Category / New York ComicCon
New York Comic Con 2009: Where the Fans Come Last
The Jacob Javits Convention Center has become a cold and noisy place. Colder than the wind pushing up goosebumps outside. Noisier than a pleasant gust whisking you into a possibility. Designed no longer for fans to evince their passion, but for passion to transmute into savage and lonely transactions. One emerges out the doors with a sense of fatigue, an exhaustion caused not from the disgraceful sensory overload, but from the sense that the people now running New York Comic Con are working as hard as they can to squeeze out the remaining social opportunities. The few moments left that aren’t dominated by vicious consumerism. In three years, the bleak cacophony of New York Comic Con will come close to rivaling San Diego. A place where the fans and the passionate are squeezed out. This was the first year with a VIP entrance in effect. Perhaps because a few filmmakers had to stand in line like the rest of the apparent rabble and bitched that they weren’t given the diva tribute.
I come to these conventions because I’m on the lookout for the people I don’t know about. The ones who still pencil, write, and create with a giddy thumping heart. The ones who, in turn, galvanize others to get excited about this art poorly regarded by the elitist snobs. While I conducted a few interviews today, this year, I found it more difficult to find those independent artists sitting in booths on the fringe who made crazy and often dangerous comics because they simply couldn’t stop themselves from creating. These endearing stalls of past years have been largely replaced by retailers hoping to hawk their overpriced goods: ponytailed mercenaries selling lightsabers who smile at you not because they love Star Wars, but because they hope you will hand over your hard-earned dollars in this rough economy.
Should you wish to touch the hem of a C-list celebrity in the autograph line, you will have to hand over one mandatory dollar to the Comic Book Legal Defense Fund. All in the spirit of generosity, you see. But who pays for these celebrities to sit behind the table? And why is poor Lou Ferrigno there for eight hours? Is this really the way for him to connect with fans?
“New York Comic Con” may be something of a misnomer. Almost a third of the floor is now dominated by noisy and intrusive monitors promoting loud and distracting video games. I’m not against video games. But I am against this needless intrusion on basic communication. I was at the Tor Books booth today talking with a number of nice people, and we all were forced to shout at the top of our lungs just to be heard. What is this? E3? The fans, of course, play alone. And just watch their faces. Caught in the glowing rapture of a next-generation game engine. But can’t they play this stuff at home nine months later when the title gets released? And why aren’t they talking with each other? Who did they come with? Why aren’t they meeting other fans? Is the primordial fire that compelling? Will they sign their names to some mailing list to be bombarded by promotional material?
As someone who has gone to numerous conventions and met up with geeks who want to show me things that mean something to them and crack a few jokes, and use this as a starting point to talk about other topics, why on earth would such a vital social component be extirpated? Well, geeks, as we know, are now the mainstream. Never mind that you happened to be a geek simply because you had geeky interests and that you could care less about whether it was the hip thing. Never mind that you congregate in meeting halls and basements over beer and pizza and pot to get excited about Bryan Lee O’Malley or Battlestar Galactica. Never mind that you even filked every now and then. You are, in the eyes of New York Comic Con, a consumer. So why bother to connect? Why even bother to talk?
There were Stormtroopers and Predators and Darth Vaders and Super Marios, but none of them talked. If they noticed you, it was because they hoped to be photographed. To have their costume captured for ephemeral posterity. But where was the theater in all this? Where were the geeks who got excited and boomed their voices and acted out characters and poked some fun at their obsessions? How indeed do these folks convene?
With their wallets. With their demographic status.
But with the VIP entrance and the autograph lines, they’ll always be second-rate. They’ll always be consumers to be gouged. They’ll always be rabble. This convention is no longer about them. It’s all about the money floating around at the top. And if you ain’t got the money, well, frak you. But for $25, you can walk away with a FRAK ME T-shirt so that you know just precisely where you stand. After all, every getaway requires a souvenir.
Forthcoming Coverage
In addition to a rather enormous roundtable discussion that I have in the works here (author and book to be revealed soon), I should note that I’ll also be reporting on New York Comic Con and Tools of Change. There will be a considerable number of podcasts and written reports. Our Correspondent, who does not require alternating current and is somewhat adventurous, will most certainly not be confined to Podcast Alley, expecting people to come to him. Our Correspondent will be considerably more pro-active, walking the floor, and interviewing numerous figures of interest. But a few sitdown interviews have been scheduled. While most media outlets will be circling like moths around the high-profile lightbulbs, the emphasis at both affairs will be on the people who aren’t getting that kind of attention. If you are attending either event, please tap Our Correspondent on the shoulder and whisper the words, “Tom Spurgeon didn’t return my emails,” if you have something interesting to say. I anticipate being bald and beardless at both conferences, although any number of factors could affect my hair status. So there are no guarantees.
New York ComicCon — Podcast
Over the course of the weekend, a number of people were interviewed by Our Young, Roving Correspondents on the floor of New York ComicCon. Thankfully, we have managed to assemble a rather strange collection of interviews into a podcast. We had no idea that we had recorded so much material. Many thanks to Eric Rosenfield for interview assistance and his laconic pal Phil for moral support and a shoulder to cry on. Scroll to the bottom to listen or download the 78 minute MP3!
1. Mike Pellerito — In this somewhat naughty conversation, Archie Comic Publications, Inc. Managing Editor Mike Pellerito offers his candid views on maintaining the purity of the Archie universe.
2. Joe Gonzalez — We venture into Podcast Arena to discuss the appropriate way of covering New York ComicCon with a fellow podcaster.
3. Aaron Goold — One of the folks behind Yo Yo Nation explains why he is a spokesman for Duncan. There is also some speculation on secret yo-yo societies in New York.
4. Jack Ringca — I am unsure what pernicious position Mr. Ringca holds within Duncan, but he seemed to have a few diabolical ideas involving Mr. Goold and conquering the universe with a yo-yo army.
5. Joseph Semling — The purchasing manager of Brian’s Toys offers a helpful explanation of the economics behind lightsabers.
6. David Williams — The co-founder of Fanlib insists that he’s flying fan fiction writers out to Hollywood. But we learn that this isn’t the case at all. He seemed especially convinced that all fans are protected from lawyers.
7. Dan Piraro — The man behind Bizarro explains the precise circumstances that help him generate ideas and reveals how some of his more daring strips end up in Scandinavia.
8. Ross Milhako — Attracted by the risque title, Our Young, Roving Correspondent questions the creator of Dead Dick — Zombie Detective upon the filthy and salacious qualities of his comic’s name.
9. Tim Fish — The Boston-based comic book writer behind Cavalcade of Boys explains precisely what he means by “cavalcade” and offers some insights on gay romance comics.
10. Patch — A gentleman who only referred to himself as “Patch” explains how Teddy Scares inverts the nature of the cute and cuddly teddy bear. There is also an ethical debate over whether zombie teddy bears can appeal to an UglyDoll audience. We dutifully pledge, per this interview, to investigate Teddy Scares in five years and determine, per Patch’s assured declarations, whether or not Teddy Scares retain their edge.
11. Kim Caltagrione, Mike McLaughlin & Steve Vincent — We talk with the New Jersey underground comics operation, Angry Drunk Grahics, about the fine line between angry and drunk and how Ms. Caltagrione ties this ontological spectrum together. Includes discussion of Mike Diana, the first artist to receive a criminal conviction for obscenity in the United States and who is published by Angry Drunk Graphics, and the Diana-drawn illustration of Jesus with a penis.
12. Brian Phillipson — The co-creator of God the Dyslexic Dog insinuates a forthcoming jihad involving canines. Or at least that’s what we’re left to conclude from this conversation that somehow manages to include nonoverlapping magisteria and dyslexic fundamentalists.
13. Chris Wozniak — Chris Wozniak insists, despite developments involving Kathy Griffin, that he is the Woz. But even though he has created bitter midgets, the Woz doesn’t have any explanation as to why his midgets are bitter.
14. Jeffrey Brown — A mention of Brown’s appearance on a Canadian sex program leads into an unexpected delineation between the real Brown vs. the invented Brown. (Partial transcript here.)
