Well, we haven't received any really good ideas for the names. There were a few that I liked, but I don't think they were quite good enough to be a good name, or they were something that, should we decide to do this again next year, would make any sense for next year's awards. So, at this point, the name of the awards is still to be determined. I still had to make up some graphics, though.

That's right--your favorite comic could win a coveted TBD Award! In fact, you could help it win! Just submit your votes in the following categories to awards@fanboycomics.biz, or fill out one of our handy paper ballots we'll have available in the store. You don't have to vote in every category, but that's not discouraged, either. Here are the categories available for voting:

Best Cover - The issue with the best cover art released in 2006.
Best New Comic Series - Best series beginning in 2006; i.e., issue #1 was published sometime in 2006.
Best Single Issue - The best single comic issue released in 2006.
Best Miniseries - The best miniseries of 2006. At least half of the issues of the miniseries must have been published in 2006.
Best Story Arc - The best story arc in an ongoing series of 2006. At least half of the issues of the story arc must have been published in 2006.
Best Ongoing Series - The best ongoing comic series (i.e., not a miniseries) of 2006.
Best Moment - The best moment in any comic where you just went, "That was awesome."
Best Original Graphic Novel - The best graphic novel composed of material not originally released in individual issues.
Best Collection - Best collection of material previously released in individual issues.
Best Comic-Based Movie/DVD/TV Show - Pretty much anything you care about that can somewhat fit in this category. I'm not going to be too strict about it.
Best Indie Comic - The best independent comic book published in 2006. Indie is defined as not published by Marvel, DC, Image or Dark Horse.
Best Hero - The best comic book hero of 2006, by whatever criteria you deem proper.
Best Villain - The best comic book villain of 2006, by whatever criteria you deem proper.
Best Comic Babe - The best comic book babe of 2006, by whatever criteria you deem proper. I guess women can send in their votes for hot guys or whatever. THE THINGS I DO FOR FEMINISM.
Best Artist - The best comic artist of 2006.
Best Writer - The best comic writer of 2006.
Best Roleplaying Game Product - The best product released for any roleplaying game or system in 2006.
Best Card Game Product - The best product released for any card game in 2006.
Best Miniatures Product - The best product released for any miniatures game in 2006.

Alright, now that we've got the categories established and hopefully well defined, let's see those votes! To give you an idea of some of the awesome stuff that came out in 2006, the Fanboy Comics staff has all made their selections and we will be revealing them week by week until the final votes are tallied. This week, our final set of choices is from Pam.

Kabuki #8

art by
David Mack

Fell

written by
Warren Ellis
art by
Ben Templesmith

Fell #6

written by
Warren Ellis
art by
Ben Templesmith

Cross Bronx

written by
Michael Avon Oeming
Ivan Brandon
art by
Michael Avon Oeming

DMZ #1-5
"On the Ground"

written by
Brian Wood
art by
Brian Wood
Riccardo Burchielli

DMZ

written by
Brian Wood
art by
Brian Wood
Riccardo Burchielli

Spider-Man Unmasks
(Civil War #2)

The Quitter

written by
Harvey Pekar
art by
Dean Haspiel

Supermarket

written by
Brian Wood
art by
Kristian Donaldson

Art School Confidential

Local

written by
Brian Wood
art by
Ryan Kelly
published by
Oni Press

Kabuki

America (From DMZ)

Matty Roth (From DMZ)

David Mack

Brian Wood
(DMZ, Local, Supermarket, Couriers)

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American Way TP

Writer: John Ridley
Penciler: Georges Jeanty
Inker: Karl Story (with Ray Snyder)
Colorist: WildStorm FX
Publisher: DC/WildStorm
Price: $19.99

A comic series demands attention when it attempts to tell a superhero story within a much bigger frame: Watchmen and the Cold War; DC: The New Frontier and the post-WWII Atomic Age. These two event stories speak to a larger world because they're not just focused on their characters, but also on the cultures in which they exist (and from where they originate). The latest addition to the canon of concept comics is now collected in one volume. The American Way is set during the tumultuous early 1960s and takes on communism, racism, government secrets-you know, tiny subjects.

In the 1940s, the US government formed the Civil Defense Corps, the CDC, as America's protection from fascism, communism and any threat to the American way of life. The team is made up of gifted mutant heroes and visitors from other worlds, a cross-section of the best the country has to offer. The team has its own sub-divisions as well; the CDC also features regional members, such as those from the South, a group of heroes who have no tolerance for other races. The story of the CDC is told through the eyes of Wesley Catham, an automobile industry advertising exec who suddenly loses his job when a car he's marketing is irreversibly linked to an alien invasion. Wes is recruited into the management of the CDC by old college buddy Bobby Kennedy, who sees Wes' marketing talents as the way to reinvigorate the team and build up capital with the American people. Wes' big idea: recruit a black member to the superhero team and introduce the idea of tolerance to the nation by showing that a black hero is just as strong and powerful as a white cape.

