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Comic-Con

The OFFICIAL Magazine of Comic-Con, WonderCon, and APE!

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®

MAGAZINE

Exclusive! Your first look at

SAMUEL L. JACKSON as

The Octopus in

Written & Directed by FRANK MILLER Special interview starting on page 10!

© 2008 THE SPIRIT, LLC. ALL RIGHTS RESERVED. “THE SPIRIT” Trademark is Owned by Will Eisner Studios, Inc. and Registered in the U.S. Patent and Trademark Office.

Comic-Con A to Z JULY 24 - 27, 2008

WONDERCON RECAP

EISNER NOMINATIONS

LEGION’S 50th


2008 Fast Facts

When: July 24-27, 2008 (Preview Night: July 23)

®

Exhibit Hall M opens at 9:30 A each day!

Hours: Wednesday, July 23: Thursday, July 24: Friday, July 25: Saturday, July 26: Sunday, July 27:

*Additional nighttime events and programming run until after midnight

Badge Pick-up Wed.: 3:00-8:00

IMPORTANT INFORMATION! Programming and events All event and program rooms have limited capacity as set by the Fire Marshal. Even though your badge is needed to get into all events, it does not guarantee you access to any event if it has reached its capacity limit. Rooms are not cleared between events. If an event or program interests you, we recommend you get there early. No smoking! No smoking is allowed in the Convention Center or at any Convention event at any time and in any location. You are welcome to step outside to smoke, but please be considerate of others when you do. This policy is in place not only for the comfort of attendees but also to comply with San Diego city ordinances prohibiting smoking at public events. Please comply with this policy; noncompliance may result in being ejected from the convention. The Convention Center has designated smoking areas outside that are indicated by the presence of canister ashtrays. No paging! Arrange a time and place to meet at the end of the day or if you get separated. Please keep in mind that there will be no personal pages over the P. A. system. To get messages to people, leave them on the message area of the Information Board in the Main Lobby, Hall C. Always wear your badge and hang onto it! You will need your badge to attend any Convention function, including nighttime events, visiting the Con Suite, or going to Convention-sponsored parties. If you’re asked to show your badge, please do so. Please do not give away your badge to people outside the Convention Center when you leave Comic-Con. You may think you’re doing someone a favor, but

6:00 to 9:00 PM (Preview Night) 9:30 AM to 7:00 PM* 9:30 AM to 7:00 PM* 9:30 AM to 7:00 PM* 9:30 AM to 5:00 PM

(Attendee Registration, Sails Pavilion, upper level)

PM,

Thur-Sat.: 9:00

AM-6:00 PM,

Sun.: 9:00

AM-4:00 PM

Where: San Diego Convention Center 111 West Harbor Drive, San Diego, CA 92101 Comic-Con’s official headquarters hotel is the Marriott Hotel and Marina, next to the Convention Center. Nighttime gaming rooms, film screenings, and the Comic-Con Hospitality Suite are all at the Marriott.

Memberships: No onsite membership badges will be sold. REGISTER ONLINE NOW: www.comic-con.org/cci/cci_reg.shtml 4-Day Memberships: Adult: $75.00, Junior/Senior*: $35.00 1-Day Memberships Thursday: Adult: $25.00, Friday: Adult: $30.00, Saturday: Adult: $35.00, Sunday: Adult: $20.00,

Junior/Senior*: Junior/Senior*: Junior/Senior*: Junior/Senior*:

$12.00 $15.00 $15.00 $10.00

*Children under 12 free with PAID adult membership. Juniors are 12–17 years old; Seniors are 60 or older. Active military pay the Junior/Senior price. This offer does not extend to dependents. most of the badges given away end up being resold on the street, sometimes for an even higher price than what you would pay at Comic-Con. Hold on to your badge! Holster that weapon, sheath that sword! If you wear a costume that includes a replica weapon, please keep it attached to the costume. Don’t draw it or aim it. Fido and Fluffy: Please stay home! If you have pets, including iguanas, parrots, boa constrictors, or other nonhuman critters, please leave them at home. The Convention Center will not allow animals into the building, except for service animals. No driving allowed Please be aware that handcarts, trolleys, and oversized strollers are not allowed on the Exhibit Hall floor.

Turn off the camera! No video or audio recording is allowed at movie studio presentations. Each program and presentation has its own rules when it comes to what can and cannot be photographed or recorded. Please abide by those rules when they are stated. These rules also apply to recording via cell phones that contain cameras and video recorders. Silence all cell phones and pagers Please turn your cell phones and pagers off or to vibrate when you’re in programming and event rooms. If you must take or make a call, please step outside.


In this issue

FEATURES

10

®

Board of Directors President: John Rogers Secretary: Mary Sturhann Treasurer: Mark Yturralde VP, Events: Robin Donlan VP, Operations: William Pittman Directors at Large: Frank Alison, Ned Cato Jr., Dan Davis, Luigi Diaz, Craig Fellows, Eugene Henderson, Martin Jaquish, James Jira Executive Director: Fae Desmond Director of Marketing and Public Relations: David Glanzer Director of Print and Publications: Gary Sassaman Director of Programming: Eddie Ibrahim HR/Office Manager: Sue Lord

Eisner Awards Administrator: Jackie Estrada Assistants to the Executive Director: Lisa Moreau, Matt Souza

Ned Cato Jr.,

MILLER

Kate Hubin, Douglas Lloyd, Aubrey McClure, Frank Miller, Jordan Rafael, Tom Spurgeon

23

SECRET 40

28

Office Staff: Patty Campuzano, Ruben Mendez, Glenda Moreno, Colleen O’Connell

Games: Ken Kendall Technical Services: Tristan Gates Exhibits: Art Auction/Artists’ Alley: Clydene Nee Art Show: LaFrance Bragg Autograph Area: Katherine Morrison Convention Services: Taerie Bryant Exhibit Floor Manager: Andy Manzi Operations: Archivist: Eugene Henderson Disabled Services: William Curtis Hospitality Suite: Mikee Ritter Logistics: Dan Davis Materials Chief/Blood Drive: Craig Fellows Registration: Frank Alison, John Smith Volunteers: Luigi Diaz, Jennifer Maturo Information: Bruce Frankle

Comic-Con Magazine • Spring 2008 Issue Published by San Diego Comic-Con International. All material, unless otherwise noted, is © 2008 Comic-Con International and may not be reproduced without permission. All other artwork is ™ & © 2008 by respective owners. Printed in Canada. Comic-Con and the Comic-Con logo are Reg. U.S. Patent and Trademark Office.

Comic-Con International P. O. Box 128458 San Diego, CA 92112-8458

www.comic-con.org Email: cci-info@comic-con.org Fax: 619-414-1022 Comic-Con Hotline: 619-491-2475

A TO Z

COMIC-CON

Films: Steve Brown, Josh Glaser Masquerade: Martin Jaquish

Contributors

Deborah Del Prete, Lynda Dorf,

Assistant to the Director of Programming: Tommy Goldbach

At-Show Newsletter: Chris Sturhann

Gary Sassaman

Special Thanks

Assistants to the Dir. of Marketing and PR: Damien Cabaza, Christopher Jansen

Events: Anime: John Davenport, Josh Ritter

Editor/Designer

Martin Jaquish, Tom Spurgeon

Guest Relations: Janet Goggins

Professional Registration: Heather Lampron, Anna-Marie Villegas

MAGAZINE

Fae Desmond, Jackie Estrada,

Exhibits: Director of Operations: Justin Dutta Exhibits: Sales: Rod Mojica

Comic-Con

David Glanzer, Tommy Goldbach,

Talent Relations Coordinator: Maija Gates

Exhibits: Registration: Sam Wallace

SPRING 2008

CONnotations Other 4 (WonderCon 2008/ STUFF Dave Stevens/APE) 16 18 20 21 48

What I’m Reading Comics History 101 Costumer’s Corner Volunteer Spotlight Comic-Con’s Past

Comic-Con’s Mission Statement San Diego Comic-Con International is a nonprofit educational corporation dedicated to creating awareness of, and appreciation for, comics and related popular art forms, primarily through the presentation of conventions and events that celebrate the historic and ongoing contribution of comics to art and culture.

On the cover:

Samuel L. Jackson brings Will Eisner’s The Octopus to life in The Spirit. Photo: Lewis Jacobs © 2008 THE SPIRIT, LLC. ALL RIGHTS RESERVED. “THE SPIRIT” Trademark is Owned by Will Eisner Studios, Inc. and Registered in the U.S. Patent and Trademark Office. Legion of Super-Heroes © 2008 DC Comics

Miller photo by Harry Langdon, Stormtroopers phobo by Valerie Irene Perez, Exhibit Hall photo by Adrian Velasquez.

2 Comic-Con Magazine • Spring 2008


San Diego Comic-Con APE Alternative Press Expo

WonderCon

[news and notes from the wonderful world of Comic-Con International]

CONnotations WonderCon 2008 raises the roof in San Francisco!

