The Flintstones gets completely snubbed at Eisner's

>The Flintstones gets completely snubbed at Eisner's
>Mockingbird gets nominated for Best New Series

What did they mean by this?

Other urls found in this thread:

comicsalliance.com/preacher-maam-war-in-the-sun/
foreignpolicyblogs.com/2009/09/04/did-russia-really-start-wwii/
twitter.com/NSFWRedditGif

Political agenda shit beats out actually decent comics to people who don't read comics in the first place.

Flintstones is like five times the political agenda but written five times as well!

Jews control the comics too.

>five times the political agenda

I think you'll find that Flintstones is an 8 on the Agenda scale and Mockingbird is a solid 37

Neither of them deserve anything.

Less agenda, more commentary.
Flintstones has an angle, but it was presented with nuance. It wasn't "I'm writing this to tell you that X is wrong and Y is right", it was "I'm writing this to show you how X is wrong, but in a way that doesn't make you uncomfortable or preached at."

Or something like that. Anyways, Flintstones didn't make headlines, so of course it's getting snubbed. The Eisners tend to snub anything non-Vertigo from DC; they nominated Multiversity: Pax Americana and passed on it, but gave an award to Silver Surfer for presenting the same themes of infinity but in a more superficial manner.

I don't even think it's that. The Eisners just seem to love fellating "real" authors over straight up comic writers.

There's literally an issue where a character can't stop talking about how stupid capitalism is and it's 10 times better than the entirety of Mockingbird!

it's politics man, Flintstones wasn't bashing trump hard enough for an award

Also
>2017
>giving a shit about industry awards

Thanks for outing yourself as a pleb. All the minor categories are given out based on actual merit. It's only the major awards that are driven by agendas.

Normies didn't get it. Tumblr made fun of it cause "Serious Flintstones" and Newsarama gave it a 3/10 because it didn't get it. "They set up this character and he dies and it's treated like a joke? How disrespectful"
THAT IS THE POINT!!!!
It's like they think good political commentary is just there to make them feel warm and fuzzy.

Because
>>A Bloo Bloo Bloo, why is it so hard to be a woman? If women ran the planet, there would be peace for all-Wait, is that bitch talking to my boyfriend?! Oh, I'm going to bust her ass open!

I really don't understand how, it wasn't exactly subtle

How... how could they snub fucking FLINTSTONES? That's like the best fucking book in years!

Name three wars in the last century that were started by women/a woman.

>people who don't read comics in the first place.

The Eisners are exclusively voted on by people who work in comics, whether they're artists, writers, editors, or store owners.

They see more comics in a single year than you'll read in your life; they're better at telling from the first few pages whether to give something a shot than you'll ever be. Sometimes, because they're human, they get it wrong, but even then - for all of them to get it "wrong" implies that the book was badly put together.

Honestly, I didn't read either title. Neither appealed to me as a premise, and for the same reason: they're rehashes of something that's been done. Who gives a shit? Life's too short for reboots on reboots.

Ah, but that's simply revealing *your* agenda and priorities, not placing either title higher or lower on this fictive scale.

Many years ago there was a reboot of a popular cartoon franchise. A series of live-action movies followed; nobody much liked them, everybody agreed they were garbage, but they kept getting made.

Am I talking about The Transformers or The Flintstones?

It's not enough to say something has great writing so we should all watch it. That's the kind of shit that bronies say all the time; nobody believes them, and nobody believed you about the Flintstones, because it was a cartoon made to sell cigarettes that has lost pretty much all context over the years as the ads have been cut out and the jokes have become irrelevant dead air. It's the skeleton of a comedy, long after the flesh has rotted away; you can put new meat on those bones, but that doesn't make it appropriate or worth your time to do so.

well

Hitler was a dickgirl

everybody knows Galtieri was Eva Peron in drag

and...

shit, alright, you got me

There have been numerous waifu wars, which by default are driven by women.

