2013：DC惨败艾森纳 北美日漫或启稳

limmor

这两天有空看了看4月的漫画资讯，除了ComicsAlliance关站外最有话题性的事件莫过于今年艾森纳奖提名的显著变化：超级英雄漫画寥寥。


本届提名我们可以看到独立出版社和独立作品力压两巨头，表现极佳。Fantagraphics获24项提名夺榜首，Marvel凭《鹰眼》的出色品质获7项提名保底，DC则只有两项提名——底裤都不剩了。
如果我们再看下4月份的diamond市场统计，这个事实会显得更加不可思议：
http://www.diamondcomics.com/Home/1/1/3/237?articleID=134435

[table=275px][tr][td=2,1]RETAIL MARKET SHARE[/td][/tr][tr][td=1,1,80%]PUBLISHER[/td][td=1,1,20%]SHARE[/td][/tr][tr][td]MARVEL COMICS[/td][td]37.95%[/td][/tr][tr][td]DC COMICS[/td][td]25.98%[/td][/tr][tr][td]IMAGE COMICS[/td][td]9.04%[/td][/tr][tr][td]IDW PUBLISHING[/td][td]7.54%[/td][/tr][tr][td]DARK HORSE COMICS[/td][td]4.35%[/td][/tr][tr][td]DYNAMITE ENTERTAINMENT[/td][td]2.98%[/td][/tr][tr][td]BOOM! STUDIOS[/td][td]1.92%[/td][/tr][tr][td]VALIANT ENTERTAINMENT LLC[/td][td]1.04%[/td][/tr][tr][td]EAGLEMOSS PUBLICATIONS LTD[/td][td]0.94%[/td][/tr][tr][td]ZENESCOPE ENTERTAINMENT INC[/td][td]0.80%[/td][/tr][tr][td]VIZ MEDIA[/td][td]0.72%[/td][/tr][tr][td]AVATAR PRESS INC[/td][td]0.69%[/td][/tr][tr][td]RANDOM HOUSE[/td][td]0.68%[/td][/tr][tr][td]ARCHIE COMIC PUBLICATIONS[/td][td]0.56%[/td][/tr][tr][td]ONI PRESS INC.[/td][td]0.53%[/td][/tr][tr][td]FANTAGRAPHICS BOOKS[/td][td]0.49%[/td][/tr][/table]

direct market市场份额不足0.5%的fantagraphics艾森纳奖怒操霸占64%市场份额的两巨头——提名比Marvel/DC加一块儿还多一倍有余。


当然13年艾森纳奖更多关注的是去年的作品，而且fantagraphics作为更专注于GN的独立出版社，对direct market的依赖程度也会更小，所以这个4月份的数据反映的差异并不那么准确，但也足够惊人了。


再看看本届提名所体现的多样性：Building Stories和Saga众望所归，超级英雄题材作品仅有6部有提名，独立出版社百花齐放，连Boom旗下的KaBoom都比DC多两项提名，我估计其中有些出版社大家都不怎么熟悉。


http://robot6.comicbookresources.com/2013/04/building-stories-fatale-hawkeye-lead-eisner-nominations/

Best Short Story
“A Birdsong Shatters the Still,” by Jeff Wilson and Ted May, in Injury #4 (Ted May/Alternative)
“Elmview” by Jon McNaught, in Dockwood (Nobrow)  
“Moon 1969: The True Story of the 1969 Moon Launch,” by Michael Kupperman, in Tales Designed to Thrizzle #8 (Fantagraphics)
“Moving Forward,” by drewscape, in Monsters, Miracles, & Mayonnaise (Epigram Books)
“Rainbow Moment,” by Lilli Carré, in Heads or Tails (Fantagraphics)

Best Single Issue (or One-Shot)
Lose #4: “The Fashion Issue,” by Michael DeForge (Koyama Press)
The Mire, by Becky Cloonan (self-published)
Pope Hats #3, by Ethan Rilly (AdHouse Books)
Post York #1, by James Romberger and Crosby (Uncivilized Books)
Tales Designed to Thrizzle #8, by Michael Kupperman (Fantagraphics)