All that commotion and hubbub in downtown San Francisco on the weekend of February 22–24 wasn’t just the giant parade celebrating the Chinese New Year. It was WonderCon weekend in the city by the Bay, and comics fans came out in full force to celebrate the yearly event. Over 29,000 attendees—up from 20,000 the year before!— raised the roof at Moscone Center South to help produce the biggest and best WonderCon ever! In its 22nd year, WonderCon once again broke the ice as the first major comics convention of the year. 2008 saw a much larger Exhibit Hall, featuring a large contingent of publishers, including DC Comics, Dark Horse, Image, Top Cow, Aspen, TOKYOPOP, Oni Press, IDW, SLG Publishing, BOOM! Studios, Exhibit A Press, Flesk Publications, Graphitti Designs, Hungry Tiger Press, Illusive Arts, Last Gasp, Neko Press, Platinum/Arcana Studios, Baby Tattoo Books, Zenescope Entertainment, Zuda, and more. Videogame companies such as EA, CAPCOM, Ubisoft, and Telltale Games also exhibited at WonderCon, some for the first time. The floor was filled with vendors selling the best in comics, books, original art, action figures, toys, manga, anime, DVDs, movie memorabilia, and much more. WonderCon once again boasted one of the finest Artists’ Alleys in the country. In addition to some of the event’s special guests, Artists’ Alley featured such popular artists as Arthur Adams, Dan Brereton, J. Scott Campbell, Travis Charest, Howard Chaykin, Tony DeZuniga, Ale Garza, Michael Golden,

A portion of the giant Exhibit Hall Photo by Tom Deleon.

4 Comic-Con Magazine • Spring 2008


CON notations

Sale

Busiek

Al Gordon, Mick Gray, Keith Knight, Steve Lieber, Ron Lim, Jim Mahfood, Angel Medina, Mike Mignola, Alex Niño, Jim Silke, Matt Wagner, Thomas Yeates, and many, many more. The WonderCon Exhibit Hall also featured an Autograph Area where fans could meet some of their favorite stars, including Lou Ferrigno, Richard Hatch, Herbert Jefferson Jr., Chase Masterson, Peter Mayhew, and Jon Provost, among others.

The Wonderful World of Comics The WonderCon special guests list included a who’s who of comics superstars. Attending the show and featured in programming were Sergio Aragonés, Kurt Busiek, Mike Choi, Becky Cloonan, Darwyn Cooke, Terry Dodson, Mark Evanier, Jim Lee, Steve Leialoha, David Mack, Terry Moore, Tim Sale, J. Michael Straczynski, Ben Templesmith, Bruce Timm, Herb Trimpe, Bill Willingham, and Brian Wood. In addition, WonderCon featured everyone’s favorite Lois Lane, actress Noel Neill, in celebration of her 60th anniversary of playing the role of Superman’s girlfriend— Ms. Neill originated the role in the 1948 Columbia serial, Superman. WonderCon 2008 saw more programming rooms added to the event. The new rooms included the giant 4,000+ seat Hall A, which featured Hollywood studio

Aragonés Photos by Barry Brown and Tom Deleon.

Flessel

WonderCon 08

Cloonan and TV network programs all three days of the convention, and Room 104, which showcased big comics-oriented programs on Saturday and Sunday. The added space was needed, as WonderCon proved to be “comic news central,” with many major announcements coming out of the show. J. Michael Straczynski announced he’d be producing work for DC Comics starting later this year. DC representatives also talked about some of their upcoming projects, including the company’s new weekly comic, Trinity, written by WonderCon special guest Kurt Busiek with art by Mark Bagley, who also attended the show. Busiek also teamed with artist Brent Anderson to talk about their past and future work on Astro City. Special guests Brian Wood and Becky Cloonan discussed their revival of Demo for Vertigo, while Vertigo and WildStorm also held panels previewing upcoming books. Mark Evanier signed the first copies of his giant Kirby: King of Comics book, revealed for the first time exclusively at WonderCon and available only at the Comic Relief booth. Evanier also presided over a Kirby tribute panel, which featured Busiek, Darwyn Cooke, Paul Dini, longtime Kirby inker Mike Royer, and Herb Trimpe. Evanier also moderated the popular “Cover Story: Art of the Cover” panel with superstar artists Darwyn Cooke, Terry Dodson, Jim Lee, and Tim Sale. Dark Horse representatives talked about some of

Dodson

Straczynski the company’s most popular titles, including Hellboy, Buffy the Vampire Slayer, and the new series based on Joss Whedon’s Serenity. Other publishers talking about their current and upcoming books included SLG, BOOM! Studios, Top Cow, Aspen, TOKYOPOP, WildCard, and Tripwire magazine, while Terry Moore told fans all about his new ongoing series, Echo. A new addition to WonderCon was DC’s, “Sunday Conversation; For the Love of Comics,” a panel that featured pros talking with fans about the thing they love most: comic books. The panel turned out to be such a hit that Senior Coordinating Editor Jann Jones wrote about it in “DC Nation #105,” the weekly column featured in all DC Universe comics, in late March. Comic fans were treated to many more panels over the WonderCon weekend, including three full days of Comic Arts Conference events. The CAC, a mainstay for over 15 years at Comic-Con in San Diego, has made the journey to the Bay Area the past two years to present academically oriented panels. This year’s slate included “Comics and Education,” “Finding Truth in Comic Books,” Undiscovered Geniuses of the Comics,” “The Psychology of Superheroes,” “Comics’ Influence and Fans’ Behavior,” and “Comics and Law.” Popular writer/ cartoonist Trina Robbins joined the CAC ranks with her presentation on “Feral Women

Lee Spring 2008 • Comic-Con Magazine 5


CON notations in Li’l Abner,” and author Douglas Wolk (Reading Comics) discussed the “Novel of Ideas,” featuring a look at the conceptual and stylistic possibilities of superhero comic books. Cartoon fans were treated to a documentary on beloved cartoonist Gahan Wilson, titled Born Dead, Still Weird, with Mr. Wilson on hand to answer questions. The Cartoon Art Museum presented three events, one on revered animation designer Mary Blair, another on local San Francisco cartoonists (including MariNaomi, Fredo, Lloyd Dangle, Justin Hall, Debbie Huey, and Michael Jantze), and the third on the pioneering comic book artist Creig Flessel, who made an appearance at WonderCon on Sunday afternoon. The list doesn’t end there! Other events included seminars and educational panels devoted to all kinds of pop culture topics, with a heavy emphasis on comics. Retailers discussed the upcoming Free Comic Book Day and modern comics retailing in a pair of panels open to all WonderCon attendees. Manga was well represented in a series of panels by author Jason Thompson (Manga: The Complete Guide), who provided a history of the Japanese comic book in the U.S. and an overview of the publishing phenomenon with “100 Manga in 50 Minutes.” TOKYOPOP presented some of its manga creators, such as special guest Becky Cloonan, Jake Forbes, Sho Murase, Lincy Chan, and Morgan Luthl. WonderCon also featured the popular comics in the classroom panel, “The Secret Origin of Good Readers,” and an additional event, “Teaching Comics.” In other programming, Prism Comics focused on “Emerging LGBT Voices” (including Charles “Zan” Christensen, Tristan Crane, Justin Hall, MariNaomi, and Tommy Roddy, along with moderator Patty Jeres) and hosted a discussion with underground comics legend Lee Marrs. The brave new world of comic podcasting was explored and the CBLDF offered their popular “Live Art Jam,” featuring such artists as Jim Lee and Terry Moore creating incredible sketches that audience members could bid on and take home. WonderCon attendees got to once again visit with some of their favorite local TV horror hosts, including the legendary John Stanley. Movie makeup was demonstrated in a special seminar with FX teacher Ed

WonderCon 08

Fraser

Carell and Hathaway

Martinez. Animation storytelling was discussed with writers Charlotte Fullerton, Michael Jelenic, Dwayne McDuffie, Matt Wayne, and Eugene Son. Videogames were examined in panels from CAPCOM, Telltale Games, and a special look at design for this burgeoning medium. And if you were really lucky, you not only learned how to draw Star Wars characters, you also found out how to build your very own R2-D2 droid! Only at WonderCon!

The Wonderful World of Movies and TV Even though it was one of the busiest weekends in Hollywood—the Academy Awards were held Sunday, February 24—the movie studios and television networks still turned out in full force for WonderCon 2008! Hollywood programming started on Friday afternoon with the cast of the new comedy Forgetting Sarah Marshall taking the stage in WonderCon’s massive Hall A. Writer/star Jason Segel was joined by cast members Kristen Bell, Jack MacBrayer, Mila Kunis, and Russell Brand, along with director Nicholas Stoller and producer Shauna Robertson. Next, rising star James McAvoy

Cooke and Timm

told the crowd about Wanted, the upcoming Universal release based on the Mark Millar/ J.G. Jones comic book series. And finally on Friday, Mummy superstar Brendan Fraser gave a sneak peek at his New Line film, Journey to the Center of the Earth 3D. Fraser also hosted a short clip of the film in 3D at the Metreon later that night, across the street from Moscone Center South. Attendance was limited to a few hundred lucky WonderCon badge-holders who scored tickets earlier on Friday—just another membership perk! Saturday offered a full day of Hollywood-centric programs in Hall A, starting with the Warner Bros. panel featuring the cast of 10,000 B.C. and Get Smart. Actors Camilla Belle and Steven Strait were joined by legendary director Roland Emmerich to discuss the new film. Then Hall A went wild as Get Smart director Peter Segal introduced the film’s stars Steve Carell and Anne Hathaway. The three had a great time discussing the upcoming film based on the fan-favorite TV series of the sixties. (Carell and Hathaway appeared together the very next

Neill with friend Photos by Barry Brown, Tom Deleon, and Valerie Irene Perez.

