Best nonsuperhero comic

Queen & Country, by Greg Rucka, Jason Alexander and Carla Speed McNeil (Oni Press)

Nothing on the comics stands is quite as cool or smart or fun as Greg Rucka’s real-world British espionage series. What sets this apart from other spy stories is that, unlike TV’s Alias or the James Bond films, Queen & Country is set in the real world with all kinds of convincing detail. Rucka connects his stories to current events amazingly well but makes sure to entertain at the same time. His spy Tara Chace is human and believable in her struggle to reconcile the demands of her job with some kind of morality. And her scowling spymaster, Paul Crocker, is just as much fun to read about whether he’s on a Cold War mission or smoking another pack and hoping his spies come home alive. This is the sort of state of the art writing and excellent art that makes it easy to turn people on to comics and keep them coming back.

Runners up: Y: The Last Man, by Brian K. Vaughn and Pia Guerra (DC/Vertigo); 100 Bullets, by Brian Azzarello and Eduardo Risso (DC/Vertigo); Global Frequency, by Warren Ellis and various artists (Wildstorm)

Best superhero comic

Alias, by Brian Michael Bendis, Michael Gaydos and Mark Bagley (Max/Marvel)

You could quibble that this is more of a crime comic than a superhero comic. But it’s the fact that superhero turned private eye Jessica Jones is so completely different from the heroes of the Marvel universe and the believable way she interacts with them that makes this such a great read. Brian Michael Bendis is renowned for his great dialogue, and that’s certainly on display here. But it’s the plotting and what it shows about Jones’ character that really sets this apart. Michael Gaydos has the hard task of drawing a lot of talking heads in this book, but he pulls it off supremely well and brings such a unique look to Jones it’s almost impossible to imagine anyone else drawing her. This series just ended its 28-issue run in Marvel’s Max line and will relaunch in February as The Pulse, which should make it no less interesting.

Runners up: Thor: Vikings, by Garth Ennis and Glen Fabry (Max/Marvel); New X-Men, by Grant Morrison, Chris Bachalo and Phil Jimenez (Marvel); Ultimate Spider-Man, by Brian Michael Bendis and Mark Bagley (Marvel)

Best original graphic novel

The Sandman: Endless Nights, by Neil Gaiman and various artists (DC/Vertigo)

No event in comics this year got as much attention as Neil Gaiman’s return to The Sandman, the acclaimed and incredibly popular comics series he wrote from 1988 to 1996. This deluxe, hardcover graphic novel with seven Gaiman stories illustrated by the world’s top comics artists sold an incredible 120,000 first print run in a matter of weeks and made the New York Times’ bestseller list. Articles and segments on the book and on Gaiman appeared in countless publications, on NPR, and he had an entire crew follow him around Comic-Con for a story in Entertainment Weekly. That it’s also a really good read is no surprise to Gaiman’s fans, but the visibility and incredible success of this project make it an unmatched bright spot in comics this year.

Runners up: Blankets, by Craig Thompson (Top Shelf); JLA: Liberty and Justice, by Paul Dini and Alex Ross (DC); Orbiter, by Warren Ellis and Colleen Doran (DC/Vertigo)

Best translation of a comicbook to another medium

X2: X-Men United (Fox)

Bryan Singer hit the ball out of the park on this one, making a movie that captures the feel and thrill of the long-running X-Men comics in one tight and entertaining package. Adapted largely from various plotlines from throughout the X-Men’s 40-year publishing history, Singer’s X2 is the purest comicbook superhero movie ever made.

Runners up: American Splendor (HBO); Batman: Dead End (fan-made film); Smallville (WB)

Best "event" comic

The Sandman: Endless Nights, by Neil Gaiman and various artists (DC/Vertigo)

Our definition of "event" comic is a comic that creates buzz, that’s a must-have item for fans as soon as the merest details are announced. This was our closest vote and JLA/Avengers, the dream team-up that’s been 20 years in the making, came one vote short. But, again, Neil Gaiman’s graphic novel release appealed far beyond the superhero fan base and into a general public that has in many ways cut its comics-reading teeth on The Sandman trade paperbacks. Endless Nights reaffirms the Sandman franchise as a true creative and commercial powerhouse that will likely only grow more popular as time goes on.

Runners up: JLA/Avengers, by Kurt Busiek and George Perez (DC/Marvel); The Truth; Red, White & Black, by Rob Morales and Kyle Baker (Marvel); Trouble, by Mark Millar and Terry Dodson (Epic)

Best writer

Greg Rucka (Queen & Country, Wolverine, Wonder Woman)

What really sets Greg Rucka apart is his ability to write any kind of comic and write it really well. Not only is his Queen & Country the best comic out there right now, he elevated Marvel’s Wolverine series from also-ran spin-off to must-read for the first time in years if not decades. He’s made his home at DC now, where he will have the unique honor of being the first writer to handle Superman, Batman and Wonder Woman at the same time. Oh, and in his spare time he writes novels, too. That the comics field can still attract talent like Rucka’s bodes well for comics’ future.