Best Continuing Series
Fatale, by Ed Brubaker and Sean Phillips (Image)
Hawkeye, by Matt Fraction and David Aja (Marvel)
The Manhattan Projects, by Jonathan Hickman and Nick Pitarra (Image)
Prophet, by Brandon Graham and Simon Roy (Image)
Saga, by Brian K. Vaughan and Fiona Staples (Image)

Best New Series
Adventure Time, by Ryan North, Shelli Paroline, and Braden Lamb (kaboom!)
Bandette, by Paul Tobin and Colleen Coover (Monkeybrain)
Fatale, by Ed Brubaker and Sean Phillips (Image)
Hawkeye, by Matt Fraction and David Aja (Marvel)
Saga, by Brian K. Vaughan and Fiona Staples (Image)

Best Publication for Early Readers (up to age 7)
Babymouse for President, by Jennifer L. Holm and Matthew Holm (Random House)
Benny and Penny in Lights Out, by Geoffrey Hayes (Toon Books/Candlewick)
Kitty & Dino, by Sara Richard (Yen Press/Hachette)
Maya Makes a Mess, by Rutu Modan (Toon Books/Candlewick)
Zig and Wikki in The Cow, by Nadja Spiegelman and Trade Loeffler (Toon Books/Candlewick)

Best Publication for Kids (ages 8-12)
Adventure Time, by Ryan North, Shelli Paroline, and Braden Lamb (kaboom!)
Amulet Book 5: Prince of the Elves, by Kazu Kibuishi (Scholastic)
Cow Boy: A Boy and His Horse, by Nate Cosby and Chris Eliopoulos (Archaia)
Crogan’s Loyalty, by Chris Schweizer (Oni)
Hilda and the Midnight Giant, by Luke Pearson (Nobrow)
Road to Oz, by L. Frank Baum, adapted by Eric Shanower and Skottie Young (Marvel)

Best Publication for Teens (ages 13-17)
Adventure Time: Marceline and the Scream Queens, by Meredith Gran (kaboom!)
Annie Sullivan and the Trials of Helen Keller, by Joseph Lambert (Center for Cartoon Studies/Disney Hyperion)
Ichiro, by Ryan Inzana (Houghton Mifflin)
Spera, vol. 1, by Josh Tierney et al. (Archaia)
A Wrinkle in Time, by Madeleine L’Engle, adapted by Hope Larson (FSG)

Best Humor Publication
Adventure Time, by Ryan North, Shelli Paroline, and Braden Lamb (kaboom!)
BBXX: Baby Blues Decades 1 & 2, by Jerry Scott and Rick Kirkman (Andrews McMeel)
Darth Vader and Son, by Jeffrey Brown (Chronicle)
Naked Cartoonists, edited by Gary Groth (Fantagraphics)

Best Digital Comic
Ant Comic, by Michael DeForge
Bandette, by Paul Tobin and Colleen Coover
It Will All Hurt, by Farel Dalrymple
Our Bloodstained Roof, by Ryan Andrews
Oyster War, by Ben Towle

Best Anthology
Dark Horse Presents, edited by Mike Richardson (Dark Horse)
No Straight Lines: Four Decades of Queer Comics, edited by Justin Hall (Fantagraphics)
Nobrow #7: Brave New World, edited by Alex Spiro and Sam Arthur (Nobrow)
2000 AD, edited by Matt Smith (Rebellion)
Where Is Dead Zero?, edited by Jeff Ranjo (Where Is Dead Zero?)

Best Reality-Based Work
Annie Sullivan and the Trials of Helen Keller, by Joseph Lambert (Center for Cartoon Studies/Disney Hyperion)
The Carter Family: Don’t Forget This Song, by Frank M. Young and David Lasky (Abrams ComicArts)
A Chinese Life, by Li Kunwu and P. Ôtié (Self Made Hero)
The Infinite Wait and Other Stories, by Julia Wertz (Koyama Press)
Marbles: Mania, Depression, Michelangelo & Me, by Ellen Forney (Gotham Books)
You’ll Never Know, Book 3: A Soldier’s Heart, by C. Tyler (Fantagraphics)