6 Comic-Con Magazine • Spring 2008


CON notations

Anderson

WonderCon 08

Duchovny

night on the Oscars broadcast, presenting the Best Animated Feature Award to Ratatouille, a film featured at WonderCon 2007!) The Warner Bros. panel also included a special surprise appearance by Steve Sansweet, Lucasfilm’s director of fan relations, who made the exciting announcement about the new Star Wars: Clone Wars CGI-animated movie, debuting this summer. Twentieth Century-Fox made the next presentation, which featured quite possibly the biggest moment of WonderCon 2008: an appearance by the cast and creators of the eagerly awaited X-Files 2 movie! Writer/ director/producer Chris Carter and writer/ producer Frank Spotnitz were joined by stars David Duchovny and Gillian Anderson to discuss the top-secret new film, debuting July 24. Fans camped out the night before in front of Moscone Center to get into this event and to witness the first time Duchovny and Anderson have ever appeared together at a convention. They weren’t disappointed, as the charming stars and creators treated them to a memorable panel, including a

killer 90-second short preview of the film. All four cast and crew members took time out from filming and flew in especially to see the WonderCon fans, after an all-night shoot. They literally took their coats off on stage, arriving just in time for their panel slot. For anyone that witnessed this historic moment—and close to 5,000 people crammed into the 4,000-seat Hall A for it!—it was a convention moment they’ll remember forever. Next up, actor John Cho and writer/ directors Jon Hurwitz and Hayden Schlossberg discussed the New Line comedy sequel, Harold and Kumar Escape From Guantanamo Bay. Then fan-favorite actor/director Jon Favreau told the Hall A audience all about Iron Man, answering questions from the packed room. He was followed by Steve Sansweet, who once again took the stage for his annual popular Lucasfilm presentation. This year’s talk included the Clone Wars movie and spinoff TV series, the upcoming Indiana Jones and The Kingdom of the Crystal Skull, and much more. The day ended with another signature WonderCon event: the world premiere of the

eagerly awaited animated adaptation of Darwyn Cooke’s Justice League: The New Frontier. Special guest Cooke was joined by Bruce Timm, director David Bullock, writer Stan Berkowitz, supervising director Michael Goguen, voice director Andrea Romano, and actors Phil Morris and Vicki Lewis. The panel following the screening was moderated by Gregory Noveck, DC Comics senior VP, creative affairs. WonderCon fans were also treated to a sneak peek at the next DC Comics and WB Animation project, Batman: Gotham Knight. The New Frontier was so popular, it was reshown on Sunday, and a major autograph signing featuring the panelists also took place that day. Sunday showcased the wonderful world of television, with two major panels on popular TV series. Jericho fans got to watch an unseen episode of the apocalyptic series, which accompanied a panel discussion among cast members Lennie James, Alicia Coppola, and Brad Beyer, along with executive producer Carol Barbee. The new hit series Terminator: The Sarah Connor Chronicles was next, with stars Summer Glau, Thomas Dekker, and Brian Austin Green, plus executive producer Josh Friedman. WonderCon fans also got to see presentations on the DVD releases of Beowulf, the new Starship Troopers 3 Marauders movie (star Casper Van Dien appeared), Gabriel, the new Spectacular Spider-Man cartoon series, the Cartoon Network series Chowder, the popular Adult Swim anime series Blood +, and the world premiere of the U.S. DVD version of Appleseed: Ex Machina. The latter occurred on Friday evening, just part of the exclusive nighttime programming at WonderCon, which included the Star Wars Fan Film presentation “Last Film Standing” and the fourth annual WonderCon Masquerade (see the article on page 8).

The Verdict

Favreau Photos by Barry Brown, Tom Deleon, and Tina Gill.

Green, Glau, and Dekker

If we do say so ourselves (and we’re admittedly biased): Wonderful! WonderCon 2008 blew the roof off Moscone Center South, combining record attendance, an incredible Exhibit Hall filled to the rafters with cool people and stuff, and an unbelievable lineup of programs, events, and special guests that made the first comics convention of the year one that will be long remembered! Spring 2008 • Comic-Con Magazine 7


CON notations

WonderCon 08

Fourth Annual

WonderCon Masquerade packs `em in!

The always-popular WonderCon Masquerade mirrored the show’s growth spurt this year, as over 1,700 attendees packed the Esplanade Ballroom on Saturday night to enjoy the costume competition. The event showcased 31 entries, for a total of 73 costumes (plus one robot dog). Trophies were given in six categories, plus five honorable mentions, as well as a few prizes donated by companies. For a third of the entries, this was their first time on a masquerade stage, but their presentations seemed as polished as those of the experienced costumers in the show. Writer/artist Phil Foglio once again served as master of ceremonies. Guest judges included award-winning comics colorist Steve Oliff; actress, producer, and costumer Valerie Perez; and graphic artist Brian Scott, whose over 20 years’ experience with the Society for Creative Anachronism crafting leather and metal into armor and other costume items served him well as workmanship judge. Trophy winners: Best in Show: “Maximum Spider,” worn and made by Daniel and David Proctor, Christophe Tang, Nikki Costa, and Louis Stokes (above left) Best Re-creation: “Resident Devil,” worn and made by Kristie Metz and Molly Vasher

Best Workmanship: “Leonidas, King of Sparta,” worn and made by Allan Lavigne Best Presentation: “Captain Jack Versus Norrington,” worn by Al Rackstraw, Joshua Egged, and Noah Loggus; made by Joshua Egged and Elena Herzen Most Humorous: “The Yip-Yips,” worn and made by Stanley Lin and Mike Horn Best Novice: “Fuu’s Kimono,” worn and made by Belle Borba Honorable mentions: “Creature From the Black Lagoon,” worn and made by Ericson Yee (above right) “Goddesses Deedlit & Pirotess,” worn and made by Vanessa Grundy and Melissa Hoppe “Illusive Arts Dorothy & Scarecrow,” worn and made by 2D Costuming: Dany Slone and Darieum Pagani “Dr. Who (with a Dalek and K-9),” worn and made by Robert Kovacs and Hitori “The Villains of Townsville,” worn and made by Cristina Gutierrez and Sarah Pilat Company-donated prizes: Century Guild: Best Art Nouveau or fantasy costume ($100 cash or $250 booth credit):

“Daydream,” worn and made by Laura Ehrlich, based on the art of Alphonse Mucha Geek Monthly: Best science fiction film or TV character (free one-year subscription to the magazine): “Creature From the Black Lagoon,” worn and made by Ericson Yee DC Comics: Best DC re-creation, (a special limited-edition DC Direct collectible): “Green Lantern Corporation,” worn and made by Ron Smith and Denise Lombard Lucasfilm: Best Star Wars entry, (two limitededition Star Wars bicycles from the Lucasfilm archives): A tie: “Patriotic Jedi: Master Independence,” worn and made by Damon Wheelhouse, and “Pitiful Little Band,” worn and made by Marie and Terry Cannon, Robin Parker, and Melissa Best Special thanks to all the contestants for the dedication and work they put into their creations, to the professionals who donated their time as master of ceremonies and judges, to the companies that provided generous cash and merchandise prizes, and to the volunteers who worked behind the scenes helping out.

Photos by Barry Brown.

8 Comic-Con Magazine • Spring 2008


CON notations

Dave Stevens 1955—2008 There are two things everyone agrees on about Dave Stevens: (1) He was one of the most talented comic artists ever to pick up a pencil; and (2) he was one of the nicest guys they’ve ever met. Dave was born in 1955 in Lynwood, California and grew up in Portland, Oregon. He eventually moved to San Diego, where he became involved with Comic-Con in the early 1970s. He volunteered for the Art Show, where he coordinated part of the annual display, which at that time was divided into two divisions: professional and amateur (Dave worked on the latter). But even then everyone who saw Dave’s work knew it was only a matter of time before he would make it big. Stevens’s first professional work was assisting Russ Manning on the Tarzan syndicated comic strip, and he also helped Manning when he started the Star Wars strip. By the late 1970s he had moved to Los Angeles and landed at Hanna-Barbera, where he met and became close friends with veteran illustrator Doug Wildey. But Dave was working on his own projects, too, and in 1982 one of them burst onto the comics scene like it was jet propelled. It was. The Rocketeer was a comic book series that forever placed Dave firmly in the ranks of comics’ superstars. His retro hero combined all the things he loved: old movie serials, airplanes and flight, and, of course, beautiful women. Dave modeled his female lead after pinup legend Bettie Page, causing a whole new generation of fans to discover her. Dave’s depiction of the 1950s pinup queen in The Rocketeer helped bring Bettie back into the public eye. He later became friends with her and helped her receive her rightful share of royalties from products that utilized her image. To say that Dave was never the fastest of artists would be an understatement. His meticulous and lush style yielded only two Rocketeer stories, serialized over a number of issues, and collected in trade paperback form. But his work was so beautifully penciled, inked, and colored that his many fans were willing to wait how ever long it took for the next issue. The Rocketeer netted Dave the Russ Manning Most Promising Newcomer Award in 1982 and a Kirby Award (the precursor to the Eisners) in 1986 for Best Graphic Album, plus ComicCon’s Inkpot Award for achievement in comic art the same year. The Rocketeer was made into a major motion picture by Disney in 1991. It didn’t set the box office on fire, but it is now a cult favorite. Its story remained true to Dave’s strip, set in the 1930s and starred Billy Campbell, Jennifer Connelly, Timothy Dalton, and Alan Arkin. Dave cowrote the screenplay and was a co-producer on the film. During the last few years, as Dave battled leukemia, he continued to do commissioned illustrations, and he was working on a major retrospective book on his art and career, Brush With Passion: The Life and Art of Dave Stevens, to be published by Spectrum Books. Dave succumbed to his illness on March 10, 2008. His art, spirit, and good-natured presence will forever be missed by his Comic-Con friends and family and his many fans. The Stevens family would like people wishing to remember Dave to please make donations to the Hairy Cell Leukemia Research Foundation www.hairycellleukemia.org Rocketeer © 2008 Dave Stevens.

