summer, by Dav (Magnetic Press)

Fox + Chick: Up and Down: and Other Stories, by Sergio Ruzzier (Chronicle Books)

Grumpy Monkey Who Threw That? by Suzanne Lang and Max Lang (Random House Studio)

Hey, Bruce!: An Interactive Book, by Ryan Higgins (Disney/Hyperion)

The Pigeon Will Ride the Roller Coaster! by Mo Willems (Union Square Kids)

Best Publication for Kids (ages 9-12)

Adventuregame Comics: Leviathan, by Jason Shiga (Amulet/Abrams)

Frizzy, by Claribel A. Ortega and Rose Bousamra (First Second/Macmillan)

Isla To Island, by Alexis Castellanos (Atheneum/Simon & Schuster)

Little Monarchs, by Jonathan Case (Margaret Ferguson Books/Holiday House)

Swim Team, by Johnnie Christmas (HarperAlley)

Best Publication for Teens (ages 13-17)

Chef’s Kiss, by Jarrett Melendez and Danica Brine (Oni)

Clementine Book One, by Tillie Walden (Image Skybound)

Do A Powerbomb! by Daniel Warren Johnson (Image)

Heartstopper Volume 4, by Alice Oseman (Scholastic Graphix)

Wash Day Diaries, by Jamila Rowser and Robyn Smith (Chronicle Books)

Best Humor Publication

Cryptid Club, by Sarah Andersen (Andrews McMeel)

I Hate This Place, by Kyle Starks and Artyom Topilin (Image Skybound)

Killer Queens, by David Booher and Claudia Balboni (Dark Horse)

Mr. Lovenstein Presents: Failure, by J. L. Westover (Image Skybound)

Revenge of the Librarians, by Tom Gauld (Drawn & Quarterly)

Best Anthology

Creepshow, edited by Alex Antone and Jon Moisan (Image Skybound)

The Illustrated Al: The Songs of “Weird Al” Yankovic, edited by Josh Bernstein (Z2)

The Nib Magazine, edited by Matt Bors (Nib)

Sensory: Life on the Spectrum, edited by Bex Ollerton (Andrews McMeel)

Tori Amos: Little Earthquakes, The Graphic Album, edited by Rantz Hoseley (Z2)

Best Reality-Based Work

Alfred Hitchcock: The Master of Suspense, by Noël Simsolo and Dominique Hé, translation by Montana Kane (NBM)

Alice Guy: First Lady of Film, by José-Louis Bocquet and Catel Muller, translation by Edward Gauvin (SelfMadeHero)

But I Live: Three Stories of Child Survivors of the Holocaust, edited by Charlotte Schallié (University of Toronto Press)

Flung Out of Space, by Grace Ellis and Hannah Templer (Abrams ComicArts)

Invisible Wounds: Graphic Journalism, by Jess Ruliffson (Fantagraphics)

Pinball: A Graphic History of the Silver Ball, by Jon Chad (First Second/Macmillan)

Best Graphic Memoir

Down to the Bone: A Leukemia Story, by Catherine Pioli, translated by J. T. Mahany (Graphic Mundi/Penn State University Press)

Ducks: Two Years in the Oil Sands, by Kate Beaton (Drawn & Quarterly)

It’s Lonely at the Centre of the Earth: An Auto-Bio-Graphic-Novel, by Zoe Thorogood (Image)

So Much for Love: How I Survived a Toxic Relationship, by Sophie Lambda (First Second/Macmillan)

Welcome to St. Hell: My Trans Teen Misadventure, by Lewis Hancox (Scholastic Graphix)

Best Graphic Album—New

The Book of Niall, by Barry Jones (Ellie & Beatty)

Crushing, by Sophie Burrows (Algonquin Young Readers)

Francis Rothbart! The Tale of a Fastidious Feral, by Thomas Woodruff (Fantagraphics)

The Night Eaters, Book 1: She Eats the Night, by Marjorie Liu and Sana Takeda (Abrams ComicArts)

Ultrasound, by Conor Stechschulte (Fantagraphics)

Best Graphic Album—Reprint

Days of Sand, by Aimée de Jongh, translation by Christopher Bradley (SelfMadeHero)