Best Graphic Album—New
Building Stories, by Chris Ware (Pantheon)
Goliath, by Tom Gauld (Drawn & Quarterly)
The Hive, by Charles Burns (Pantheon)
Unterzakhn, by Leela Corman (Schocken)
You’ll Never Know, Book 3: A Soldier’s Heart, by C. Tyler (Fantagraphics)

Best Adaptation from Another Medium
Chico and Rita, by Fernando Trueba and Javier Mariscal (Self Made Hero)
Homer’s Odyssey, adapted by Seymour Chwast (Bloomsbury)
Richard Stark’s Parker: The Score, adapted by Darwyn Cooke (IDW)
Road to Oz, by L. Frank Baum, adapted by Eric Shanower and Skottie Young (Marvel)
A Wrinkle in Time, by Madeleine L’Engle, adapted by Hope Larson (FSG)

Best Graphic Album—Reprint
Cruisin’ with the Hound, by Spain (Fantagraphics)
Ed the Happy Clown, by Chester Brown (Drawn & Quarterly)
Everything Together: Collected Stories, by Sammy Harkham (PictureBox)
Heads or Tails, by Lilli Carré (Fantagraphics)
King City, by Brandon Graham (TokyoPop/Image)
Sailor Twain, or The Mermaid in the Hudson by Mark Siegel (First Second)

Best Archival Collection/Project—Strips
Alex Raymond’s Flash Gordon and Jungle Jim, vol. 2, edited by Dean Mullaney (IDW/Library of American Comics)
Mister Twee Deedle: Raggedy Ann’s Sprightly Cousin, by Johnny Gruelle, edited by Rick Marschall (Fantagraphics)
Percy Crosby’s Skippy, vol. 1, edited by Jared Gardner and Dean Mullaney (IDW/Library of American Comics)
Pogo, vol. 2: Bona Fide Balderdash, by Walt Kelly, edited by Carolyn Kelly and Kim Thompson (Fantagraphics)
Roy Crane’s Captain Easy: The Complete Sunday Newspaper Strips, vol. 3, edited by Rick Norwood (Fantagraphics)

Best Archival Collection/Project—Comic Books
Crime Does Not Pay Archives, edited by Philip Simon and Kitchen, Lind & Associates (Dark Horse)
David Mazzucchelli’s Daredevil Born Again: Artist’s Edition, edited by Scott Dunbier (IDW)
Wally Wood’s EC Stories: Artist’s Edition, edited by Scott Dunbier (IDW)
Walt Disney’s Uncle Scrooge: Only a Poor Old Man, by Carl Barks, edited by Gary Groth (Fantagraphics)
Young Romance: The Best of Simon & Kirby’s Romance Comics, edited by Michel Gagné (Fantagraphics)

Best U.S. Edition of International Material
Abelard, by Régis Hautiere and Renaud Dillies (NBM)
Athos in America, by Jason (Fantagraphics)
Blacksad: Silent Hell, by Juan Diaz Canales and Juanjo Guarnido (Dark Horse)
The Making of, by Brecht Evens (Drawn & Quarterly)
Monsieur Jean: The Singles Theory, by Philippe Dupuy and Charles Berberian (Humanoids)
New York Mon Amour, by Benjamin LeGrand, Dominique Grange, and Jacques Tardi (Fantagraphics)

Best U.S. Edition of International Material—Asia
Barbara, by Osamu Tezuka (Digital Manga)
A Chinese Life, by Li Kunwu and P. Ôtié (Self Made Hero)
Naoki Urasawa’s 20th Century Boys, by Naoki Urasawa (VIZ Media)
Nonnonba, by Shigeru Mizuki (Drawn & Quarterly)
Thermae Romae, by Mari Yamazaki (Yen Press/Hachette)

Best Writer
Ed Brubaker, Fatale (Image)
Matt Fraction, Hawkeye  (Marvel); Casanova: Avaritia (Marvel Icon)
Brandon Graham, Multiple Warheads, Prophet (Image)
Jonathan Hickman, The Manhattan Projects (Image)
Brian K. Vaughan, Saga (Image)
Frank M. Young, The Carter Family (Abrams ComicArts)

Best Writer/Artist
Charles Burns, The Hive (Pantheon)
Gilbert Hernandez, Love and Rockets New Stories, vol. 5 (Fantagraphics)
Jaime Hernandez, Love and Rockets New Stories, vol. 5 (Fantagraphics)
Luke Pearson, Hilda and the Midnight Giant, Everything We Miss (Nobrow)
C. Tyler, You’ll Never Know, Book 3: A Soldier’s Heart (Fantagraphics)
Chris Ware, Building Stories (Pantheon)

Best Penciller/Inker
David Aja, Hawkeye (Marvel)
Becky Cloonan, Conan the Barbarian (Dark Horse); The Mire (self-published)
Colleen Coover, Bandette (Monkeybrain)
Sean Phillips, Fatale (Image)
Joseph Remnant, Harvey Pekar’s Cleveland (Zip Comics/Top Shelf)
Chris Samnee, Daredevil (Marvel); Rocketeer: Cargo of Doom (IDW)

Best Painter/Multimedia Artist (interior art)
Brecht Evens, The Making Of (Drawn & Quarterly)
Juanjo Guarnido, Blacksad (Dark Horse)
Teddy Kristiansen, The Red Diary/The RE[a]D Diary (MAN OF ACTION/Image)
Lorenzo Mattotti, The Crackle of the Frost (Fantagraphics)
Katsuya Terada, The Monkey King vol. 2 (Dark Horse)

Best Cover Artist
David Aja, Hawkeye (Marvel)
Brandon Graham, King City, Multiple Warheads, Elephantmen #43 (Image)
Sean Phillips, Fatale (Image)
Yuko Shimizu, The Unwritten (Vertigo/DC)
J, H. Williams III, Batwoman (DC)

Best Coloring
Charles Burns, The Hive (Pantheon)
Colleen Coover, Bandette (Monkeybrain)
Brandon Graham, Multiple Warheads (Image)
Dave Stewart, Batwoman (DC); Fatale  (Image); BPRD, Conan the Barbarian, Hellboy in Hell, Lobster Johnson, The Massive (Dark Horse)
Chris Ware, Building Stories (Pantheon)

Best Lettering
Paul Grist, Mudman (Image)
Troy Little, Angora Napkin 2: Harvest of Revenge (IDW)
Joseph Remnant, Harvey Pekar’s Cleveland (Zip Comics/Top Shelf)
C. Tyler, You’ll Never Know, Book 3: A Soldier’s Heart (Fantagraphics)
Chris Ware, Building Stories (Pantheon)

Best Comics-Related Periodical/Journalism
Alter Ego, edited by Roy Thomas (TwoMorrows)
ComicsAlliance, edited by Joe Hughes, Caleb Goellner, and Andy Khouri
The Comics Reporter, edited by Tom Spurgeon
Robot Six, produced by Comic Book Resources
tcj.com, edited by Timothy Hodler and Dan Nadel (Fantagraphics)

Best Comics-Related Book
The Art of Daniel Clowes: Modern Cartoonist, edited by Alvin Buenaventura (Abrams ComicArts)
Marie Severin: The Mirthful Mistress of Comics, by Dewey Cassell (TwoMorrows)
Marvel Comics: The Untold Story, by Sean Howe (HarperCollins)
Mastering Comics, by Jessica Abel and Matt Madden (First Second)
Team Cul De Sac: Cartoonists Draw the Line at Parkinson’s, edited by Chris Sparks (Andrews McMeel)
Woodwork: Wallace Wood 1927–1981, edited by Frédéric Manzano (CasalSolleric/IDW)

Best Educational/Academic Work
Autobiographical Comics: Life Writing in Pictures, by Elisabeth El Refaie (University Press of Mississippi)
Comics Versus Art, by Bart Beaty (University of Toronto Press)
Crockett Johnson & Ruth Krauss: How an Unlikely Couple Found Love, Dodged the FBI, and Transformed Children’s Literature, by Philip Nel (University Press of Mississippi)
Lynda Barry: Girlhood Through the Looking Glass, by Susan E. Kirtley (University Press of Mississippi)
The Poetics of Slumberland: Animated Spirits and the Animating Spirit, by Scott Bukatman (University of California Press)