Runners up: Brian Michael Bendis (Alias, Ultimate Spider-Man, Powers, Daredevil); Garth Ennis (Punisher: Born, Thor: Vikings); Brian Azzarello (100 Bullets, Batman)

Best artist

Eduardo Risso (100 Bullets, Batman)

Few artists have made as impressive a splash on the comics biz the past few years as South American artist Eduardo Risso. His partner, writer Brian Azzarello, and he have turned their gritty, sexy, urban crime conspiracy tale 100 Bullets into the flagship of DC’s Vertigo line, a success they parlayed into a popular current stint on Batman. Risso’s inky pages full of pouty women and hard-luck men are as pretty as anything on the stands. But his real strength is the ability to make a three-page dialogue scene more visual and entertaining than the biggest fight scenes in dozens of other comics. That’s a rare combination of talent worthy of our first best artist honor.

Runners up: George Perez (JLA/Avengers); Josh Middleton (NYX); Darick Robertson (Punisher: Born, Wolverine); John Cassaday (Planetary)

Bilingual Bunny

Ellis Speaks

Warren Ellis is one of comics' most popular and outspoken creators. The English writer's early accomplishments in comics include stints on Marvel's X-Men line of comics, and the revamping of Wildstorm's StormWatch series into a political espionage superhero title.

His real breakout comic was Transmetropolitan, a 60 issue sci-fi series done with artist Darick Robertson about a gonzo journalist trying to expose a little bit of the truth in a future where nobody really cares. He shook up the superhero world with his "widescreen" action approach to "The Authority," with artist Bryan Hitch, and a thoughtful and startling look at the secret history of superheroes in "Planetary," with artist John Cassaday.

His comics discussion forum was renowned as one of the best places to go for serious discussions of comics and the industry. He still comments on comics and pop culture through his column at Artbomb.net, his Bad Signal mailing list, and his idea blog at www.diepunyhumans.com.

He recently dove into a number of three-issue miniseries he called "pop comics," such as Red, Reload, Mek, Tokyo Storm Warning and Two-Step. His original sci-fi graphic novel "Orbiter," drawn by Colleen Doran, was released this spring, and he continues to be a creator whose work demands to be noticed. His 12-issue "Global Frequency" series is nearing the end of its run and has been optioned for television.

Warren offered to do quick email interviews for the year's end, and we took him up on it.

Variety: Looking at your line of "pop comics" miniseries that came out this year, how do you think it turned out? Did these books do what you wanted them to do and are you happy with the results?

Warren Ellis: Some worked better than others, I think, but I'm glad I did them all. I wanted a period where I was releasing a lot of new stories, new ideas, into the market, very quickly. It just seemed to me that no one did that any more. I enjoyed tossing out a bunch of little hand grenades, and it didn't matter so much to me if some exploded louder than others, because they all found an audience.

What are your plans for 2004 as far as hints you've been dropping about new, ongoing series at DC/Wildstorm and the rumor that you will be doing original manga-style series for our neighbors at Tokyopop?

That's just a rumor, apparently based on someone knowing I'd had a conversation with an editor at Tokyopop. Very much jumping the gun, there.

I've got two new longform monthly serials at DC, Desolation Jones and Jack Cross. My Vertigo graphic novel, "Stealth Tribes," should finally see print in the second half of 2004, after eight months of trying to get an artist on it. "Ocean," a six-issue series with Chris Sprouse, will probably appear from Wildstorm at about the same time.

In Bad Signal, you've written a number of times that you're bored by Western comics. What inspires you to continue to work in the field?

I love comics. I want to keep on writing comics that I'd want to read. It's all you can do, really...

The standard Hollywood question: What projects do you have in the works in the film or TV biz that you can talk about? Is there any news on the "Global Frequency" TV series?

I believe John Rogers ("The Core") is turning in the pilot script for Global Frequency any day now. We've been in fairly close contact during his writing process, and he's absolutely nailing the tone. I'm very happy. Other than that, no, I have nothing in the works right now.

Jungle King

Twin Titans

Quiet Time

Reality TV Meets Comics

"CSI: Miami," The Interview

Browsing the comics shop, most people expect to see heroes in tights, not forensic pathologists with intertwined personal lives -- in other words, a graphic novel about CSI: Miami. I was curious about this, so I contacted artist Ashley Wood, who in turn got me in touch with writer (and more) Jeff Mariotte. Then, we chatted.

Variety: Give me a bit of your background in comics.

Jeff Mariotte: Before coming to IDW Publishing I was at DC Comics/WildStorm for 10 years, as VP of marketing and senior editor. I've also written many comics and more than a dozen novels, many based on TV shows. At IDW, I'm editor-in-chief and I do some writing, including the "CSI" one-shot "Thicker Than Blood" and the "CSI: Miami" one-shot "Smoking Gun."

What led to the creation of a "CSI" series of comic books?

IDW had a relationship with CBS Consumer Products and we decided to bring up the idea of a comic book series based on TV's #1 drama. They were receptive to it and a deal was made.