The project is mishandled and the country discovers its first black hero, named the New American, by accident after a major internal team battle. The CDC disintegrates as the southern racist heroes relinquish their membership and the New American tires of being a pawn in Wes' campaign of image construction.

There's so much more happening between the lines, and writer John Ridley (who's responsible for divergent work such as the film Three Kings and the cartoon and film versions of Undercover Brother) nearly crams in too many ideas. His concept is a fascinating portrayal of racism among heroes we'd believe to be above that fray. Nobody's an innocent in this story, and that's a testament to Ridley's immense accomplishment; white or black-not one cast member here has the answer to creating equality. Early on, Wes discovers that the CDC isn't a perfect superhero team, but rather a constructed PR campaign aimed at inspiring hope within the population. The intent quickly disintegrates as the heroes (both real and constructed) want to fight real battles rather than those that are staged for PR purposes.

The story takes place in the shadow of the Cuban missile crisis and the Bay of Pigs. It's a big backdrop, and Ridley's storytelling is generally up to the challenge. What's missing is a fully constructed back story for all members of the CDC. Details are dropped throughout, but few of the members' backgrounds are fully fleshed out. It's something you always wonder about while reading, because the characters are so intriguing.

The artwork, by Georges Jeanty and Karl Story, is an update on the work of Dave Gibbons on Watchmen. While character back stories aren't illustrated to such an extent here, Jeanty and Story give each member of the CDC nuanced characteristics, everything from costume design to hair style. The feel is retro, but with modern sensibility. Colors by Wildstorm FX reflect optimism and dread and always set the tone just as well as Ridley's script. (The first four chapters of the book are on white pages, while the last four appear on black pages. None too subtle, but a nice effect.)

A story this ambitious will have its faults; tackling such grand subject matter always does. But there's no denying the accomplishment. Ridley has brought a social consciousness to his grand story. While commentary on our current society isn't clearly defined (or necessarily intentional), Ridley wisely focuses his tale on the time period without trying to draw forced connections. His epic is character-based; it's driven by the personalities and ignorance of that generation.

RATING: 4/5

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Batman #663

Writer: Grant Morrison
Artist: John Van Fleet
Publisher: DC Comics
Price: $2.99

When I picked up this book to review, I was encouraged to immediately take a look by my friendly LCS staff. "Have you looked inside? You should open it up," they said. I refused, figuring that I wanted to savor whatever reaction I'd then expect to have in private. Several days later, I finally pealed back the cover and had one thought...What the f**k is this and where's my comic book?

Oh, looks are deceiving from the cover. While series regular Andy Kubert does duty on the cover, you'd think it to be a regular, as-expected issue. Not even close. What the all-powerful Grant Morrison has done is turn the homecoming of his take on the Joker into an overblown, verbose short story that would be more at home in an Introduction to Creative Writing class. I don't want to dog it too much, because Morrison has written a subversively grotesque and violent Joker story, and managed to squeeze it by editorial without a "mature readers" advisory. I'm no prude, but Morrison goes for boundaries when bringing back the Clown Prince of Crime, and he succeeds by making it a hyperviolent, cartoonish affair. The problem I have with this comic is that you'll spend more time with this book than you will with any single issue for the rest of the year. And if you can make it through the first half without dozing off (as I did-but I was quite tired), then you'll be treated to some delicious gothic horror. It's the mud you've got to trudge through that isn't worth the effort.

Morrison and Batman group editorial deserve immense credit for taking a risk with the long-running series and making an attempt at a glorious return for the Joker. The story here, if written as a traditional comic script, might've been stretched out over two or three issues. While the Joker is recuperating in Arkham Asylum after suffering a point-blank gunshot at the hands of a Batman impostor some issues back, somebody is offing members of the clown's crew. The green-haired creep has undergone treatment by a certain doctor who looks a whole lot like a female companion who has a penchant for black and red outfits. Joker has gone even more insane during his "recovery," and Morrison delights in highlighting the madness. First and foremost, this is the Joker's tale, and it's a complete tale from beginning to end.

But the verbosity grounds the story every step of the way. Most of the time, it's not fun, but arduous. I'd love this story to be drawn up as a paneled comic (Ben Templesmith would eat up this storyline!), but that's not what Morrison was aiming for. I can see what he wanted, but it was off the mark. Same goes for digital artist John Van Fleet. His work vacillates from captivating construction (a splash page featuring a rampaging Batmobile) to poorly visualized CGI (anytime we see Batman's face on the page-remember the 1990 Batman book, Digital Justice?). Van Fleet's Joker is the best representation of the character to come down the pike in a long time, but the styling on the whole is wildly uneven.

I spoke with a comic podcast host some months ago about Bendis' reload of the Spider-Man "Clone Saga" storyline. "What balls on that guy to bring back that story. And it is big balls that'll make the comic industry survive," the host had said. Grant Morrison has balls, and that means taking chances with storytelling to mix things up and keep it fresh. Not every attempt is going to hit, but even the misses are at least intriguing.