I actually read the Mockingbird stuff, just to be sure I wasn't hopping on a bandwagon of hate... it's pretty bad. They retcon out Bobbie's WCA rape into an affair for REASONS, and it's just embarrassing all around. Also the first 6 issues, I think, gave her super powers... but then they never come up again. It feels like a really pretentious "you bring your OWN interpretation!" bullshit things, but that's also why Marvel started dropping hints that the whole series was noncanon in the letter's page. The regular artist was pretty good, but I don't know if she can really do action because the script NEVER called for it. It was a waste of any degree of talent involved.

How is it pleb to not give a shit about a committee of community insiders all patting themselves on the back? I'll go form my own opinions on what is and isn't good, thank you very much.

>Honestly, I didn't read either title
That's a lot of fucking talking for being so uninformed on either book. It's like you wrote your whole life story just to tell us your opinion doesn't matter.

that's a lot of words for "I have no idea what I'm talking about, please ignore me."

And you name three wars started by a man/men

You can't. because in the last century people don't start wars, capitalism does.

So what, in your opinion, were the year's best comics for readers aged 9-12? What were the chief choices for graphic albums? What were the top of the line reality-based works? Can you tell me your thoughts on archival collections of works that are at least 20 years old? What stands out in the US editions of international material?

I don't mean to bully you, I'm just curious what opinions you might have formed about these.

It's that self hatred

I'm just gonna say I love how they're absolutely fucking SHREDDED because Cavemen.

>That's the kind of shit that bronies say all the time; nobody believes them, and nobody believed you about the Flintstones, because it was a cartoon made to sell cigarettes
of all the retardation in your post, that is by far the most retarded thing because even the biggest fucking mongoloid could tell you that's not fucking true. Flintstones was just attempt for Hanna-Barbera to break into adult sitcoms also so they could rip off the Honeymooners as hard as humanly possible

>age 9-12
probably DC Superhero Girls
>graphic album
I liked Terminal Lance and Dark Night: A True Batman Story
>archival collections
those Doom Patrol reprints and the Sandman Mystery Theatre collections were aces even if DC cancelled the SMT reprints
>US editions of international material
Fantagraphics did another run of The Eternaut after the first printing lasted slightly longer than a sneeze which is great for people who missed it the first time, and Humanoids continues to print Jodorowsky's bibliography including a new Metabaron series which is always top tier

It doesn't matter. We had a good time and will always remember it. Didio kept is alive for us as long as he could. It's been a good run and I supported the official release at every point I could.

>Fantagraphics did another run of The Eternaut after the first printing lasted slightly longer than a sneeze which is great for people who missed it the first time
So you're nominating a comic that doesn't qualify, good to know.

I'm glad you're not on the committee.

>bully
I don't feel that's bullying, but perhaps your protesting of it belies intent.
Honestly I have no opinions on these because they feel like arbitrary distinctions being made merely to inflate the ego of the critic. "Ooh, look at ALL these categories I've compartmentalized art into!"

you asked what was good, not what I would nominate for an Eisner

so see previous image, I guess

and Mark Russell will continue to write for DC, so all is relatively well

I don't think you were curious at all, user

Same. Pulled the singles, and I picked up the first trade. Plan to get the second as well; the trades are great to get people to read it.

If they put out an omni, I'd buy that, too.

I think it should be assumed on your part that when I'm asking you about the past year that I probably want to know about the past year.

and Fantagraphics did a second printing of The Eternaut in the past year, which was good because the first printing was miniscule.

>shell phone

Printing more copies doesn't make it qualify a second time.

I know, but you didn't ask what I'd nominate for an Eisner, did you.

We're in a thread about the Eisners. I assumed you knew. My apologies.

it's actually a thread about how The Flintstones is better than Mockingbird and was unfairly denied its deserved recognition

>tfw it's over after today
We had a good run, lads

>thinking our god is a just one

>See more comics in a single year
If only they actually read them

This.
>the comic is good
>i read it

Plain and simple

This should surprise no one.

there's about three women who've had the authority to start wars in the last century.

there is too severe a lack of opportunity for your point to be reasonable.