APE: The Comics-Loving Monkey Moves to Fall! The Alternative Press Expo, affectionately known as APE, moves to the fall this year. Held once again in its home of many years, San Francisco’s Concourse (620 7th Street), APE is November 1 and 2, right after Halloween. Come to San Francisco early, and celebrate that spookiest of holidays in the beautiful city by the Bay before hitting the APE Exhibit Hall and special programs. APE is one of the country’s largest gatherings of the best in indie comics, offering a venue for exhibitors ranging from self-publishers of minicomics to such large publishers as SLG Publishing, Fantagraphics, Drawn and Quarterly, Oni Press, Top Shelf, and many more. It offers a huge collection of some of the best indie and alternative comics material out there: graphic novels, chap books, ’zines, art books, prints, original art, and comics of every size and shape. You can’t walk through the giant APE Exhibit Hall and not be inspired to either open your wallet and buy cool stuff or go home and hunker down and create some of your own. It’s that kind of show. The special guest list for APE 2008 includes Jessica Abel (La Perdida), Paige Braddock (Jane’s World), Megan Kelso (The Squirrel Mother), Matt Madden (99 Ways to Tell a Story), and Chris Ware (The ACME Novelty Library). As always, APE will be filled to the gills with a whole slew of other amazing artists, writers, and creators. A complete list of exhibitors will appear on www.comic-con.org as the event gets closer. If you’re interested in exhibiting at APE, visit the website now and download an exhibitor application. But hurry: the price break for tables is June 1. Each year, the APE official poster and program book cover feature art from one of the special guests. This year’s art will be by Paige Braddock and above is a sneak peek. Now tell us you don’t want to take this lovable monkey home with you and watch him draw comics . . . we dare you! (Look for more info on APE—including the finished poster—in the next issue of Comic-Con Magazine, in October.) APE poster art © 2008 Paige Braddock.

Spring 2008 • Comic-Con Magazine 9


J

ust about any comic fan worth his or her salt knows who Frank Miller and Will Eisner are. Miller burst on the scene in the early 1980s with an incredible run on Daredevil, turning the book into a top seller. He went on to create Ronin, Batman: The Dark Knight Returns, and Batman: Year One for DC Comics and Sin City, Give Me Liberty, Hard Boiled, 300, and other titles published by Dark Horse. He’s won numerous awards, including ones named after that Eisner guy, who created The Spirit and was one of comics’ most legendary creators and guiding forces (see page 14 for more on Will Eisner and his seminal comics hero). In 2006, Comic-Con helped break the news that Frank Miller had signed on to write and direct the big-screen adaptation of Will Eisner’s The Spirit, at the first major panel heralding the start of production for the film. For comic fans everywhere, it was cause for rejoicing. Miller’s own adaptation of Sin City, directed by Robert Rodriguez and using Frank’s original comics as a storyboard, was a huge hit. And Miller’s 300, directed by Zack Snyder, became the sleeper hit of 2007, boasting a $70 million opening weekend. Miller was poised to take on a new job, that of movie director, and the perfect property for him to tackle turned out to be someone else’s comic book hero. We talked with Frank Miller on a warm, summer-like day in late March in Culver City at the offices of Odd Lot Entertainment, the company producing the film, which will be released through Lionsgate. Producer Deborah Del Prete could not contain her enthusiasm for the film and for Miller, who, she says, is crafting The Spirit “using the Eisner works he loves.” Miller’s partners in crime, besides Del Prete, include cinematographer Bill Pope (director of photography for the Matrix films and SpiderMan 2 and 3) and visual effects supervisor and second unit director Stu Maschwitz, who both, according to the producer, “get” Miller and Eisner and were fans of their work before the film. The film uses the green screen technique that helped make Sin City and 300 such vivid worlds, but Del Prete revealed that the technology has developed quickly far beyond what those movies were capable of. Miller, for someone directing his first big film, was calm, cool, and collected. 10 Comic-Con Magazine • Spring 2008

Spirit Frank Miller The

of

Photo by Harry Langdon. The Spirit ® is a registered trademark of Will Eisner Studios Inc. All Rights Reserved.


Cover Story CCM: Even though you did some screenwriting in the early 90s, Sin City and your collaboration with Robert Rodriguez definitely put you solidly into filmmaking. Was this always an ambition for you? FM: No, not really. I had wanted since a kid to do comic books. It’s always been my first love, but when Hollywood came knocking with Robocop 2, I thought it would be a really interesting job. The way things worked out I really felt that screenwriting wasn’t for me. So I went back to comics, back where I had more control and where I could do more my kind of stuff which I thought was generally aimed at an audience I assumed that was smaller. It wasn’t until Robert Rodriguez courted me into doing Sin City with him that my stuff got tested as my stuff with my sensibility, with my point of view, and it turns out the audience is much larger than I expected. So since then, there’s been 300 and now I’ve got the solo gig on The Spirit.

stuff was so far advanced from what was coming out at the time. I thought he must be the new kid in town. And then I started noticing originally it appeared in 1942 in the corner and realized that I was studying the work of an established master. I didn’t meet the man himself until I was working professionally. We were at a party at Neal Adams’ Continuity Studios and Jim Shooter introduced us. And I was like Shooter’s new pride and joy, as far as I had just taken over Daredevil and was just beginning to write and draw it. Jim opened an issue of Daredevil to the first page to show what a good storyteller he thought I was. Eisner immediately told me I had used the panel wrong and we started an argument that went on for 25 years.

CCM: What’s the difference for you between doing comics and doing films? When you boil it down to its essentials and you take away the crew and the lights and the actors, you’re basically telling a story with words and pictures in a rectangle. FM: Yep. And the big difference is the number of players involved. Cartooning is a wonderful exercise in solitude. I mean solitude as opposed to loneliness. It’s a wonderful place to go, the cartoon, and you’re by yourself. You get to dig very deep. A movie set is more like the battered bridge of a warship where you have to make decisions very fast, where people are around constantly and where you’re depending entirely upon other people’s talents to follow your course, especially the cast. But everybody from grips to certainly the cinematographer is bringing so much talent to the table that it’s a matter of giving everybody interesting problems to solve and all pushing toward the same direction. CCM: When and where did you first discover Will Eisner and The Spirit? FM: Well, I first discovered Will Eisner’s Spirit through the Warren editions that were published in the early ’70s. I was a teenager in Vermont at the time. And when I came across them, I thought he was a brand-new cartoonist who hadn’t been seen before. His

CCM: You had a long friendship with Eisner and it pretty much culminated in the book Eisner/Miller, which contained a weekendlong dialogue between the two of you in which you categorized it as “the climax of your decades-long debate.” What are some of your personal memories of Will? FM: I think what I’ve most been impressed about by Will was what would come up when he would, in private, tell stories of comics history that weren’t for public consumption. He would describe something that by any standards was shocking, but he had that World War II sense of humor about it. He had impatience with anyone who ever felt sorry for himself. He never let himself feel sorry for himself. If you ever felt sorry for yourself around him, he’d ridicule you for it. CCM: He was that rare breed that was both an artist and a businessman, which you usually don’t find in the comics world. He was able to maintain the ownership of The Spirit

The Spirit ® is a registered trademark of Will Eisner Studios Inc. All Rights Reserved.

and brought it back 15 years after it ended, and it basically has been in continuous publication for almost the past 40 years. FM: Yeah, he’s really an astonishing combination of the two. He did have one parent who was a businessman and one parent who was an artist and I forget which one’s which. And his instincts were as strong in either discipline. CCM: Both you and Eisner have reputations for gritty, urban settings, and Eisner’s stories were definite products of their time. Your Sin City is set in more of a timeless era. Is The Spirit movie set in a specific time? FM: It is not, and neither by the way is The Spirit comic. It looks like the 1940s because that’s what was around him, but Eisner never considered it to be a period piece. And one of the many connections between Eisner and me is our deep love of New York City, and New York City is impossible to trap in time. It’s so much of a Pompeii. It’s constantly rebuilding itself, but keeping its old personality at the same time. So as a cartoonist you want to write stories that are fun to draw. And as a director, you want to work on a story that’s got really good-looking stuff. Eisner clearly felt the same way. In writing and then shooting The Spirit, I filled it like I did Sin City with vintage cars and beautiful women. And the movie really is in many ways a love letter to New York City. CCM: Is there a specific pallet to this film like there was for Sin City? FM: There is. It is in full color, but it’s less a naturalistic use of color than a psychological one, a dramatic use of color. I think color is a very powerful dramatic weapon, but too often when I watch a movie, I feel like I’m seeing the entire spectrum in every frame and my eyes start bouncing off it. So you’ll see things getting red behind people when they get angry. CCM: What’s it like bringing the work of another comic creator to life, and how does the process differ from bringing your own work to film? FM: You know, in a way I think that it was providential that I would, for my first directing job, have someone else’s work. Someone who I love dearly and whose work I would defend to the death because I don’t Spring 2008 • Comic-Con Magazine 11


Cover Story know if I would have defended my own work as fiercely. I might have been more open to negotiation over the point of view. But this is, I believe, really true to the intent of Eisner’s Spirit. It’s not a slavish monument built to the comic strip. The old guy would come out of the grave and kill me like that. It’s what I believe that young Eisner might just have done with the brand new toys of today. Using the mythology that goes back to Zorro and The Shadow before to make an urban legend. CCM: As a comic book writer and artist you get to cast all your own characters and decide what they look and sound like. Has the acting process surprised you when it comes to actors speaking your words differently than they might sound in your head? FM: That’s a good question, because working with actors has been the most fascinating and difficult and rewarding part of the whole job. What my actors have created in the movies I’ve worked on has been their creation. I’m there to prod, to put them in context, to let them understand the situation they’re in, because we frequently shoot out of sequence. So I have to be the nag to remind them what they’re thinking about and what happened ten minutes ago when, in fact, it hasn’t happened and you know it won’t happen for three more weeks. But at the heart of it, it is the actor’s job to create the performance. The director can be a helpful agent toward keeping the whole works together and toward picking the take where the actor really nailed the moment that is best for the story, because the story is everything. CCM: Let’s talk about the casting and what each actor brings to his or her role. Let’s start with the femme fatales that Eisner was famous for and that you’re bringing together for the film. Eva Mendes as Sand Saref.

Vega

King

FM: Eva Mendes was an absolute wonder to work with. She turned out to be a perfect choice because she was as unpredictable as Eisner’s creation and as beautiful. And one thing I learned from Eva is that much of what acting consists of is silence, and actors can be at their most powerful when they’re giving the very least. With Eva, sometimes it felt like I had to be a chemist dealing with a very volatile set of fluids in front of me that I wanted to avoid. But at the same time, it had to be the fire behind her eyes. CCM: Paz Vega as Plaster of Paris. FM: I had written her in the movie as a fever dream of a character and it’s almost a psychedelic sequence when she appears, and up shows this magnificent woman and plays the part; she played the part to perfection. She was a dream to work with. Her part of the movie is small, but it might just be a piece of cinematic perfection. I know you won’t be able to take your eyes off it. CCM: Jaime King as Lorelei. FM: Jaime King and I go back to Sin City and she’s a good friend and I was very, very glad that she took the part of Lorelei because I couldn’t imagine anyone better to play an angel of any kind, including the Angel of Death. And in one day of the shoot, we got a week’s worth of work out of her. She really is magnificent and captivating, and in playing she completely unearthed the character of Lorelei. Again you won’t be able to take your eyes off her. CCM: Scarlett Johansson as Silken Floss. FM: When I first met Scarlett Johansson, I sat down, we had three hours together for lunch and I thoroughly enjoyed the conversation with this fascinating, frighteningly intelligent woman with one of the most disturbing senses of humor I’d ever seen. And I kind of walked

Johansson

Paulson

away from the table going, “Well, why haven’t people been writing that for her,” because she’s generally . . . I mean yes, she’s beautiful, she’s very beautiful, but there’s so much else there. So I went home and I rewrote the Silken Floss part with Scarlett in mind, not knowing whether she’d take it or not. But I thought that Eisner’s character could easily afford to have had a misspent youth and to meet her when she’s in her early twenties and she later becomes the icy astrophysicist of the comics. But this is her wild time. So we see a very young Silken Floss. Scarlett’s comic timing and execution is . . . I can compare it only to a young Lucille Ball’s. It’s absolutely wonderful. I think that we’ve just begun to see what kind of arsenal she’s bringing to the game. CCM: The Spirit’s love interest is definitely not a femme fatale, but more a product of Eisner’s time. How does Ellen Dolan, played by Sarah Paulson, differ in the film? FM: Well, Ellen Dolan was a real journey for me, because I’m known for writing very tough, dangerous women. And Eisner certainly was known for the same. And this story certainly needed Ellen in it because The Spirit kept quite a wandering eye and it’s got to be wandering from somewhere. There has to be a center, there has to be an anchor in his life. He is a bit of a rascal. The problem was that Eisner’s character (of Ellen) was unfortunate in just how much a part of its time it was, and here I got a bit—a lot—bolder because I felt that since she was his anchor, she should also have a professional role related to that. I made her a surgeon. So after The Spirit continuously gets shot and stabbed and beaten, there’s someone there who puts him back together. Originally, she turned into quite the femme

Jackson

Macht Photos provided by Lionsgate.

12 Comic-Con Magazine • Spring 2008


THE fatale in my hands because I tend to go that way with women characters—you know, hurling scalpels across the rooms and so on. But between Deborah Del Prete, the producer, and Sarah Paulson, the actress, she started having a voice of her own. And one night when I wrote what was supposed to be an expository scene, she started talking to her father and speaking of her deep devotion to The Spirit and how it was a commitment that was unshakable and unquestionably feminine. And I realized that’s a character who actually really talked to me and that she didn’t need to run off and kill a lot of people to prove that she was powerful. Sarah proved that.

was not well known to play the part. I didn’t want it to be a vehicle for someone who was familiar. My model, in a way, was Chris Reeve’s Superman, meaning some actor I’d never seen before who I got to meet as Superman. I want the audience to meet The Spirit as The Spirit. Gabriel stood out because, first and foremost, Hollywood produces a great many, very good male actors, but very, very few who are able to portray men as men. He’s a terrifically trained actor, and he and I sat down in his trailer the first day he was on the set and we made a pact, really, because I said that either we’re going to be partners or we’re in for three long months because Gabriel’s job was the most important job there. He was the captain of the cast, and

CCM: Mainly seen only with his signature gloves in the comics, The Octopus is The Spirit’s nemesis. Obviously with Samuel L. Jackson playing him, we’re going to be seeing a lot more of him in the film, right? FM: Yeah. When I first met Sam Jackson, I told him that I was sitting across the table from an atom bomb and that I needed it to only go off twice in my movie and I needed for him to keep the radioactivity down until his eruptions. With The Octopus, I felt that, yeah, we had a pair of gloves in the sense of a nemesis that was kept deliberately out of sight and undefined by Eisner. The only way to take the work of a short story writer and to adapt it to the long-form of a screenplay was to flesh out his nemesis because, you know, at first I felt that Eisner was of the school of Raymond Chandler another favorite novelist of mine. I realized he really owed a lot more to O. Henry, and his short story sensibility needed some healthy expansion. So with Sam, I had the perfect nemesis for The Spirit. And what I hope to do is the kind of villain that I’ve always wished they’d do in the Batman movies. Sure he’s very strange and eccentric, but I think he’s going to scare the crap out of you. CCM: Last but not least, Gabriel Macht as The Spirit. Any actor playing the role is going to have to have equal measures of danger, humor, and sex appeal to bring Denny Colt to life. What convinced you that he was the guy for the role? FM: We auditioned a lot of people for The Spirit. One of my preconditions coming onto the project was that we find someone who Photo by Harry Langdon.

Spirit OF Frank Miller

CCM: As we speak, you’re pretty deep into post production on the film. What’s been the biggest surprise for you up to this point? FM: How hard editing is. It’s very hard. It’s part art, part science. The other thing is I didn’t realize the collaboration with the actors really never ends. I’m still working with Eva Mendes when I go through take after take looking for that one that I remembered or seeing the surprise of what it actually looks like on the screen right next to another shot that it wasn’t next to before. CCM: Did the actors come in knowing what The Spirit was and where it came from? FM: No, they didn’t all know who The Spirit was. A lot of them did. Gabe papered his entire trailer with pages from The Spirit. But we all got to know who The Spirit was in the course of this, because making something into a movie it becomes something else. I think that Will would be happy that we made some of the decisions we did and made The Spirit more a man of this time, a more haunted figure, surely, but still the working man’s hero. The guy who really has to work hard at his job. CCM: Did you storyboard The Spirit and will that art be published in conjunction with the film?

in my office I had a quote from Raymond Chandler hanging over my desk, which said, “He is the hero. He is everything.” This sort of story is really a piece of architecture where everything’s built to portray the hero. And at the center of it has to be one hell of a performance, and I really think I got it out of Gabriel. CCM: You shot The Spirit utilizing the same green-screen technology that was used in Sin City and 300. Are the backgrounds you’re laying in going to have the peculiar Eisner cityscape feel to them and also some of your Sin City? FM: The backgrounds in The Spirit that Stu Maschwitz is working on are, I think, gloriously real. They’re emotionally true to the movie. Any Eisner fan will recognize certain references to his work that are planted in there. You know, as I told him from the start, we’ll do the most magnificent sewer grate anybody has ever seen. And we do offer water tanks galore. But it’s a mythic city, and it’s created for film so it is its own creation using the best talents available.

FM: Yes, I’m planning on a book that should be called The Spirit Storyboards because I did hundreds and hundreds of drawings for virtually every scene. And for at least the first half of the shoot, I would shoot the full day and then work the night drawing. About halfway through, I was ahead of the game so I was able to start sleeping. CCM: Finally, what has been the coolest thing about making The Spirit for you? FM: That word got used a lot on the set. I think it might just be seeing The Spirit flip through the air like a little boy and slide up the roof of one side of a water tower, stumble and then slide down the other side like a kid playing in the snow. I think that’s a very Eisner-esque moment. The fact that we got a take with a stumble in it made it The Spirit.

!

Join Frank Miller—and friends!— at Comic-Con `08 for more on The Spirit! Check www.comiccon.org for more info as we get closer to the show. Spring 2008 • Comic-Con Magazine 13


The Spirit of Will Eisner

It was a dark and stormy night. Suddenly, a shot rang out! A door slammed. The maid screamed. Those immortal words may have been penned by a comics character, Snoopy (or more correctly by his creator, Charles M. Schulz), but they could just as easily be about an installment of Will Eisner’s The Spirit. Those four sentences sum it up: atmosphere, thrills, suspense, and a beautiful woman. Handled by anyone else, this is a recipe for just another story; done by Will Eisner, it ends up as 7 pages of pure comics magic. Will Eisner was born William Erwin Eisner in Brooklyn, NY, on March 6, 1917. Less than 20 years later he was already part of the nascent comic industry, selling his first work to Wow! What A Magazine! He quickly joined forces with Jerry Iger to form the Eisner and Iger Studio, a comics “shop” that produced freelance work for various publishers. In 1939, he signed on with Everett “Busy” Arnold to create, among other things, a comics supplement for newspapers. On June 2, 1940, that supplement premiered, and Will Eisner’s The Spirit was born. The supplement was itself an innovation, but perhaps the most important aspect was that, unlike with other comics at the time, the Spirit character and stories were owned by Eisner himself, not a newspaper syndicate or a comics company. Each weekly supplement was 16 pages, with Eisner’s Spirit occupying the first 7 pages. He produced the sections until October 1952. While Eisner was serving in World War II, his studio continued the strip. Following his return to the strip in December 14 Comic-Con Magazine • Spring 2008

1945, Eisner wrote and drew some of his finest work over the next 7 years. Marked by evocative splash pages, moody and atmospheric drawing, and perfect little O. Henry–like short stories, The Spirit is an absolute gem, with Eisner at the top of his form week after week. When the strip ended in 1952, Eisner went on to other endeavors, including his own company, American Visuals, which supplied comicsrelated art and stories to other companies and to the U.S. Army’s P*S, The Preventative Maintenance Monthly. In 1965, former Eisner assistant and cartoonist Jules Feiffer included a Spirit story in his groundbreaking book The Great Comic Book Heroes. The world was once again in love with superheroes, and a year later, Harvey Comics published two giant-sized issues of The Spirit, containing several of the Sunday supplement stories and some new material from Eisner. In 1971, Denis Kitchen published

two issues of The Spirit in an underground comix format. In 1974, Warren Publishing started to reprint Spirit stories in Eerie. This lead to a magazine devoted solely to reprints of the supplement strips, which ran for 16 issues from Warren. Kitchen then picked up the series with issue 17 and began a long association with Eisner, publishing The Spirit in various forms, along with other Eisnercreated magazines and graphic novels. In 2000, DC Comics embarked on the most ambitious Spirit project ever: a complete, chronological reprinting of all the stories from 1940 to 1952 in highquality hardbound editions. Titled The Spirit Archives, the series is currently wrapping up with its final volumes. DC also started a new series, Will Eisner’s The Spirit, in 2007. The first dozen issues were written and drawn by Darwyn Cooke; the book is now written by Sergio Aragonés and Mark Evanier, with various artists tackling the immortal character each month. Eisner’s legacy lives on in the Will Eisner Comic Industry Awards, which honor the best comics have to offer each year and in the award he created with Comic-Con, the Will Eisner Spirit of Comics Retailer Award. Eisner wanted to acknowledge the incredible contribution retailers bring to the comics industry. Eisner himself was that rare comics creator who was also a businessman. He wisely held on to the rights of The Spirit over the years, picking and choosing how best to present it, while he continued his career as one of comics’ greatest graphic novelists, starting with A Contract with God in 1978. Eisner died in 2005, but not before he saw how far his creation had come and what it— and he—meant to the comics medium.

The Spirit ® is a registered trademark of Will Eisner Studios Inc. All Rights Reserved.


What I’m Reading In this issue of Comic-Con Magazine, we turn over the reins of our new feature, “What I’m Reading,” to some of Comic-Con’s 2008 special guests, who offer a fascinating look at their favorite books (comic and otherwise) and what’s on their nightstands. (For more info on this year’s guest lineup, see pages 37-42.)

Matt Busch Artist and illustrator

Y: The Last Man by Brian K. Vaughan and Pia Guerra (Vertigo). Zombies vs. Robots vs. Amazons by Chris Ryall and Ashley Wood (IDW). This series is as enjoyable to read as these guys probably had making it. Ashley’s style is evolving into this great retro pop art look that makes every page graphically pleasing. Wormwood: Gentleman Corpse by Ben Templesmith (IDW). It’s 100% Ben Templesmith, what more could you ask for? Seeing Ben unleashed and doing his own thing is a treat.

J. G. Jones Comics artist, Final Crisis, and 52 covers While I read primarily books on history or anthropology, I do make an occasional foray into fiction. Recently I read George Alec Effinger’s three Marid Audran future detective novels, When Gravity Fails, A Fire in the Sun, and The Exile Kiss. I am also reading Robert Fagles’ new translations of The Iliad and The Odyssey. I’ve also been rereading Jack Kirby’s Fourth World Omnibus, which is just tons of fun and amazingly creative. 16 Comic-Con Magazine • Spring 2008

Keith Giffen

Comics writer and artist, 52, Countdown to Final Crisis, Legion of Super-Heroes All-time favorite book: Catch-22. I reread it once a year just for the sheer joy of it. Runner up: Salem’s Lot. Back when Stephen King was Stephen King. All-time favorite comic book: The Lee/ Kirby Fantastic Four run. Still the gold standard. Runner up: Frank Miller’s Ronin. Yeah, I know Dark Knight’s the classic, but something about Ronin still resonates.

Todd Klein

Eisner Award–winning letterer Currently reading: The Time Thief by Linda Buckley-Archer, part two of a fine new time-travel adventure series. Next up: Kirby: King of Comics by Mark Evanier; wonderful package, can’t wait to enjoy it! Waiting on the shelf: Absolute Watchmen by Alan Moore and Dave Gibbons.

Paul Gulacy Comics artist, Master of Kung Fu, Batman, Star Wars I read my pal Steve Rude’s new book titled (of course) The Art of Steve Rude. It’s a marvelous exposé of one of the top talents in the field of comics and illustration. I subscribe to numerous magazines including Entertainment Weekly, Motor Trend, Rolling Stone, Star magazine (because it’s ruthless and shameless), and one of the best rags on the newsstand, Vanity Fair. I browse comics but I’m more prone to read Rough Stuff and Back Issue, which both celebrate comics.

Rutu Modan

Writer/artist, Exit Wounds

Lately I’ve been reading the second Moomin book. Tove Jansen was my favorite author when I was a child, but I didn’t know she was a comic artist, too. It was a pleasure to discover her strips. It made me want to reread her children’s books, so I bought a pile of them and was happy to find out they were as wonderful as I remembered them. I also bought the new collection of Winsor McCay’s Dreams of the Rarebit Fiend. It’s a wonderful book, a must, actually. Art © 2008 Matt Busch.


Jim Ottaviani

Graphic novel writer/editor, Wire Mothers: Harry Harlow and the Science of Love

Currently reading: Rollback by Robert J. Sawyer. A sweet premise, or more accurately, set of premises plotted and written in a way that’s giving me that same sense of pleasure and enjoyment I remember from my first exposures to science fiction as a kid. Gentlemen of the Road by Michael Chabon, with illustrations by Gary Gianni: Dark Ages pulp fiction, set in the part of the world that wasn’t dark. Moondust by Andrew Smith: It’s a wonderful exploration of what it meant to grow up during and participate in the Apollo era.

Adrian Tomine

Robert J. Sawyer SF author, latest book: Rollback

Adam-Troy Castro’s first novel, Emissaries from the Dead, is Silence of the Lambs as hard-science-fiction master Larry Niven might have written it. Castro’s already been nominated for the Hugo and the Nebula for short fiction; I expect to see him garner major award nominations for this terrific debut. Ninety-nine times out of a hundred when someone from outside the SF field tries to write an SF novel, the result is garbage. But The Time Traveler’s Wife by Audrey Niffenegger is that hundredth book: a masterpiece that really works as SF. It’s the heartbreaking story of a librarian unstuck in time; the film version recently wrapped shooting in Toronto.

Jeff Watts

Cartoonist; Optic Nerve, Shortcomings

San Diego–based artist, illustrator, and art instructor

Humpty Dumpty in Oakland by Philip K. Dick: I didn’t know that Dick had written non-sci-fi books until recently, so this was an interesting thing to stumble upon. I always gravitate towards any story that takes place somewhere that I’ve lived.

My reading list usually consists of books on art instruction and technique. One I have been reading and referring to frequently is Alla Prima: Everything I Know About Painting by Richard Schmid. It’s a wonderful book explaining advanced oil painting techniques. Another book I often turn to is The Art Spirit by Robert Henri. This book is one of the most inspirational I have read. Robert Henri is the Vince Lombardi of art instructors. This is a great book to pick up if you hit a roadblock in your career or art training and are looking for the inspiration to continue on your path.

Things the Grandchildren Should Know by Mark Oliver Everett (of The Eels): A “rock star memoir” for people who typically recoil at the thought of such things. The Road by Cormac McCarthy: Sometimes I like a little light reading to help me go to sleep at night. Art © 2008 Adrian Tomine; ©2008 Jeffrey Watts; ©2008 Signe Wilkinson.

Joe Staton Comics artist, Incredible Hulk, Green Lantern, E-Man) I usually read nonfiction and I’m happy that right now there is a good supply of biography and history concerning comics. I’m currently reading Meanwhile . . . , RC Harvey’s big (950 pages!) book about Milton Caniff. It’s subtitled “A Biography,” but it’s really a lot more. There’s art history, social history, even military history, and it’s all perceptive and seriously researched and full of appropriate illustrations. RC Harvey shows the research and analytical skills of a solid academic plus an honest affection for Caniff and his strips. I really like this book.

Signe Wilkinson Editorial cartoonist, Philadelphia Daily News; syndicated strip: Family Tree Favorite comic: Marjane Satrapi’s Persepolis. Brilliant combination of the personal and political with an unsentimental look at adolescence under religious fundamentalists and in the West. The film’s good, too. For an everyday read: Doonesbury. For fiction: anything by Alice Munro.

Spring 2008 • Comic-Con Magazine 17


Comics History 101: The Legion of Super-Heroes the more the fans liked it. Boy, Triplicate Girl (who, sadly, lost one of For those of us old enough to remember it, Eventually, the Legion pushed Superboy herself and had to settle for being just Duo there was something distinctly different about out of Adventure Comics and took over Damsel), Star Boy, Chameleon Boy, Invisible the cover of Adventure Comics #247, the the book, then they really started to soar Boy, Shrinking Violet, Colossal Boy, and April 1958 issue. In the superhero-starved era (they were nice enough to finally let him Phantom Girl, just to name the first ten or so of the late 1950s, new costumed characters join the club, though). They settled in for who came our way. There was even a Legion were a rarity. Sure, DC (then known as a comfortable 80-issue run as National Periodical Publications) Adventure’s lead feature. That run had brought back The Flash a couple saw some of the best of the early of years earlier. But Green Lantern’s Legion stories, including those revival was still more than a year created by a 14-year-old kid from away, and the Justice League? Well, Pittsburgh named Jim Shooter, the that supergroup revival was down same Jim Shooter who went onto the road even further. become editor-in-chief of Marvel But here was the old reliable Comics in the late 1970s and into standby, Superboy, standing in front the mid-1980s and who is now, of what appeared to be a game show once again, writing the Legion. panel of costumed superheroes. The Some of Shooter’s best stories title box on the cover read, “The were drawn by DC’s top artist of Legion of Super-Heroes!” Cosmic the era, Curt Swan, the main artist Boy, Lightning Boy (soon to be on Superman. rechristened “Lightning Lad”), and The Legion has always Saturn Girl read the placards in front attracted some of comics’ top of each seated hero, and they were talents. Memorable artists on the all denying Superboy—the superseries include Swan, Jim Mooney, est teenager of all!—admission to Dave Cockrum, Mike Grell, Keith their club! Giffen, Joe Staton, Jim Starlin, From that tame beginning, the Steve Lightle, Olivier Coipel, stuff of legend was made. Created and Barry Kitson. In addition by comics and sf writer Otto Binder to Shooter, Legion scribes have and artist Al Plastino, the Legion of included co-creator Otto Binder, Super-Heroes went on to become Jerry Siegel, Cary Bates, Paul one of comics’ most popular teams, Levitz, Gerry Conway, Roy spawning numerous incarnations Thomas, Tom and Mary Bierbaum, and utilizing some of DC’s best and Mark Waid. Recently, writer talents to tell their century- and Geoff Johns and artist Gary Frank world-spanning adventures. played in the Legion clubhouse, The Legion stories take place Alex Ross’ stunning depiction of the Legion. too, with a story serialized in roughly 1,000 years in the future— Action Comics. The comics property also which may or may not of Substitute Heroes, for those poor guys and spawned an animated series on Kids’ WB that happen, at least in the gals who couldn’t make the big time, kind of a lasted for two seasons. DC Universe—in the “Not Ready for Legion Time Players.” Their The Legion of Super-Heroes has lasted 30th and 31st centuries. angst was palpable, as yours would be, too, if 50 years for a reason. It can’t just be that Since that humble first you couldn’t make the team. homey clubhouse they first had, the one that appearance 50 years As the Legion grew in size, so it did looked like a big yellow coffee can with red ago, the three-member in popularity. It was the first Silver Age fi ns pasted on it (face it . . . we all wanted “super-hero club” has supergroup, and fans embraced it. They loved to get inside). It was a concept that grabbed grown into . . . well, a its science fiction setting in a far-flung future. us, a new team—a whole Legion—of “superLegion. As the series They adored the new heroes who joined. heroes.” You wanted to hang with them, have a returned in the pages They sent in their own costume designs. And soda, compare powers, trade costume designs. of Adventure and even- they especially loved the fact that the Legion tually other DC comics, members were all teenagers, teenagers who It didn’t matter that you needed a scorecard to the Legion added more felt like they were outcasts, different from tell you who they all were—that was part of and more members. everyone else. And don’t all teenagers feel that the appeal. This year’s Comic-Con celebrates There were Braniac way at some point? The more complicated the this incredible run of stories along with the 5, Sun Boy, Bouncing stories got, the more characters joined the club, fans of 50 years of Legion lore. 18 Comic-Con Magazine • Spring 2008

Art © 2008 DC Comics.


Costumer’s Corner

BY Martin Jaquish Comic-Con Masquerade Coordinator

Costume Construction

Whether attendees present costumes on the Masquerade stage or simply walk around Comic-Con dressed up for the fun of it, costumes come in many forms and are made from many construction methods. Some costumes use a combination of several crafting techniques to achieve their effect. Here are a few basic types of costume construction you’ll see at Comic-Con in any given year.

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1 Sewn/Common Fabrics Some fabrics (cotton, wool, silk, etc.), have been utilized for thousands of years; other fabrics are modern creations with various properties. Hours on a sewing machine plus careful tailoring and fabric detailing can create a Star Wars Jedi Knight, an ancient Egyptian queen, or anything in between. Sometimes a certain fabric happened upon at a store can inspire an entire costume. Other times, costumers search for months for just the right material to get the look or texture they need. Left: Aimee Steinberger as anime goddess “Amaterasu dis Gran.”

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2 Sewn/Specialty Fabrics

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Spandex, vinyl, PVC, and materials that have more in common with rubber and plastic than with cloth are often the choice for portraying comic book characters. Some materials tightly hug the contours of the body and stretch easily, while others can be somewhat rigid. But with the right sewing machine skills, lots of attention paid to seams, and the right body type, one can craft a futuristic space pilot or the latest Spider-Man rendition. These materials are sometimes used in conjunction with soft-sculpting. Above: Valerie Perez’s rendition of “Wonder Woman.”

3 Casting Most costumes that involve body armor, such as Batman, Star Wars Storm Troopers, and the like, utilize some manner of plastic or rubber casting. These items are first sculpted in clay or foam, then a silicon mold is made around the sculpture. Urethane is painted into the mold, and once hardened, is extracted and painted. Sometimes for form-fitting armor, a body cast of the wearer is made, then sculpted upon. Fiberglass casting and vacuforming can also be involved. Urethane is found online or at plastics outlets; #780 often is the grade of choice. Left: Allan Lavigne in re-created Necro Armor from “Chronicles of Riddick.”

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For making a tentacled alien, creating a dragon, or simply to add beefed-up muscles to a look, costumers will use mattress foam, polyethylene sheets, or other spongy foam rubber, which 5 they cut, shape, sandwich between fabric, then sew or glue the pieces together. Often soft sculpture is airbrushed to give extra texture and depth. Skill with quilting, glue guns, and spray adhesive is handy, and for fullbody projects it really helps to have a heavy-duty sewing machine or upholstery machine. Clever costumers can even make foam sculpture appear to be wood, metal, or even skin. Left: Ericson Yee’s original creation “Cuddles the Cuddle Fish.”