Have you gotten any reaction from people who follow the TV series?

We've had a lot of reaction. People who love the show have been drawn to the comics even if they don't read comics, or haven't for years. We've heard a lot of stories about people finding comic book shops in their area, or going in because they see a CSI comics poster in the window. The comics remain very true to the show ... right down to the visual approach of having one artist for the main story and a different art style for the forensics and crime reenactment sequences.

How do the cast and writers react to it? Do they have any input?

From what we've heard, they're very happy with the comics. I've met with Anthony Zuiker and some of the cast members from CSI: Miami, and everyone is very excited by the comics.

I heard about "The Shield" [comic book]. Any story ideas brewing?

Our first "Shield" story, called "The Shield: Spotlight," launches in January. I wrote that one, as one of the main reasons I wanted us to pick up the license for "The Shield" is that I love the show and its characters, and wanted to play in that sandbox. "Spotlight," like the series, is built with various smaller stories working around the fringes of one main, overarching story -- that of the murder of a TV personality in the Farmington district.

With all of the comic book adaptations going to the big and small screens, what do you think of this reverse trend?

There was a time in comics history when this was not at all unusual -- virtually every successful TV series had a comic book counterpart. I think there are lots of storytelling similarities, more so than with movies, for instance, because in both TV and comics you're telling continuing stories of a set of characters.

What else is going on with you, and at IDW Publishing in general?

We've got a second "CSI: Miami" one-shot under way, as well as a new "CSI" miniseries called "Demon House." In addition to TV properties, we're did an adaptation of the motion picture "Underworld", and now we're working with one of that film's screenwriters, Danny McBride, on a prequel miniseries set hundreds of years earlier. We are also doing videogames,with the Konami horror game Silent Hill.

Personally, I'm busy writing the second in a series of original young adult horror novels called "Witch Season," about a teenage girl who gets caught up in the ancient hunt for a renegade witch, and a couple of licensed novels based on "Charmed" and "Angel".

Latin for Zombie

WB mining DC Comics (finally)

In case no one noticed, Marvel is kicking D.C.'s super-powered butt in terms of getting movies into production and churning out hits. From "Blade" to "X3," Marvel has kept the hits coming at a steady pace, and looks to continue their winning ways with the upcoming pix "The Punisher" and "Spider-Man 2."

Well, seems D.C. finally noticed the footprint on their backsides.

As reported in Variety, Gregory Noveck "will be responsible for exploring DC Comics' vast, and so far largely underused, character universe." Many of those characters -- including Wonder Woman (who is actually coming to the bigscreen), Aquaman, and the Flash -- had been stuck on the printed page.

The executive has, of course, years of characters to choose from, but will also have to cozy up to the creative comics community. They may be on the right path with the "Catwoman" and "Batman" pix (Katie Holmes just added) in full swing, but there's a lot of ground to make up.

Big Screen Comics

A Warrior's Tale

Teen Angst

Bat Spoof

Right Brain, MainBrain

MainBrain Prods. is reaching kids in many disparate ways.

Who are they? Well, Dan Danko and Tom Mason founded the children's entertainment programming company in 1997 after their former employer, Malibu Comics, was bought up by Marvel. The company has written over 170 different television episodes including "Ace Ventura Pet Detective" (synd), "Rugrats" (Nickelodeon), and "Malcolm in the Middle" (Fox).

But that's not what we're here to talk about. The duo has launched a new comic book, which is a lot more "book" than comic, called "Sidekicks." A parody of that most essential member of the crime-fighting group, "Sidekicks" follows Speedy (aka 13-year-old Guy Martin) and his fellow League of Big Justice sidekicks (i.e. Spelling Beatrice, Exact-Change Kid and Latchkey Kid, to name a few) as they navigate the tricky waters of superhero sidekicking (washing the car, the dishes and the laundry). All of this while going to regular school with regular secret identities.

Danko says that their "goal is to entertain kids by providing them with funny and compelling books they won't want to put down."

Though they have written for many different media, neither has a preference. Both just want to see their works displayed in a way that allows the reader/viewer to have as much fun as possible. But with two founders coming from a comic book background, why do "Sidekicks" in a prose fashion?

Danko/Mason: "There was no real conscious decision. We know what the [comic book] readers are. They tend to be 25 and older, and we wanted the book to get into the hands of a lot of people who weren't into comics. We just wanted a broader audience. Comics [readers] are a pretty inbred and self-contained group."

The company has pitched the title to Warner Bros. and Disney (producer David Heyman of "Harry Potter" fame is said to be interested), and the "Sidekicks" book run has been extended through six issues. In addition, there are separate projects in development at Cartoon Network and with rapper Kool Moe Dee, and another pitching property called "The Amazing Adventures of Andy" about a reluctant teen who's forced to constantly save his wannabe Indiana Jones-like parents.

With all of this in motion, MainBrain will probably be in kids' lives for a while to come.

Wrestling with Dreams

Time to clear out the inbox, stuffed with reviews that have been piling up since super*Market. Here we go, quick and dirty: