Tagged: Comic Book Convention

Marc Alan Fishman: What To Do At A Bad Comic Con

 

San Diego Comic ConA week ago Unshaven Comics had the pleasure to attend a convention in flux. The promoters – good, honest people – take this show to several smaller town and cities across our neck of the woods over the course of the year. I won’t divulge their name, nor the specific towns. Suffice to say the con was more or less akin to the conventions of yore versus the now-typical megacon. A single space occupied mostly by vendors, with a solid dozen or so independent craftsmen, creators, and miscellaneous geek-adjacent business-folk.

To their detriment, the convention grew from a single day endeavor to two. In doing so the minimal crowds that came were basically split. Twice the days meant twice as much transportation costs with little in the way of measurable sales increases. And because I like to be fully transparent about the plight of the indie creator: we sold less books at this show than the same show put on for a single day back in December.

It was, to Unshaven Comics’ till, a bad show.

But I’m forever an optimist – looking for a silver lining even when I need not go through the motions. When a show is not up to snuff, what do you do if you’re there to make money? Some slash their prices and attempt to break even with their sunk costs. Others cut bait and go home early. Unshaven Comics subscribes to the “make lemonade” methodology. We dig our heels in, enjoy the few victories we get, and we use the time to make strides at future shows.

So, what of those few victories? For us this past weekend, it was being able to take the time to really get into a deep discussion with someone who bought our book. It was having the ability to produce some extra sketch cards to fill our sample books to entice future commissions. It was being able to get up and talk to plenty of the other artists and vendors in attendance and network. In doing that, I now have a pile of business cards with potential for adventures down the line; a podcast looking to have us on right when our future crowdfunding campaign launches, a vendor who will be able to produce us some amazing cosplay materials, another who can assist us in producing some affordable up-sell merchandise, and lastly an artist who committed to producing a pin-up for the aforementioned campaign. Now, I’d certainly call that a win in the face of a loss!

If I can digress fully (kinky, eh?), allow me to end on an anecdote that reassures me that my commitment to being an indie creator will always be about the journey not the destination. During the show, a little girl came poking around my side of the table, as I was coloring in a sketch card. “Excuse me. Could you please make me a Fennekin?” One quizzical look later, and her mother came to translate. Fennekin is a Pokemon, and her daughter wanted a sketch card. Money was exchanged, and I assured my li’l fan that it’d take about 45 minutes for me to complete it.

“May I please stay and watch you draw?” she cooed. Oy the feels! “Of course!” I exclaimed. She then stood, stiff as board, locked to my left side, not even a foot from my drawing board. I propped my iPhone up with a reference picture, and she helpfully tapped it “awake” anytime the display dimmed. Whilst I tinkered away at her card, she proceeded to tell me everything and anything I wanted to know about Fennekin.

When I finished the card, I happily handed it over. She beamed from ear to ear, and thanked me. She would never have cared about The Samurnauts. She wanted a piece of art of her favorite cartoon. I obliged. And in doing so, I know that for at least a little while… she will treasure something for far longer than it ever took me to make. It’s a small and important victory not for my ego… but for my spirit. The joy I see in my own son was reflected back in a girl who herself was likely only three years older than my own boy. This moment to her, will be one for Bennett in hardly a blink of an eye.

With a genuine moment like that to cherish, who am I to say it was a bad show at all?

 

Marc Alan Fishman: The Responsibilities of a Show Promoter

Having concluded an exhausting round of conventions (with one more to go in November, baby!), I find myself in awe of those brave soldiers who put on the shows themselves. From the giant conglomerate-hedge-fund-corporations with deep pockets, to the lonely islands that build their shows in small hotel ballrooms (like Days Inn… screw those who can afford the Embassy Suites!), VFW halls, and auditoria that double as bingo halls on off-nights. Simply put, a comic con is equal parts conference, summit, trade show, and flea market. Balancing these elements into a single entity is like throwing your kid’s birthday during your wedding with a Bar Mitzvah taking place in the adjacent ballroom. So, what makes a good show… from the eyes of an artist?

When I made the transition from fan to creator, my expectations for a show runner where slim to none. I honestly figured buying a table granted you… the table. Maybe a few chairs. But over time, those wants have shifted decidedly towards needs. Not that Unshaven Comics is in much (if any) position to have desired expectations, the glut of shows that exist now pull for our attention – and table fees – and word travels fast when it comes to which shows are must attend and which are must give a crap.

The Cost of the Table or Space

First and foremost, the cost of the table must be in proper ratio to the number of butts in the building. Wizard charges artists upwards of $350 – $450 for an Artist Alley table. In Chicago though, the stream of traffic typically matches the price – allowing most Bohemians behind their buffets to earn back the cost of said countertop in advance of the show coming to a close. I imagine much is the same for a vendor seeking exhibition booth space. And where applicable (see: ReedPop!) finding ways to nickel and dime us at every opportunity – want another chair for that booth? $85! – isn’t the best way to earn our love. We know we’re a captive audience… but that never means we have to like it. And for those vendors who aren’t being backed by marketing budgets, the added cost to power a booth for four days may not be worth it after a while.

The Fans in Attendance

Table price aside, I’d mentioned traffic. Here, the correlation between happy fans and happy artists are one in the same: if one group ain’t happy, the other won’t be far behind. I can’t count how many shows we saw fan after fan in a slump because of any number of reasons: perhaps waiting on line for hours at a time for a ticket for the voucher for the opportunity to look at the door outside of the hall where they are letting that one guy sign autographs for 20 minutes before his handlers whisk him off for a two-hour lunch. And when that fan is just three people in line after they set the cut off? Guess who he’s going to take it out on? Us. A lot. He’ll listen to the pitch for our book. In another world where he got that ticket, he may even give us a shot (he needs something to read during the hour long queue to sit down). But when the day started with a four hour wait for that McGuffin pass, followed by a half hour waiting to pee in a bathroom that Cthulu would be appalled by, followed by dropping over ten bucks for a hot dog, chips, and a soda… multiplied by the thousands who felt the same pains? Doesn’t make for a buy-happy experience. But I digress.

Traffic Needs Roads

The show floor (and corresponding venue) must be a planner’s nightmare. Organizing the fan areas (for photos and the like), gaming zones, autograph areas, the Artist Alley, vendor space, and panel rooms is a dance most choreographers would shy away from. The key to it all from the artists’ perspective? Flow. We want a stream of traffic to mill about the aisles in a steady queue that keeps our hands busy. When the only draw of a show during a given day takes place (“See Patrick Stewart high five Billy Shatner in Hall H!”), the monsoon of militant attendees makes for an awkward hour. Suddenly free-wheeling loiterers are collapsing in a heap to find a seat elsewhere, and you hawking your wares becomes plain insulting to them.

Fans Need Incentive to Become Fans

Simply put, a convention show runner is responsible to entice their attendees to explore every nook and cranny of their convention hall. I can’t count how many times we’ve heard how someone stumbled across us never expecting to purchase. While a decidedly pious few announce their love of shows specifically to seek out the new and odd… most are there to snag that deal on back issues or trades, get the autograph of that now-B-Lister from the Show-They-Love(d)-So-Much, and maybe waste some time at a panel or two. Artist Alley is always feels seemingly like an afterthought from show runner’s perspective. We pay the least to be on the floor, and our DIY table-scapes are rarely seen as a draw large enough to bolster attendance.

But consider my hypothesis: the Artist Alley is the lifeblood of a show. Yes, celebrities and razzle-dazzle gets people in the door. But those precious minutes spent on line, and then snapping that quick photo are only a small percentage of the opportunities that exist in a given con. If I’m to be bold, more often than not, fans discover in the alley. They have the chance to meet face to face with creators and pick their brain (while conducting business, mind you), as well as see the past, present, and future of the industry that spawned the cons in the first place.

I’d put the onus on the show runner’s to push the artists (and dealers to an extent) just as much an attraction for their conventions. Introduce attendees to the notion of making a sketchbook filled by artists in attendance. Consider “con bingo” where fans are rewarded for making purchases from every zone on a given floor (or even just for listening to the pitch). In essence: reward the fan who chooses to enjoy the entirety of their admission. At the end of it all… no one can complain (within reason) if they felt that they saw every fan have the opportunity to converse. That is to say (ahem, Mrs. Dorman), the biggest responsibility of the show runner is get butts in the hall, and get them mingling. The responsibility of we who man the tables… is to make it worth their while.

 

Marc Alan Fishman: How To Lose Your (Convention) Virginity

On a recent jaunt into the social media interwebs, an old foosball buddy of mine asked that I help him discover the creepy, crazy, wacky world of comic book conventions. By proxy, I assume he also means sci-fi cons, pop culture cons, and possibly the auto show. In any event? Todd Burrows, I got your wonderfully tattoo’ed back. Consider this your introduction and survival guide all rolled up into one easy to read article. Forgive me though, this ain’t Buzzfeed, so don’t expect 10 glorious animated gifs for scrolling.

Let us assume you’re not a comic guy, but this whole comic thing is mildly intriguing to you. Perhaps a person you used to know back in high school is now a small indie publisher, and you think it’d be neat to see him again. Perhaps that publisher from time to time uses his or her friends in model reference shots, and you think that maybe you’d like to see yourself as a superhero or nefarious villain. And maybe, just maybe, you think dipping your toe into the waters of these new-fangled cons would be a good way to know if all your intrigue is just a waste of your time. I know, that’s a lot of supposition. But I digress. The question is simple: Why Go To A Comic Con?

It’s inclusive.

Since the first time I’ve stepped onto a convention floor, I’ve never once felt on the ‘outside’ of the industry. Once your badge is flung around your neck – be you a complete noob or a working professional – you’ll find most every con filled with folks in the exact same situation. In the pair of decades I have considered myself a fan, I’ve not once found a fellow con-goer not willing to lend an opinion, give a bit of backstory, or make an education recommendation on a good read. It can be daunting, no doubt, to jump in head-first to a world you think you don’t know. But lucky for you? Comics have permeated TV, movies, and pop-culture now for so long, there’s little to no chance you haven’t been introduced already without even knowing it. (more…)

Dennis O’Neil: Veronica

Well, my friends, here we are, home after a weekend of adventure down south in horse country.

That’s a lie.

We intended to spend the weekend in Lexington, Kentucky, but we never got there.  Friday/travel day, we got up at the crack of eight a.m., which for us is pretty early, and arrived at the Westchester airfield on time.  The line in front of U.S. Air’s counter seemed unusually long and, after a fidgety while, we were facing an airline employee and learning the reason for the long wait: the flight had been cancelled and no other flights to our destination would be leaving that day.  The best the very accommodating agent could do would require us to drive through New York traffic to another airport, change planes somewhere in the journey, and arrive in Lexington after the con had closed.  We didn’t know about travel the following day, but assuming it was possible, we wouldn’t arrive until the con was, in all likelihood, mostly history.  So I made one of those snap decisions we often regret and cancelled the whole trip. Then I spent much of the ensuing three days wishing I’d pushed harder, tried harder, mostly to assuage my conscience. I hate not doing what I’ve said I’ll do – would I have succeeded in politics? – and I felt I owed the Kentuckians something, which is a long story not to be told here.

So, instead of enjoying the bluegrass turf, we came home and eventually did a movies-on-demand viewing of Veronica Mars. I used to call Veronica’s television show a guilty pleasure.  But why guilty?  It was, in retrospect. a perfectly acceptable mass entertainment, maybe a cut or two above most of its kind. I didn’t miss the explosions or car chases – there were none – and the violence was well-choreographed, but fairly mild, and not overused.  The plot was multi-layered and reasonably complex, but again, is this something we want to complain about?  The ending left the sequel door wide open, but hey – this is the twenty first century media and am I not contemplating a sequel to my grocery list?  (Bet there’ll be one, too.)

Which brings us to today.  March 17. St. Patrick’s Day. Our annual bacchanalia.  The first bacchanalia was begun in early history to honor the god bacchus.  Our version is, as I type, being celebrated about 25 miles to the south, in Manhattan, among many other places, and presumably exists to honor a Christian saint named Patrick who allegedly evicted the snakes from Ireland, though a skeptic might say that the snakes symbolized the so-called pagans.  That might include some of you, but not to worry: you almost certainly don’t live in fifth-century Ireland.

If you live in twenty first century Manhattan, well…maybe being a pagan is the least of your worries.

The Book Cave Presents Panel Fest Episode 28: Pulpfest 2013 Hero Pulp Premiums

PulpFest website designer Chris Kalb hosted the Hero Pulp Premiums and Promotions panel at PulpFest 2013. The panel was recorded by The Book Cave’s Art Sippo.

You can listen to Panel Fest Episode 28: PulpFest 2013 Hero Pulp Premiums here.

About Hero Pulp Premiums and Promotions:
How did pulp magazine publishers keep readers coming back month after month? Of course the best way was to publish excellent stories. Regardless of genre, the leading pulps–Adventure, Astounding Stories, Black Mask, Blue Book, Dime Western, Doc Savage, Love Story, The Shadow, The Spider, Sports Stories, Startling Stories, Weird Tales, Wings–attempted to do just that, issue after issue.

Another method that publishers employed to lure dimes on a regular basis from buyers with thin wallets was to create a club and offer premiums. For a few cents or by clipping coupons from a favorite pulp magazine, a devoted fan could become a member in good standing of the Doc Savage Club, one of the Friends of the Phantom, or Adventure Magazine’s Camp-Fire Club. Also available were rings, pins, and other items such as the Spider Pencil, a celluloid mechanical pencil with rubber eraser of The Spider seal, produced in very limited quantity during 1941-42.

On Saturday, July 27th, PulpFest website designer Chris Kalb took us back to a time when a few cents not only bought a pulp magazine filled with thrills, but also an Operator #5 ring, a G-8 Battle Aces Club pin, or a membership in the Green Lama Club. Chris will be presenting Hero Pulp Premiums and Promotions, an event that you cannot afford to miss.

For a look at some other pulp premiums, please visit Pulpster editor Bill Lampkin’s The Pulp.Net website and do a search for “premiums.” Bill has photographs of rings, membership cards, pins, and other items on his highly informative website.

You can listen to Panel Fest Episode 28: PulpFest 2013 Hero Pulp Premiums here.

The Book Cave Presents Panel Fest Episode 25: Pulpfest 2013 Will Murray

Cover Art: Joe Devito

The Doc Meets The King panel at Pulpfest 2013 featured a reading of the Doc Savage novel, Skull Island by Radio Archives’ Roger Price. Also, author Will Murray talks about how Skull Island came to be. It’s Doc Savage vs. King Kong live from Pulpfest. The panel was recorded by The Book Cave’s Art Sippo.

You can listen to Panel Fest Episode 25: PulpFest 2013 Will Murray here.

About Doc Meets The King:
Beginning with the premier of Standard Magazines’ The Phantom Detective at the start of the year and Nick Carter and Doc Savage from Street & Smith in February, on through to the fall when Popular Publications released G-8 and His Battle Aces and The Spider, 1933 was the “year of the hero pulp.” And let’s not forget that The Lone Eagle and Pete Rice likewise debuted that year.

But 1933 was not just the year of the hero pulp. On March 2 of that same year, RKO Radio Pictures premiered “the eighth wonder of the world,” King Kong, at New York’s Radio City Music Hall and the Roxy. In just four days, the film earned nearly $90,000, a substantial sum in those dark Depression days.

To celebrate the 80th anniversaries of “The Man of Bronze” and King Kong, Will Murray, author of The Wild Adventures of Doc Savage, paired the two characters in his novel, Skull Island. On Saturday, July 27th, at 2 PM, PulpFest 2013 hosted a special New Fictioneers reading of Mr. Murray’s bestselling novel by Radio Archives’ reader Roger Price.

During his lengthy career as an entertainer, Roger has performed on television, radio and the live stage. At one time or another, he has worked as a stand-up comic, hosted a late night movie series as a character called “The Baron,” worked as a morning radio personality, hosted and emceed numerous live events, served as an entertainment news anchor and even as a ring announcer for professional wrestling. Comic book and pop culture fans know Roger as the creator, director and “voice” of Mid-Ohio-Con, one of the largest and longest running shows of it’s kind.

Through Radio Archives, Roger Price can be heard reading various short stories on Strange Detective Mysteries #1, Captain Satan #1, Captain Zero #1 and other audiobooks. Roger also works with a wide variety of clients as an announcer and voice actor, specializing in character/cartoon voices and dialects.

Following the reading, both Will Murray and Roger Price were available for questions and conversation.

You can listen to Panel Fest Episode 25: PulpFest 2013 Will Murray here.

Quest of Drawers: How to be a convention sketch collector

  • News
  • October 8, 2012

The New York Comic-Con is just a few days away, and I’m packing up my necessities in my bag, along with my towel, and preparing for the show. Above all else, above my new Nintendo 3DS XL to score more SpotPass friends, above the mobile hotspot so I can post all those awesome cosplay pics,  above it all, is Norbert and my sketchbook. I’m a convention sketch collector.

v130-tanghal-300x357-3158660

Norbert at the Green Lantern Convention by Romeo Tanghal

Under the name The International Norbert Conspiracy, I’ve been collecting sketches of my mascot for over twenty years now, and I’m approaching five hundred sketches. The question I get asked the most often (aside from the obvious “What is WRONG with you?”) is “How do you get so many?”

There’s always someone heading to their first convention, and keen on scoring sketches. And they ask the hive mind where to start, who’s the best, how much do they cost, all the standard questions. And since I’ve been meaning to do this for some time now, here’s a run-down of some basic tips to get started.

First, a few basics. There’s a few ground rules you’ll need to keep in mind when you’re trying to get sketches from the happy helpful people at a convention. Even if it looks like OTHERS aren’t following those rules, follow them anyway. Usually, the artist will recognize it, and appreciate it, hopefully lighten their mood, and you may get a better sketch out of it.

BE PATIENT – The larger a con, the longer the lines. People are getting books signed, some others are also getting sketches, and some just want to get a minute or so to talk with someone whose art they like so much. And if they got on the line before you did, they get to go FIRST. And they get to take as long as the want. Usually, the artist will grasp there’s a line, and try to keep such interactions brief; not because he’s rude, but because he wants to make sure he gets to everybody. But if he doesn’t, don’t remind him. Don’t sigh, don’t make a show of looking at your watch, and don’t do that “wind it up” thing with your fingers. You will get there when you get there.

BE POLITE – OK, you’re talking with the artist now. Remember how much you hated that guy who was taking All That Goddamn Time with the artist? That’s YOU now, to the guy behind you, and so on. So even though it seemed like everybody else was taking forever, that does not give you license to do the same, and maybe a little more. If everyone followed that rule, the last person in line would be able to go full-term in a pregnancy by the time they get to the front of the line. If EVERYbody’s just a LITTLE polite, things go faster.

BE REASONABLE – Again, bear in mind there are people behind you. If you ask for a drawing of the entire Justice League, from every iteration, fighting the total population of Topeka, be prepared to hear there’s not enough time to do so. Be prepared to be happy with a headsketch, or a simple figure.

BE PREPARED TO PAY – This is something which has become more commonplace in recent years, for a number of reasons. First off, the vast majority of artists pay their own way to come to the show, and hope to make enough money at their table to cover their expenses, and then some in a perfect world. Hard to deny them that.

In the case of more popular or “Hot” artists, there is more than a small chance that the sketches they’re doing will end up on eBay as early as that night, making the seller quite a pretty penny. There’s nary an artist who hasn’t got a story of doing a piece for someone who swore it was for their kid, who was either sick, couldn’t make the show or some sob story, only to see the art up for auction before the weekend is out. So the prevailing mindset has become similar to that of the sports memorabilia business; “this guy’s probably gonna sell this, so I might as well get my cut”. And again, it’s a hard argument to dispute, as sadly, the odds are in greed’s favor. So in the case of more and more of the bigger artists, free sketches are harder to come by. They’re not impossible (tips to follow), but if you really want a piece by your favorite artist, assume it will cost you some money.

There’s an upside to this as well, If you’re paying, you have a bit more say in what he will draw for you, and you almost certainly will get a more detailed drawing than if you just got a quickie “con-sketch”. Some artists have started taking orders for commissions BEFORE major conventions as well. Check their Facebook, Twitter or other social network feeds and see; don’t be afraid to ask, either. That’s often a win-win situation as well – the artist can see some money before the show, can complete the piece more at hie leisure, and you’ll get it as soon as you walk up to him. Likewise, some will arrange to ship you the piece after the show. If you’re asking for a very intricate piece, don’t rule that out either.

Once you’ve gotten those rules memorized, here’s a few advanced tips…

Check the publishers’ signing schedules. At a big show, the publishers will have a steady stream of creators at their booths, signing and almost always sketching. While the artist is on his own at his table, he’s on the company’s clock at the booth. They’ll certainly be quick little pieces, but if that’s all you’re looking for, that’s perfect.

Get a sketchbook. A sketch on a piece of comic art board is easy to turn over to another person. But a bound sketchbook is a subtle sign that this is a piece you intend to keep. While it may not melt the creator’s heart, at least he won’t be grumbling to himself how much he thinks you’ll get for the drawing.

Bring reference. If you want a piece of Batman or Superman, odds are peple know how to draw them. But if your favorite character is less off the A-list…well, don’t be offended if they don’t remember how many frogs and buttons are on Sonar’s jacket (it’s four). Bring a couple pictures they can use as reference.

Try a theme sketchbook – The more fun you can make your collection, the more interested you’ll get the artist. Ive seem books with just drawings of one character, some with them all doing something in particular, and one wonderful collection of heroes draw in the style of Fisher-Price Little People. Make it something they’ve never drawn before, something that’l; interest them, get the creative juices flowing.

Troll artists’ alley. No, don’t go up and insult everyone, slow down and look at all those up-and-coming creators who are pushing their self-produced books. Say hi to the guys and gals who did one issue of a DC or Marvel title a year or two ago. There’s a lot of talent there and you’ve got no way of knowing who the fickle finger of fandom will touch next. A year later, they might have a line across the floor, and you’ll be kicking yourself for not getting them when you coulda.

Try, try again. Aside from a handful of artists who have simply been too busy to do a sketch, I’ve got a few who have actively refused to draw Norbert. In the first case, the time will come that they WILL have time; if not at this show, then another one. In the second case, unless there’s some specific reason they don’t want to deal with you, like you threw up on their shoes or something, there’s no harm in asking again another time. Maybe they were tired, or in a rotten mood. Give it another shot. If you need to, buy them new shoes.

As with everything at a convention, the goal is to have fun, without in some way ruining someone else’s. A bit of patience and decorum, matched with a good attitude, and you can have a nice time and get a fun new hobby started.

A.J. Confessore: 1969-2012

There really is no easy way to write an obituary, but it seems even harder to write one for a man who might be best known for going to comic book conventions in a banana suit.

Yet, sadly, we have to.

A.J. Confessore, comedian and rock and roll interviewer, died this week at the age of 43. A staple of the New York City comics scene since his days at NYU, he is perhaps best known to many comics fans as CC Banana, who would attend comic conventions in attire not unlike what we have pictured on the right. I remember him most recently dressed up as a Wolverine banana– presumably a banana that sliced itself.

“A.J. was one of the most creative and driven people I had ever known,” said Manhattan Comics & More’s Robert V. Conte. “While working at Village Comics in the early 1990s, I recognized his ambition and talent.  We became friends quickly sharing our love for comics, Kiss and Star Wars.  That friendship lasted almost 21 years.”

“A.J. was one of a few whom, I believe, could handle anything thrown at him, ” says Conte. “Unfortunately, he was unable to conquer some unusual inner demons that plagued him for years.  It’s a shame because A.J. had so much more to offer this world.  I’ll miss him deeply.”

So will we all.

MICHAEL DAVIS: What’s your problem?

  • News
  • March 23, 2007

michael-davis100-3544352For the past few years I have hosted a panel at various conventions called The Black Panel. Before that, every so often I used to be a part of a Blacks in Comics panel.

I started the Black Panel to try and avoid all the “Marvel and DC are racist” dialogue that seemed to be the theme of some of the “Blacks in Comics” panels.

As you can see from the stunning photo that accompanies this column, I am a black man. I am a black man but I do not speak for all black people. Nor do I expect any other black person to speak for me. My views are my views and I am solely responsible for what I say. To that end I have a question to ask some of my fellow black creators:

What’s your problem?

I am very proud to be a black man and I hope by my work I have done my race proud. But here’s what I try not to do. I try not to diminish by words or actions anything that other black creators are trying to do. In other words I don’t talk bad about other black projects regardless of if I think their projects are any good or not. I am proud and glad that other black creators are doing some great work in this field. But they are responsible for what they do, not me.

That said, I have been hearing quite a bit of rumblings about my Black Panel. The complaint I hear the most is that my panel is exclusive. Some black creators have been complaining about not being represented. Well, yes it is exclusive. I put the panel together; I bring it to the con. I am responsible.

Here’s a reality check. If I don’t know you (or your work) how am I to include you? And frankly why should I? Should I include you just because you are black? Just because I drive a sports car, should I be able to race in the Indy 500?

(more…)

Familiar Faces?

  • News
  • January 27, 2007

It’s indicative of how the Comics Convention™ (Now with 50% More Media Tie-Ins!) has developed into some sort of über-monster when the promotions for the convention feature supposedly familiar faces and the average years-long con-goer can only recognize one:

Let’s hope bigger does mean better in this instance. Some of us would settle for simply being able to get past registration and into the exhibition hall.

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