Geneviève Castrée: Complete Works, by Geneviève Castrée, translation by Phil Elverum and Aleshia Jensen (Drawn & Quarterly)

Mazebook Dark Horse Direct Edition, by Jeff Lemire (Dark Horse)

One Beautiful Spring Day, by Jim Woodring (Fantagraphics)

Parker: The Martini Edition—Last Call, by Richard Stark, Darwyn Cooke, Ed Brubaker, and Sean Phillips (IDW)

Super Spy Deluxe Edition, by Matt Kindt (Dark Horse)

Best Adaptation from Another Medium

Chivalry by Neil Gaiman, adapted by Colleen Doran (Dark Horse)

Rain by Joe Hill, adapted by David M. Booher and Zoe Thorogood (Syzygy/Image)

Ten Days in a Madhouse, by Nellie Bly, adapted by Brad Ricca and Courtney Sieh (Gallery 13/Simon $ Schuster)

Tori Amos: Little Earthquakes, The Graphic Album, edited by Rantz Hoseley (Z2)

A Visit to Moscow by Rabbi Rafael Grossman, adapted by Anna Olswanger and Yevgenia Nayberg (Turner)

Best U.S. Edition of International Material

Always Never, by Jordi Lafebre, translation by Montana Kane (Dark Horse)

Blacksad: They All Fall Down Part 1, by Juan Díaz Canales and Juanjo Guarnido, translation by Diana Schutz and Brandon Kander (Dark Horse)

Down to the Bone: A Leukemia Story, by Catherine Pioli, translation by J. T. Mahany (Graphic Mundi/Penn State University Press)

The Pass, by Espé, translation by J.T. Mahany (Graphic Mundi/Penn State University Press)

Tiki: A Very Ruff Year, by David Azencot and Fred Leclerc, translation by Nanette McGuinness (Life Drawn/Humanoids)

Best U.S. Edition of International Material—Asia

Black Paradox, by Junji Ito, translation by Jocelyne Allen (VIZ Media)

The Hellbound vols. 1-2, by Yeon Sang-ho and Choi Gyu-seok, translation by Danny Lim (Dark Horse)

Look Back, by Tatsuki Fujimoto, translation by Amanda Haley (VIZ Media)

PTSD Radio vol. 1, by Masaaki Nakayama, translation by Adam Hirsch (Kodansha)

Shuna’s Journey, by Hayao Miyazaki; translation by Alex Dudok de Wit (First Second/Macmillan)

Talk to My Back, by Yamada Murasaki, translation by Ryan Holmberg (Drawn & Quarterly)

Best Archival Collection/Project—Strips (at least 20 years old)

Bungleton Green and the Mystic Commandos, by Jay Jackson (New York Review Comics)

Come Over Come Over, It’s So Magic, and My Perfect Life, by Lynda Barry (Drawn & Quarterly)

The George Herriman Library: Krazy & Ignatz 1922-1924, by George Herriman, edited by J. Michael Catron (Fantagraphics)

Macanudo: Welcome to Elsewhere, by Liniers, edited by Gary Groth (Fantagraphics)

Pogo The Complete Syndicated Comic Strips: Volume 8: Hijinks from the Horn of Plenty, by Walt Kelly, edited by Mark Evanier and Eric Reynolds (Fantagraphics)

Best Archival Collection/Project—Comic Books (at least 20 Years Old)

The Deluxe Gimenez: The Fourth Power & The Starr Conspiracy, by Juan Gimenez, edited by Alex Donoghue and Bruno Lesigne (Humanoids)

The Fantastic Worlds of Frank Frazetta, edited by Dian Hansen (TASCHEN)

Home to Stay! The Complete Ray Bradbury EC Stories, by Ray Bradbury and various; edited by J. Michael Catron (Fantagraphics)

The Simpsons Treehouse of Horror Ominous Omnibus 1 (Abrams ComicArts)

Walt Disney’s Uncle Scrooge: The Diamond Jubilee Collection, by Carl Barks; edited by David Gerstein (Fantagraphics)