15. Kyle Baker — A conversation between Baker and McCloud is unexpectedly interrupted, but segues into issues of artistic control, television, people who don’t read comics, thwarted animation deals, families coming back in style, Special Forces, Nat Turner, the Haitian Revolution, mainstream publishers getting into graphic novels, and other assorted topics.
16. Scott McCloud — Scott McCloud reveals a future deal involving a graphic novel in New York, the present state of advocating graphic novels, the Creator’s Bill of Rights, and the failure of micropayment systems.
Listen: Play in new window | Download
NYCC: An Impromptu Interview with Jeffrey Brown
On Friday afternoon, I began walking the floors of New York ComicCon, collecting strange snippets that will be glued together for a future installment of Segundo. I counted thirty-seven Jedi Knights (some of them portly, making me wonder why Jedi discipline doesn’t seem to involve physical fitness), two Stormtroopers (both in good shape), and two Princess Leias (both in remarkably gaunt shape and dressed to show this). If one must choose a side in the Star Wars/Star Trek dichotomy, I’m more of a Trek man myself, even though I recognize that the franchise is dead and hasn’t produced anything of quality since Deep Space Nine. Nevertheless, if costumes are anything to go by, there is a distinct sign that Trek is on the wane with the true believers.
I’m not quite sure what Roman centurions and Jedi knights have in common, aside from the fact Asimov’s Foundation series serves as the missing link between the two. But I must confess that, of all the costumes I espied, I was the most impressed with the Centurions (pictured above).
Speaking of Star Wars, I learned about the economics of lightsabers. A good lightsaber will cost you around $100. More if you want it customized. Joseph Semling, purchasing manager of Brian’s Toys, told me that he has anywhere from 20 to 100 lightsabers of any particular type in his warehouse. And if you’re wondering what a lightsaber dealer is likely to net, a lightsaber goes wholesale for about $75 and is then sold from anywhere from $25 to $50 more at retail. And if you’re wondering how Semling makes his money, he informed me that he raises the price of his lightsabers when the supply goes down. Like anything, the lightsaber is subject to a supply and demand curve. But even if the supply remains relatively stagnant, I suspect if Semling moved six lightsabers a day, discounting overhead, he could probably pay for his New York hotel room.
But the most intriguing conversation I had was with Jeffrey Brown, whose work I was apparently more interested in than I realized and whom I may have profoundly confused with my line of questioning. I’ll let the following partial transcript speak for itself. But Brown, I suspect, has more going on in his personal chronicles than most people realize. And I’m hoping that one day, I’ll be able to sit down with him and give him the full-length treatment he deserves.
Brown: I don’t really write about my personal sex anymore.
Correspondent: I know. But I’m saying that people are still interested in the past.
Brown: Yeah.
Correspondent: So this might be a conundrum. Many people are expecting more of that in the present and the future.
Brown: Well, um, I just keep dangling it in front of them. Well, that sounds bad.
Correspondent: (laughs)
Brown: What I mean to say is that maybe I can just make it seem like I might write more. But I’ll really just write whatever I want.
Correspondent: Okay, I propose something for you. What if you were to fictionalize the personal and therefore it’s not personal sex. But it’s fictional sex. I mean, you did that with the robots. But to have a story that doesn’t involve you as the chief protagonist.
Brown: I have lots of ideas and I’ve got a couple more autobiographical things that I want to cover. Including writing about religion. Growing up with my dad being a minister. And I want to write a book about pregnancy. And the book I’m working on right now is about becoming a cartoonist. And then once those are out of the way, I have some ideas about fiction-like stories that I want to get into. Although the first one, at least, there’s no sex. Well, there could be. I don’t know. I haven’t written it yet.
Correspondent: Well, it’s not all sex. I’m just trying to point out the first-person vs. third person vs. fictive vs. real and all that.
Brown: Well, if you don’t know me, I guess it’s all fiction writing.
Correspondent: I don’t actually. I don’t know you.
Brown: Well, you kinda do.