Thank you, ceiling cave man for that insight.

Is a surprise?, come on user!, the number 11 of The Flintstones critize the hypocrisy of the self called libertarians, democrats, and the "left"...

1) Dont give a fuck about normal people like Fred
2) Be a rich asshole boss but talk about tolerance for others
3) Live in "nice" place for the diversity but give zero fucks about the real people
4) Even Gazoo become more based and gentle calling for this bullshit, nd even saved the humankind
5) The (((owners))) become richer with the pain of others also control the (((media)))

Fucking great comic..but you know, Shut it down!

So fucking true!

this is about gentrification, not whatever you're talking about

Yeah...and who become more rich with the gentrification? Who demand more gentrification with public money and then become private?, yeah! The same people who control the (((media)))

...

Fucking hipster & (((gems)))

Not hipsters

>((()))
This is the world's most clever emoji. It disguises itself as mere parentheses, but in reality it represents protective layers of tin foil, designed to keep taboo words away from the attention of dire forces.

Real estate slumlords?

Agree...makes sense, Oh Vey!

>Awards
All of them are bullshit, I don't trust them.
Hell I go out of my way to avoid anything that won an award, as far as I'm concerned 9/10 times it's undeserved

Do you say the same people who predicted the election of Donald Trump & Brexit?, Yeah! What know these dudes

Do you mean (((sulmlords)))?

where could I read this issue?

No.

...what?

at your local comics shop, Comixology, or in the trade that comes out in October

also someone might do a storytime of the whole run tomorrow or Thursday now that it's ending

Priest's nomiination this year for deathstroke, is I believe his first. It means that his entire black panther run, didn't rate a single nod..

>Real estate slumlords
In the comic they maybe are (((Real estate slumlords))), loook the clothes, somekind of old trophe

>Honestly, I didn't read either title.
>because it was a cartoon made to sell cigarettes

I think you need to use a tripcode so everyone can ignore you.

surprise, the Eisners are bullshit

We owe you ass!, now tell me what do you dont undestand little bad horny warner

That just makes you an auto-contrarian sheep, though.

I tried to get em at my local comicbookshop but it's closed now and I have no idea where in my city is the last surviving one. It's pretty sad really.

Mexican Spic here.

Dont worry spic!, they are a lot of torrents of this comic

quite a year

At a comic book store or Comixology, and you better fucking buy it, you mong.

Ignore I fucked up because I had the 1999 and 2000 listings opened at the same time

1999 (since Priest started writing Black Panther in 1998 and the 1999 awards would cover 1998 stuff)

Best New Series

Age of Bronze, by Eric Shanower (Image)
Colonia, by Jeff Nicholson (Colonia Press)
Inhumans, by Paul Jenkins and Jae Lee (Marvel) *
Lenore, by Roman Dirge (Slave Labor)
Young Justice, by Peter David, Todd Nauck, and Lary Stucker (DC)

Best Continuing Series (now that I think of it, it wouldn't qualify for this because it was still a new series)

Avengers, by Kurt Busiek, George Perez, and Al Vey (Marvel)
Kurt Busiek's Astro City, by Kurt Busiek, Brent Anderson, and Will Blyberg (Homage/WildStorm/Image)
Preacher, by Garth Ennis and Steve Dillon (DC/Vertigo) *
Sandman Mystery Theatre, by Steven Seagle and Guy Davis (DC/Vertigo)
Transmetropolitan, by Warren Ellis, Darick Robertson, and Rodney Ramos (DC/Vertigo)

Best Writer

Kurt Busiek, Kurt Busiek's Astro City (Homage/WildStorm/Image); Avengers (Marvel) *
Jeph Loeb, Superman for All Seasons (DC)
Greg Rucka, Whiteout (Oni Press)
Steven Seagle, "Drive By," Oni Double Feature #10 (Oni Press); Sandman Mystery Theatre (DC/Vertigo)
Matt Wagner, Grendel: Black, White, and Red (Dark Horse)

2000:

Best Continuing Series

Acme Novelty Library, by Chris Ware (Fantagraphics) *
Planetary, by Warren Ellis and John Cassaday (DC/Wildstorm)
Preacher, by Garth Ennis and Steve Dillon (DC/Vertigo)
Promethea, by Alan Moore, J. H. Williams III, and Mick Gray (ABC)
Top Ten, by Alan Moore, Gene Ha, and Zander Cannon (ABC)
Transmetropolitan, by Warren Ellis, Darick Robertson, and Rodney Ramos (DC/Vertigo)

Best Writer

Ed Brubaker, Scene of the Crime (DC/Vertigo)
Warren Ellis, The Authority, Planetary (DC/Wildstorm); Transmetropolitan (DC/Vertigo)
Mark Millar, Superman Adventures (DC)
Alan Moore, League of Extraordinary Gentlemen, Promethea, Tom Strong, Tomorrow Stories, Top Ten (ABC) *
Greg Rucka, Whiteout: Melt (Oni)

>Preacher beat Astro City and Sandman Mystery Theatre
it seems the Eisners were always bullshit

2001:

Best Continuing Series

Age of Bronze, by Eric Shanower (Image)
Berlin, by Jason Lutes (Drawn & Quarterly)
Eagle, by Kaiji Kawaguchi (Viz)
Promethea, by Alan Moore, J. H. Williams III, and Mick Gray (ABC)
Top 10, by Alan Moore, Gene Ha, and Zander Cannon (ABC) *

Best Writer

Brian Michael Bendis, Powers (Image), Fortune and Glory (Oni), Ultimate Spider-Man (Marvel)
Mike Carey, Lucifer (Vertigo/DC)
Garth Ennis, Preacher (Vertigo/DC)
Mark Millar, The Authority (Wildstorm/DC), Ultimate X-Men (Marvel)
Alan Moore, The League of Extraordinary Gentlemen, Promethea, Tom Strong, Top Ten, Tomorrow Stories (ABC) *

2002:

Best Continuing Series

Finder, by Carla Speed McNeil (Lightspeed)
100 Bullets, by Brian Azzarello and Eduardo Risso (DC/Vertigo) *
Planetary, by Warren Ellis and John Cassaday (DC/Wildstorm)
Queen & Country, by Greg Rucka and Steve Rolston (Oni)
Ruse, by Mark Waid, Butch Guice, and Michael Perkins (CrossGen)

Best Writer

Brian Azzarello, 100 Bullets, Hellblazer (DC/Vertigo)
Brian Michael Bendis, Powers (Image); Alias, Daredevil, Ultimate Spider-Man (Marvel) *
Grant Morrison, FF 1234, New X-Men (Marvel)
Greg Rucka, Queen & Country (Oni); Detective Comics (DC)
Mark Waid, Ruse (CrossGen)

(((you)))

2003:

Best Continuing Series

Age of Bronze, by Eric Shanower (Image)
Daredevil, by Brian Michael Bendis and Alex Maleev (Marvel) *
Fables, by Bill Willingham, Lan Medina, Mark Buckingham, and Steve Leialoha (DC/Vertigo)
Louis Riel, by Chester Brown (Drawn & Quarterly)
Strangers in Paradise, by Terry Moore (Abstract Studio)
True Story, Swear to God, by Tom Beland (Clib's Boy Comics)

Best Writer

Brian Michael Bendis, for Powers (Image); Alias, Daredevil, Ultimate Spider-Man (Marvel) *
Ed Brubaker, for Catwoman, Detective Comics, Gotham Central (DC)
Bruce Jones, for Incredible Hulk (Marvel)
Greg Rucka, for Queen & Country (Oni) Gotham Central, Wonder Woman: The Hiketeia (DC)
Bill Willingham, for Fables (DC/Vertigo)

2004 (because they'd cover stuff from 2003, the year Priest stopped writing Black Panther):