Best Publication Design
Building Stories, designed by Chris Ware (Pantheon)
Dal Tokyo, designed by Gary Panter and Family Sohn (Fantagraphics)
David Mazzucchelli’s Daredevil Born Again: Artist’s Edition, designed by Randy Dahlk (IDW)
Mister Twee Deedle: Raggedy Ann’s Sprightly Cousin, designed by Tony Ong (Fantagraphics)
Wizzywig, designed by Ed Piskor and Chris Ross (Top Shelf)

虽然再过两个月才会有获奖结果，但是对比往年充斥两巨头的紧身衣题材的提名，所有人都会感觉到艾森纳奖的变化。


那么艾森纳奖要告别超级英雄优势的时代了吗？
表面上看答案是明显的，但如果仔细看下提名单的话就会发现，这不只是本届评委口味的问题，更多的是作品质量的问题：过去一年两大社为首的超级英雄漫画缺乏有竞争力的作品。即使是获提名最多的《鹰眼》，最终若是空手而归也毫不奇怪，超级英雄漫画的对手都是实打实的好手，几乎每个类型都有质量上乘的作品。如果说有争议的话，那只能是2012年出现的好漫画太多，多到评委看不过来以至于无法分配有限的提名名额。而这些漫画碰巧大多不是超级英雄漫画。也许明年、或者更久后我们又能看到超级英雄漫画主宰不少奖项，前提是有足够好的作品。至于现在，只能说忘掉它吧，超级英雄只是一个类型，平等于科幻、幻想、恐怖这些题材类型，而不应该和其他所有类型对立起来。遗憾的是DC/MARVEL作为这一类型的主要工厂正在生产大量的垃圾。


另一个问题是，奖项领域中，出版社的格局要改变了吗？
答案应该是肯定的。
固然往年也能看到独立出版社在艾森纳奖大有斩获，但总体上艾奖作为主流奖项还是反映了主流市场、主流口味。而今年我认为提名体现的多样性有明显的提高，并且会延续下去。


一个是因为北美漫画市场近几年正经历健康稳步的增长，这一增长甚至出乎出版商和发行商的预料，即使市场份额变动不大，但整体容量的增长给了独立出版社和作者更多的空间，这无疑对市场多样性非常有利。过去两年可以看到独立出版社和作品蓬勃增长，很多以前对主流读者而言未闻其名的年轻作者带着非常成熟出色的作品一跃跻身一线，这个势头到13年上半年为止未见衰减。


二是DC/MARVEL创意源泉的衰落。往年DC总是能在奖项领域反压MARVEL，仿佛市场份额外DC仍有品质的优势，其中Vertigo功不可没。如今Vertigo的凋零如此明显，这个品牌的死亡只是时间问题。它的产品线越来越窄越来越小，新title屈指可数，市场策略也很保守，同时还经受DC抽血。更重要的是，没人对此特别惋惜，因为那些好作品还在，只是找到了更多、更适合自己的出版社。
而对自己的主流作品，DC/MARVEL似乎都没有什么高招，他们没能吸引住流动性大大增强的人才，而独立出版社从中获益匪浅。产品经营上两巨头则是互相模仿，慢性自杀。虽然他们如今批量生产的垃圾未必比以前更差，未必比多数独立出版社差，但是市场正在变化而他们缺乏自我改变的能力，这其中的恶果也许要很多年后才能显现但是值得期待。唯有让这两个肿瘤瘦身，Comic市场才能健康成长。


第三，则是艾森纳奖本身的转变。从一个偏产业娱乐的奖项转为学院式的奖项。
最直接的证据是今年的最佳单集提名

Best Single Issue (or One-Shot)
Lose #4: “The Fashion Issue,” by Michael DeForge (Koyama Press)
The Mire, by Becky Cloonan (self-published)
Pope Hats #3, by Ethan Rilly (AdHouse Books)
Post York #1, by James Romberger and Crosby (Uncivilized Books)
Tales Designed to Thrizzle #8, by Michael Kupperman (Fantagraphics)

对比往年的获奖作品，你会发现提名的标准出现的本质的变化。
http://en.wikipedia.org/wiki/List_of_Eisner_Award_winners#Best_Single_Issue.2FSingle_Story