Best Writer

Grace Ellis, Flung Out of Space (Abrams ComicArts)

Tom King, Batman: Killing Time, Batman: One Bad Day, Gotham City: Year One, The Human Target, Supergirl: Woman of Tomorrow (DC); Love Everlasting (Image)

Mark Russell, Traveling to Mars (Ablaze), One-Star Squadron, Superman: Space Age (DC); The Incal: Psychoverse (Humanoids)

James Tynion IV, House of Slaughter, Something Is Killing the Children, Wynd (BOOM! Studios); The Nice House on the Lake, The Sandman Universe: Nightmare Country (DC), The Closet, The Department of Truth (Image)

Chip Zdarsky, Stillwater (Image Skybound); Daredevil (Marvel)

Best Writer/Artist

Sarah Andersen, Cryptid Club (Andrews McMeel)

Kate Beaton, Ducks: Two Years in the Oil Sands (Drawn & Quarterly)

Espé, The Pass (Graphic Mundi/Penn State University)

Junji Ito, Black Paradox, The Liminal Zone (VIZ Media)

Zoe Thorogood, It’s Lonely at the Centre of the Earth (Image)

Best Penciller/Inker or Penciller/Inker Team

Jason Shawn Alexander, Killadelphia, Nita Hawes’ Nightmare Blog (Image)

Alvaro Martínez Bueno, The Nice House on the Lake (DC)

Sean Phillips, Follow Me Down, The Ghost in You (Image)

Bruno Redondo, Nightwing (DC)

Greg Smallwood, The Human Target (DC)

Best Painter/Multimedia Artist (interior art)

Lee Bermejo, A Vicious Circle (BOOM! Studios)

Felix Delep, Animal Castle (Ablaze)

Daria Schmitt, The Monstrous Dreams of Mr. Providence (Europe Comics)

Sana Takeda, The Night Eaters: She Eats the Night (Abrams ComicArts); Monstress (Image)

Zoe Thorogood, Rain (Syzygy/Image)

Thomas Woodruff, Francis Rothbart! The Tale of a Fastidious Feral (Fantagraphics)

Best Cover Artist (for multiple covers)

Jen Bartel, She-Hulk (Marvel)

Bruno Redondo, Nightwing (DC)

Alex Ross, Astro City: That Was Then . . . (Image); Fantastic Four, Black Panther (Marvel)

Sana Takeda, Monstress (Image)

Zoe Thorogood, Joe Hill’s Rain (Syzygy/Image)

Best Coloring

Jordie Bellaire, The Nice House on the Lake, Suicide Squad: Blaze (DC); Antman, Miracleman by Gaiman & Buckingham: The Silver Age (Marvel)

Jean-Francois Beaulieu, I Hate Fairyland 2022, Twig (Image)

Dave McCaig, The Incal: Psychoverse (Humanoids)

Jacob Phillips, Follow Me Down, The Ghost in You, That Texas Blood (Image)

Alex Ross and Josh Johnson, The Fantastic Four: Full Circle (Abrams ComicArts)

Diana Sousa, Critical Role: Vox Machina Origins; The Mighty Nein Origins: Yasha Nydoorin; The Mighty Nein Origins: Fjord Stone; The Mighty Nein Origins: Caleb Widogast (Dark Horse)

Best Lettering

Pat Brosseau, Batman: The Knight, Wonder Woman: The Villainy of Our Fears (DC): Creepshow, Dark Ride, I Hate This Place, Skybound Presents: Afterschool (Image Skybound)

Chris Dickey, The Night Eaters: She Eats the Night (Abrams ComicArts)

Todd Klein, Chivalry (Dark Horse); Fables (DC); Miracleman by Gaiman & Buckingham: The Silver Age (Marvel)

Nate Piekos, Black Hammer Reborn, Minor Threats, Shaolin Cowboy, Stranger Things: Kamchatka (Dark Horse), I Hate Fairyland, Twig (Image)

Stan Sakai, Usagi Yojimbo (IDW)

Thomas Woodruff, Francis Rothbart! The Tale of a Fastidious Feral (Fantagraphics)