RATING: 1.5/5

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The Punisher Presents: Barracuda MAX #1

Writer: Garth Ennis
Artist: Goran Parlov
Colorist: Dan Brown
Publisher: Marvel/MAX
Price: $3.99

It is nice to see a Garth Ennis book after DC's cancellation of The Boys (all will be corrected soon, thanks to Dynamite Entertainment). And for all the Ennis fans out there, here's a book that clearly benefits from familiar tropes in the writer's oeuvre. He's taken a wildly likeable (if in an unlikable way) villain from his Punisher series, and set him off on an adventure all his own. Here, Ennis is as we've come to expect: unrepentantly vulgar, inventively humorous and fantastically populist. He knows what his readers want and in this book, that's exactly what he delivers.

Right out of the gate, you're either on board or you've decided to cash in your chips. We get Barracuda, a formidable Punisher villain, zipping up his pants after a back alley blowjob courtesy of a clearly mannish hooker. Barracuda always has a smile on his face-not just after gutter-quality fellatio-and it's easy to find him agreeable after giving in to the crude caricature. He's a walking Mandingo stereotype: big, black and imposing. Even after losing the fingers on his right hand and his right eye after his last run-in with Frank Castle, he's still a gregarious, if violent fellow. Ennis is unapologetic in this portrayal, as he is in most of his work. The writer's having fun, seeing what he can get away with, and allowing for typecast expectations to work the story.

After taking a convertible from some feeble hoods, Barracuda has a run in with C-grade mobsters. Rather than going along with their requests, let's just say he tells them "no" through acts of creative violent punishment. Turns out the goons worked for boss Big Chris (who looks a whole lot like another Ennis creation, Jesus de Sade, from Preacher). These two have a relationship of respect but complete mistrust. Big Chris intends to send Barracuda on a mission: to take his 20-year-old son, Oswald, a hemophiliac weakling, to make his first kill and prove that Big Chris' offspring can kill when called upon. And the one that Oswald is supposed to take down is now small fry.

Ennis may be resting on his laurels of series' past here: Oswald as a character is more than a little reminiscent of the doofus messiah from Preacher. While this issue has some stale moments, it's clear that Ennis is having a good time, and that black humor and violence will be hallmarks here as they are in with the Punisher. Goran Parlov's artwork allows for gleeful vulgarity; it's rough around the edges while the panel construction is simple and rigid. It's slow moving at times, but it's impossible not to have a good time following the Barracuda as he runs around town doing whatever he wants, wherever he wants. In some ways, he's untouchable, yet you can't wait to see what fate he'll incur down the road.

RATING: 3/5

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Thunderbolts Presents Zemo: Born Better #1

Writer: Fabian Nicieza
Artist: Tom Grummett
Colorist: Sotocolor's J. Brown
Publisher: Marvel Comics
Price: $2.99 

Marvel really seems to be pushing the Thunderbolts lately. First they reform the team, and put Warren Ellis at the wheel. Then they take that issue and deliberately call it a Civil War tie-in so that several thousand suckers (like myself) will immediately buy it without hesitation, regardless of their feelings toward the Thunderbolts. Now they're doing a four-issue mini-series about Baron Helmut Zemo. I don't know much about the character, as I don't read Thunderbolts. However, I do know that "Zemo" sounds an awful lot like "Zima," which makes me laugh every time I read his name, so he can't be all that bad. If you don't know what Zima is, you're either too young, or too manly.

The focus of the book (and the series for that matter) is not so much on Helmut, but on the origins of the Zemo legacy. The book begins with a graduate student working on his a thesis about the Zemo lineage. He believes that in a recent accident, Helmut, while believed by the masses to be dead, actually went back in time. Turns out that's exactly what happened. However, due to the skin damage he received during the explosion, he is thought to be a leper, and is held prisoner. There he is frequently visited by one of his ancestors, who is still a young boy at the time. Helmut quickly becomes the child's mentor, and teaches him the true meaning of leadership. The book switches between the two narrators (the grad student and Helmut himself) frequently, which is a risky style of storytelling, but Fabian Nicieza (I've never heard of him either) pulls it together very well.

The art's pretty good, but there's nothing breathtaking about it. The true beauty here lies in the compelling narrative. Any fan of the Thunderbolts will definitely want pick this one up. There's no reason why everyone else shouldn't either. Hell, the series is only going to be four issues long, so it's not like you're making a huge commitment. Plus, when a book can fit enough information into one book, that many other comics would take an entire story arc to convey, you know it's going to be a pretty good read. -Tristan Hoagland is currently serving three consecutive life sentences for the ritual murder of twenty-three transients from June 1996 to April 1998. His reign of terror has been immortalized in media adaptations such as the film "Toy Story 2" and the television show "Murphy Brown."

RATING: 4/5