Best Continuing Series

Alias, by Brian Michael Bendis and Michael Gaydos (Marvel)
Daredevil, by Brian Michael Bendis/Alex Maleev and David Mack (Marvel)
The Goon, by Eric Powell (Dark Horse)
Gotham Central, by Ed Brubaker, Greg Rucka, Michael Lark, Brian Hurtt, and Stefano Gaudiano (DC)
100 Bullets, by Brian Azzarello and Eduardo Risso (Vertigo/DC) *
Queen & Country, by Greg Rucka, Jason Alexander, Carla Speed McNeil, and Mike Hawthorne (Oni)

Best Writer

Brian Azzarello, 100 Bullets, Sgt. Rock: Between Hell and Hard Place (Vertigo/DC); Batman (DC)
Brian Michael Bendis, Alias, Daredevil, Ultimate Spider-Man, Ultimate X-Men (Marvel); Powers (Image)
Ed Brubaker, Catwoman, Detective Comics, Gotham Central (DC); Sleeper (WildStorm/DC)
Warren Ellis, Orbiter (Vertigo/DC); Global Frequency, Red, Planetary, Planetary/Batman: Night on Earth (WildStorm/DC)
Alan Moore, The League of Extraordinary Gentlemen, Promethea, Smax, Tom Strong, Tom Strong's Terrific Tales (ABC) *
Greg Rucka, Queen & Country (Oni); Gotham Central, Wonder Woman (DC); Wolverine (Marvel)

...

In 1998 there were only three issues of Astro City out which probably hurt its chances. That year Preacher also had the "War in the Sun" storyarc which was a major one:

comicsalliance.com/preacher-maam-war-in-the-sun/

I forgot what was going on in SMT at the time, though.

They're an award show. It's not about who is best. It's about who will make the award look the best.

christ I didn't want to go down this rabbit hole again

This just makes me sad for Rucka. Did he ever actually win one?

>2000 Eisner Award for Best Limited Series (for Whiteout: Melt)
>2002 Eisner Award for Best New Series (for Queen & Country, with Steve Rolston)
>2004 Eisner Award for Best Serialized Story (for Gotham Central #6-10: "Half a Life", with Michael Lark)
>2011 Eisner Award for Best Short Story (for "Post Mortem" from I Am An Avenger #2, with Michael Lark).

Do nominations for Faith, Mockingbird, Erica Henderson, and I assume America Chavez will be a shoo in next year, make the awards look good?

I dunno, people seem to be turning on America even outside Sup Forums

Mockingbird was mostly dull, peppered with extra crappy low points almost designed to cause controversy, and played the Gamergate-warriors/Girlbusters slapfighters for hot clicks.
It rode a wave of controversy into think pieces that got it nominated.

Flintstones, while brutal and generally left leaning (if I were picking a side) never really pissed in anyone's cereal and got the divisive angry voting blocks going.
Essentially, by never having goddawful shitshows with unneccesary references to tampons, Flintstones was too good to be nominated.

>flintstones snubbed and mockingshit fellated

I shouldn't be suprised but I'm still dissapointed.

industry awards are shit user. It's just a massive circlejerk for people with inflated egos. No one with an actual interest in these awards respective fields actually gives a shit

Name one war in the last 100 years not started by russia. Quit blaming men when one country is to blame.

>N-No! The Eisners are insider people, they know what theyre talking about!

And yet they nominate blatantly shitty writing like mockingbird. Opinion discarded

>This much dickriding

Why do I get the feeling that you're a part of this committee that no one cares about

how is Russia to blame for World War 2?

Communists supported by Russia were pivotal in German politics. They started a violent revolution. The facists got into power significantly on their promise to fight the communists. This same pattern occurs in quite a few other places in Europe, most notably spain.

WWII is a result of WWI. If germany was given realistic reparations it wouldn't have needed to go to war. Russia is totally responsible for WWI.

This is also pretty enlightening.

foreignpolicyblogs.com/2009/09/04/did-russia-really-start-wwii/

Remember history is written by the winners and germany lost, russia won