本届单集提名的特点不仅是“独立”，而且专注于小社。里面除了post york没看过外，都是品质极佳的好漫画，但是内容和形式和主流都相去甚远，Becky Cloonan的作品放往届会是绝对的“独立”代表，在本届却是风格内容最商业化的，即便如此它也是自印自销的准mini-comic。
Best Short Story 、Best Single Issue (or One-Shot)两个奖项上，eisner奖似乎从往届的主流直接转变为今年的ignatz奖品味，夸张的说这简直是光谱两级的差异。变化虽大，但我不认为这只是本届评委个人口味使然，而是如之前第一条理由所述，反映了北美市场的变化，小社和新人的蓬勃发展不仅是值得关注的，而且是值得引导并借以改变整个漫画市场格局的现象，艾奖所做的正是要起到引导作用。对此我要竖两个拇指，希望他们继续干下去。










再一篇文章是出版社角度的北美日漫市场观察，艾森纳奖絮叨了太多这篇就懒得多说了，详细的文里都有写
http://www.publishersweekly.com/pw/by-topic/industry-news/comics/article/56693-manga-2013-a-smaller-more-sustainable-market.html


简单说就是：北美漫画市场呈上升之势，但日漫销量连续下滑4年，其中缘由甚多天灾人祸都有。但不要紧，北美主要日漫出版商们都很乐观，认为之前不过是合理震荡调整，挤出水份。现在电视上anime少了，书店里manga少了，但是走的是伪fans留下来的都是死忠。如今市场会稳固在顶峰时期一半的规模，可以期待以此为基础再作发展，数字化的前景甚至相当不错，Jmanga完蛋纯属模式问题。


最乐观的莫过于篇尾讲谈社某人一席话，祝他好运。

“In Japan, manga is everywhere,” says Kumi Shimizu, general manager of Kodansha Comics. “Everyone reads it, from little kids to adults. In the United States, you have a population three times that of Japan, but the manga market size is just 1/25th of the Japanese manga market. One of our goals is for the U.S. market to become like the Japanese market.”

limmor

另外李昆武的《一个中国人的一生》英文版获两项提名。这应该是首次有中国人的漫画获提名。虽然考虑到老美的价值观口味获奖可能较小，但仍衷心期望他能有所斩获。

中文版为三联出版，和法文版一样分三卷。翻译不错但书籍制作稀烂。无论主题还是内容都是一二卷紧凑第三卷松散，手法也有不少值得探讨之处，总体上不失为值得一看的漫画。

jabal

引用楼主limmor于2013-05-07 14:35发表的 2013：DC惨败艾森纳 北美日漫或启稳 :
再一篇文章是出版社角度的北美日漫市场观察，艾森纳奖絮叨了太多这篇就懒得多说了，详细的文里都有写
http://www.publishersweekly.com/pw/by-topic/industry-news/comics/article/56693-manga-2013-a-smaller-more-sustainable-market.html

简单说就是：北美漫画市场呈上升之势，但日漫销量连续下滑4年，其中缘由甚多天灾人祸都有。但不要紧，北美主要日漫出版商们都很乐观，认为之前不过是合理震荡调整，挤出水份。现在电视上anime少了，书店里manga少了，但是走的是伪fans留下来的都是死忠。如今市场会稳固在顶峰时期一半的规模，可以期待以此为基础再作发展，数字化的前景甚至相当不错，Jmanga完蛋纯属模式问题。
.......

好长...最后一段看笑了，那啥扶不上墙
这几年日漫在海外的挫败基本都是源于经营方的怠慢，动画同理
还抱着什么筛选死忠的思想，做梦呢

Nebo

DC/MARVEL一年不如一年，这是大家都有目共睹的，Marvel不说了，DC那N52除了个别几个吸别人血出彩的刊外就只能靠炒Superman跟Wonderwoman配对吸引眼球了
至于日漫......现在他们在本国市场上都不断被各种其它娱乐方式抢地盘，还想在美国这个娱乐手段更多样化的市场重现从小孩到大人都看漫画的昔日荣光？吹牛不上税啊......