Correspondent: Well, not entirely. Because this is entirely true. That’s the question.
Brown: But to people listening to this, they don’t know.
Correspondent: Well, now they know. Now that we’re talking about it. We’re clarifying.
Brown: But to them. To them, this could be fiction.
Correspondent: Oh, you may not even be Jeffrey Brown.
Brown: That’s true.
Correspondent: Okay, so let’s talk about this reality vs. what you put in your books.
Brown: Well, it’s something. And I haven’t entirely figured out why. I mean, there’s something about when you know it’s true. There’s something about that honesty, that authenticity, that kind of heightens the impact of things sometimes. Which is why I’ve avoided doing more fictionalized autobiography. And sometimes I’ve thought about moving in that direction. And then it just doesn’t feel right for what I’ve done so far. But on the other hand, books — like some of the Bighead stuff — there are some very personal autobiographical elements sort of in there. So in a way, I kinda do it occasionally. In various half-assed ways.
Correspondent: I’m wondering what boundaries you’re placing on yourself as you’re getting older. As you have a family. And all that.
Brown: I definitely. Well, not writing about personal sex anymore. There’s boundaries there that I’m much more aware of. You can see that in the new book, Little Things, where everything’s approached from a slightly different direction. Where I’m much more careful about what I’m revealing and how I’m revealing it.
Correspondent: But this issue of authenticity that you were talking about earlier, I mean, this causes a bit of a problem if you have boundaries like this.
Brown: Unless you just ignore it. Fuck it. I’m going to do — oh wait, can I say that?
Correspondent: No, you can say whatever you want.
Brown: This is going on the Internet? Oh, Internet. Then I just leave those questions up to people analyzing the work. Then I just ignore the problems.
Correspondent: Now wait a sec. Wait a sec. That was a very great way of evading the question.
Brown: I know. I tried earlier.
Correspondent: Yeah, I know. Well, I’m going to have to put it — just try to get an answer on this notion of how you retain truth despite having these boundaries.
Brown: (laughs) I mean, certainly there’s a theory that some people have. That fictionalizing — that by lying, you can get at a more real truth. So in that sense, whatever boundaries I have, I’m walking some sort of line between those boundaries forcing me to reveal some kind of more pure truth in that sense. But then we can go into how reliable is my memory. I think people who know me would generally say that I’m pretty honest. But it’s also possible that it could all be a big act. And I’m a really good actor. Totally. But —
Correspondent: The issue I have is here you are putting some kind of identity. It doesn’t really matter how true it is.
Brown: Right.
Correspondent: Nevertheless, it is true in some sense. And then there are these boundaries on top of that. So as a result, you’re painting yourself into these interesting limitations. Possibly to be more creative.
Brown: And I think the other thing to is that I tend to think of all the autobiographical works as a bigger picture when you put them together. So one book, for example, might have a lot of boundaries in some way that limit what you’re seeing from that book. It’s a very limited view of me as a person or as a character. Or however you want to put it. But when you read the other books, they all kind of inform each other. And so it’s like a tapestry of information that combines. It’s almost like it gets around those boundaries. Maybe.
Correspondent: Well, I also ask this because, in Little Things, you’re very clear about when things happen in that. You actually date the stories. If I’m thinking of the right collection. This happened during this particular time. I drew this during this particular time. And so as a result, it seems to me that there is an effort on your part to be truthful here.
Brown: No, I was just ripping off John Porcellino with that. No, I actually was ripping off John Porcellino. Well, I do that. And if you look in Unlikely, where there’s the drawings from photographs. Or AEIOU, where there’s the receipt from the dinner. And that stuff’s kind of just an additional way of telling people that, despite those boundaries, I’m trying to be as honest as possible and as forthright. Obviously, there’s probably some weird subconscious thing going on. There’s things that I’m not saying. Or things that I’m in denial about maybe. But what I’m trying to do is be honest.
[UPDATE: Our NYCC podcast, featuring this interview and others, including chats with Kyle Baker and Scott McCloud, should go up soon. But alas, I’m now on deadline. But I’m hoping to get the podcast up once I beat these deadlines.]