Best Comics-Related Periodical/Journalism

Alter Ego, edited by Roy Thomas (TwoMorrows)

Comic Book Creator, edited by Jon B. Cooke (TwoMorrows)

The Comics Journal #308, edited by Gary Groth, Kristy Valenti, and Rachel Miller (Fantagraphics)

PanelXPanel magazine, edited by Hassan Otsmane-Elhaou and Tiffany Babb (panelxpanel.com)

Rob Salkowitz, Forbes, ICv2, Publishers Weekly

Best Comics-Related Book

The Art of the News: Comics Journalism, edited by Katherine Kelp-Stebbins and Ben Saunders (Oregon State University Press)

Charles M. Schulz: The Art and Life of the Peanuts Creator in 100 Objects, by Benjamin L. Clark and Nat Gertler (Schulz Museum)

The Charlton Companion, by Jon B. Cooke (TwoMorrows)

Gladys Parker: A Life in Comics, A Passion for Fashion, by Trina Robbins (Hermes Press)

Resurrection: Comics in Post-Soviet Russia, by José Alaniz (Ohio State University Press)

Best Academic/Scholarly Work

Bandits, Misfits, and Superheroes: Whiteness and Its Borderlands in American Comics and Graphic Novels, by Josef Benson and Doug Singsen (University Press of Mississippi)

Graphic Medicine, edited by Erin La Cour and Anna Poletti (University of Hawai’i’ Press)

How Comics Travel: Publication, Translation, Radical Literacies, by Katherine Kelp-Stebbins (Ohio State University Press)

The LGBTQ+ Comics Studies Reader: Critical Openings, Future Directions, edited by Alison Halsall and Jonathan Warren (University Press of Mississippi)

Teaching with Comics and Graphic Novels. By Tim Smyth (Routledge)

Best Publication Design

Francis Rothbart! The Tale of a Fastidious Feral, designed by Thomas Woodruff, Jacob Covey, and Ryan Dinnick (Fantagraphics)

A Frog in the Fall (and later on), designed by Linnea Sterte, Olle Forsslöf, and Patrick Crotty (PEOW)

Joan Jett & the Blackhearts 40X40: Bad Reputation/I Love Rock-n-Roll, designed by Josh Bernstein and Jason Ullmeyer (Z2)

Mazebook Dark Horse Direct Edition, designed by Tom Muller (Dark Horse)

Parker: The Martini Edition—Last Call, designed by Sean Phillips (IDW)

Tori Amos: Little Earthquakes, The Graphic Album, designed by Lauryn Ipsum (Z2)

Best Webcomic

Deeply Dave, by Grover, http://www.deeplydave.com/

Delilah Dirk: Practical Defence Against Piracy, by Tony Cliff, https://www.delilahdirk.com/dd4/dd4-p46.html

Lore Olympus, by Rachel Smythe (WEBTOON), https://www.webtoons.com/en/romance/lore-olympus/list?title_no=1320&page=5

The Mannamong, by Michael Adam Lengyel, https://mannamong.com/episode-1/

Spores, by Joshua Barkman, https://falseknees.com/22ink1.html

Best Digital Comic

All Princesses Die Before Dawn, by Quentin Zuttion, translation by M. B. Valente (Europe Comics)

Barnstormers, by Scott Snyder and Tula Lotay (Comixology Originals)

Behind the Curtain, by Sara del Giudice, translation by M. B. Valente (Europe Comics)

Ripple Effects, by Jordan Hart, Bruno Chiroleu, Justin Harder, and Shane Kadlecik (Fanbase Press)

Sixty Years in Winter, by Ingrid Chabbert and Aimée de Jongh, translation by Matt Madden (Europe Comics)

[grafixsystems]

Graphix Systems - The Best Destination To Get Amazing Vehicle Branding Ideas

Vehicle wraps come with a lot of marketing benefits. This isn't a direct marketing benefit. The finish is protected from damage and rust by a vinyl decal. The protective power of a vehicle graphic is an approach to help your business flourish. Keeping your company buses in good shape will retain their value, freeing up funds to pursue even more marketing endeavors. Connect with Graphix System for innovative vehicle branding ideas.