illyana

日漫在美国的前景比美漫在日本的前景要光明多了好吧。
美漫厨在怎么吹也改变不了绝大部分（至少99.99%以上）的美漫作画丑陋剧情弱智创意贫乏的事实。

SAGA这种傻逼漫画也能被提名，可见Eisner Award评委的智商有多低下了。

limmor

引用第4楼illyana于2013-05-07 20:30发表的  :
日漫在美国的前景比美漫在日本的前景要光明多了好吧。
美漫厨在怎么吹也改变不了绝大部分（至少99.99%以上）的美漫作画丑陋剧情弱智创意贫乏的事实。

SAGA这种傻逼漫画也能被提名，可见Eisner Award评委的智商有多低下了。

顺带一提 saga还获得了雨果奖提名

http://www.thehugoawards.org/hugo-history/2013-hugo-awards/

Best Graphic Story

[/table][table=100%,#ffffff](427 nominating ballots cast)

Grandville Bête Noire, written and illustrated by Bryan Talbot (Dark Horse Comics, Jonathan Cape)[/li]
[/li]Locke & Key Volume 5: Clockworks, written by Joe Hill, illustrated by Gabriel Rodriguez (IDW)[/li]
[/li]Saga, Volume One, written by Brian K. Vaughn, illustrated by Fiona Staples (Image Comics)[/li]
[/li]Schlock Mercenary: Random Access Memorabilia, written and illustrated by Howard Tayler, colors by Travis Walton (Hypernode Media)[/li]
[/li]Saucer Country, Volume 1: Run, written by Paul Cornell, illustrated by Ryan Kelly, Jimmy Broxton and Goran Sudžuka (Vertigo)[/li]

mhfdt

引用第3楼Nebo于2013-05-07 15:16发表的  :
DC/MARVEL一年不如一年，这是大家都有目共睹的，Marvel不说了，DC那N52除了个别几个吸别人血出彩的刊外就只能靠炒Superman跟Wonderwoman配对吸引眼球了
至于日漫......现在他们在本国市场上都不断被各种其它娱乐方式抢地盘，还想在美国这个娱乐手段更多样化的市场重现从小孩到大人都看漫画的昔日荣光？吹牛不上税啊......

哈哈哈哈哈哈
自己去国外书店转转再回来发言

Nebo

引用第7楼mhfdt于2013-05-07 23:22发表的  :

哈哈哈哈哈哈
自己去国外书店转转再回来发言

不知你想表达的观点是DC/MARVEL在美国越来越牛13了还是日漫在美国越来越牛13了？如果是前者的话楼主这文讲的是所获奖项的问题跟书店里有多少书无关，如果是后者的话楼主给的链接里说的就是日漫在美国的市场份额连年下降的事啊

hoh

就英国来说，这两年的确开了些专业漫画书店。

不过依然是底层卖 graphical novel，地下室卖日漫。上回去逛某个地下室，心痒痒差点收了套远藤浩辉的Eden，不过因为那边不齐不成套最终作罢。

mimighost

根据观察，日漫的柜台比美漫多

woshenc

叫你dc黑我塔莉娅！

C.W.Nimitz

DC：不做死就不会死。

DC本家死了不要紧，别波及vertigo的漫画就行了（虽然可能性不大）


等等，这难到不应该变成一个推漫贴么？虽然 bet issue的 LOSE4 奇葩的我不能直视，但获奖名单里好歹应该有点庸俗大众可以看的漫画吧。

limmor

引用第15楼C.W.Nimitz于2013-05-08 14:15发表的  :
等等，这难到不应该变成一个推漫贴么？虽然 bet issue的 LOSE4 奇葩的我不能直视，但获奖名单里好歹应该有点庸俗大众可以看的漫画吧。

最佳单册里the mire无论风格内容都通俗得很
而要我投票的话肯定投Pope Hats 3，那种充实的生活气息，绵密的叙事味儿，每一集都令人咂嘴。
post york没看不好说


主流的话the building stories算独立作品里的主流，巨无霸作品，盛名之下光冲形式也值得一看，一个大盒子里葫芦兄弟不止七个。
再俗的话，image的都可以啦，今年的提名作品都有实力，值得一看，Prophet特别适合画面党，这画面觉得烂的人以后根本不需任何人推漫，只看自己在看的东西就行。


对了 Best Graphic Album里的Goliath我以前发过自扫但是快传链接失效了，等我找着文件了再传次。