5 Scratch-Built/Found Items A sewing machine is not needed for making things like giant robots and transformers. Plastic storage boxes, kitchen mixing bowls, trashcan lids, and other items can be cut up, painted, and glued into place. Add some lighting and concealed batteries, and what was once Tupperware is now a cybernetic warrior. But clever costumes can be assembled from just about any material. Under some cartoon character’s furry head could be papier-maché or a beach ball, and a medieval costume may have hand-made chain-mail and a helmet shaped out of real sheet-metal. Right: Blair Heald as his version of “VR-52 Battler Cyclone.”

20 Comic-Con Magazine • Spring 2008

Photos by Jerry Shaw and Crystal Lawson.


Volunteer Spotlight: Ned Cato Jr. Comic-Con would not be the incredible success it is without the involvement of the board of directors, the committee members, the office staff, and the large contingent of volunteers who help make the show happen. This issue we turn the spotlight on Ned Cato Jr., a longtime Comic-Con board member and volunteer who currently works as a floor manager in the giant Exhibit Hall. What were your early interests in comics? My first comic buying memories are those giant-sized DC comics that were reprints of early Justice League and things like the Superman vs. The Flash race, and then I fell in love with the Avengers and X-Men. I have always had a love of super group comics. When I first started going to Comic-Con, I was deep into anime. This was right around the time Macross was huge. It was really cool going to other fans’ hotel rooms and watching episodes with 15-20 total strangers and all having the same interests. I really think that’s the real attraction of Comic-Con: being in a place with over 100,000 friends and strangers, all having similar interests. When did you first attend Comic-Con? I seem to remember first attending in 1987. Clydene Nee (Comic-Con’s Artists’ Alley and Art Auction coordinator) had told me about the show a year or two earlier, but I first attended at the urging of my best friends in the universe, Chris and Mary Sturhann [Chris produces Comic-Con’s Onsite Newsletter; Mary is on the Comic-Con board and is secretary of the organization], who were already volunteers in the Films Department and dating at the time. I had always been a geek, but I had never been to a show like Comic-Con. My earliest brush with greatness was being able to meet Jack Kirby and shake his hand and thank him for all he did for comics. To this day that is my greatest Comic-Con moment. When did you first start volunteering for Comic-Con? I started volunteering in 1988 or 1989, doing various duties. That was when I met many of the other volunteers and employees who have  made such an impression on me. I knew I would be a part of the show for the rest of my life in some way or another. That led to a job in the office for a few years.

What are some of the jobs you’ve done for Comic-Con and what do you currently do? I’ve done many jobs for the show, starting with various gofer duties when needed. I then moved on to the Programming Department as an assistant, running programs and seeing to the panelists’ needs. I ran Programming for one year, then worked in Small Press, helping publishers get exhibit space at Comic-Con. I ran that department until it was folded into the Exhibits Department.  I also worked in the office as the receptionist, and I also worked on APE and the Expo. Currently, I’m a board member and have been for 13 years. I am also a floor manager/assistant to Justin Dutta [ComicCon’s Director of Operations: Exhibits]. What does a floor manager do at Comic-Con? Floor managers are basically the eyes of Comic-Con in the Exhibit Hall. We make sure exhibitors adhere to the rules and regulations of the convention. Overall, we provide a general convention presence on the Exhibit Hall floor. What kinds of things do you collect and enjoy that you may find at Comic-Con each year? I will buy anything that piques my interest. I collect action figures that strike my fancy. I love Asian cinema, especially monster movies such as Godzilla. I am also a British sci-fi

fan: Doctor Who, Torchwood, Thunderbirds, Tomorrow People, Blake’s 7. I collect objects from those shows and others. But my favorite thing to do is to collect the freebies at the show, especially anything made of metal. Pins are my favorite; I like posters, too. What do you do in real life? I worked in retail for over 10 years, starting at the Warner Brothers Studio Stores, then Sam Goody record stores, ending up at Suncoast Motion Picture Co. Right now, I’m a lighting tech at a night club. I also produce and host a podcast with my friends called “Geek Roundtable,” where we talk about everything from the newest and hottest movies, books, games, and comics  to who would win in a fight between Batman and Wolverine. (My money is on the Bat!) Read any good books—or comics—lately? Darwyn Cooke’s New Frontier series is the best thing in comics right now. It takes me back to a time when comics were simpler and more fun. I also love the Chronicles of Narnia books; I read them over and over. I am also reading Podcasting for Dummies, which I recommend for anyone looking to get into podcasting. And I love old Isaac Asimov and Arthur C. Clarke books. Spring 2008 • Comic-Con Magazine 21


COMIC-CON COMICS GROUP

FREE! 39 CCI08

2008

SAGE ADVICE and

INSIDER TRICKS for getting the most out of

YOUR CONVENTIONGOING EXPERIENCE!

Tom Spurgeon by

! n o i t c e S t u o l l u P E x t ra - S p e c i a l


who’s been to Comic-Con international more than one time develops a set of strategies and coping mechanisms A nyone to get the most out of the show. Here are some of mine after 15 years of attendance, along with several that have been shared with me by people with many more years at Comic-Con under their belts. May your lines be short, your hotel rooms come with upgrades, and your shuttle buses always have an empty, open seat!

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Consider attending only part of the weekend Here’s how a lot of pros facilitate the expense of going to Comic-Con every year: they don’t go to all of it. Some even make day trips. A weeklong trip is great, but plan it right and it’s possible to have 90 percent of the experience for 25 percent of the price. There is a corresponding risk: it seems to me that increases in four-day membership sales may crowd out single-days—Comic-Con officials deny this will happen. make finding a room your first priority The later it gets, the harder it is to secure lodging. Reach out to friends who may need a roommate. Go to the Comic-Con hotel page every day to check for openings—some people drop extra reservations in May and June. Consider stringing together a series of one-night reservations at different hotels: you may have more initial deposits to pay, but you may also get into great hotels that wouldn’t be available otherwise.

Hit the ATM before the show There are cash machines at the Convention Center, but not a lot of them and there’s always a line. Get cash before you go to the show. There are ATMs in most of the major hotels, near the bank buildings along Broadway, and in various public locations. A lot of booths will accept credit cards, but not all of them, not yet.

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Park Early, Don’t Park Often

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Register for Comic-Con ASAP It’s hardly an insider tip, but with the show filling up every year now, you can’t count on registering day-of anymore. Get that taken care of as soon as you know you have a place to stay. Remember the hidden travel costs Not all hotels have free shuttle service. Cabs are a great way to get from airport to hotel, but can cost $12-15 each way. There are also hidden costs to arriving at Comic-Con by train or in your car. Longer train trips can be unreliable in terms of timeliness. A car will need to be parked at your hotel (which may have a parking fee—check the hotel or Comic-Con website) and at or near the show itself (where there will be definitely be a parking fee). Check in at your hotel as soon as you’re able One dirty little secret is that hotels can overbook and end up shuttling a few guests to another location. Chances this will be you increase if you check in at 9:00 PM as opposed to 3:00 PM. Get your room secured as close to the check-in time as you’re able. Although one hotel a couple years back sent guests to the world-famous Lodge at Torrey Pines, the only distinguishing characteristic common to overflow hotels is that they’re farther away. Join your hotel’s points program Not only might you earn a free night if you’re at the same hotel in future years, joining a points program can give you a different line at the front desk when registering and may provide hotels an extra incentive in helping you solve any travel difficulties.

if you’re driving to the Convention Center, parking can be a bear. Go early in the day; by noon, parking near the show requires a minor miracle. That said, I had an easy time last year parking my car in the public garages in the Gaslamp District; they filled up briskly, but there was definitely morning space. in past years I parked at a park and ride and rode the trolley the last several blocks.

Don’t pay for parking more than once Check to see if where you’re parking is all-day or for a limited number of hours. Some of the open-air lots only take you into the late afternoon, a bummer if you want to stay at Comic-Con until evening. Also, there’s a scam in parking lots where people in doctored T-shirts or madeup badges will solicit money from people parking cars—if there’s an automated system, always use that. Yes, wear your comfortable shoes The main floor is small-nation big. A pop star’s animalhosting estate big. That warehouse at the end of Raiders of the Lost Ark big. The oldest piece of convention advice is wear comfortable shoes, but the expansion of the show has made it imperative. I always recommend walking the show at least once just to take everything in, but if your feet aren’t ready, you’re going to pay for it later on.

Another option for any hotel problems If you booked through Comic-Con, remember that Travelplanners, with a desk at the Convention Center during show hours, can also work with you towards a resolution.

if you aren’t a watch-wearer or a phone-carrier, become one I don’t wear a watch or carry a phone, but I take both to Comic-Con. There are no clocks on the walls, and it’s a big place where you tend to lose people.

Find the Nearest Grocery Store Don’t be shy about eating in; a lot of folks do it. Plug your hotel’s address into Google Maps and note the nearest grocery stores. The Ralph’s at 101 G Street has been a key location for con-goers for years and ably serves the Broadway hotels and those closest to the Convention Center—it’s even on the shuttle route.

You never know about the air conditioning Finding the right temperature to harbor 125,000 people is a daunting task. Barring the appropriation of alien super science into the Convention Center’s climate control technologies, you can practically count on Comic-Con being overheated some years and slightly cool others. Take a long-sleeve shirt that first day, just in case.

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Consider mailing your purchases back One way to make your return trip easier is to mail purchases home.There are shipping services at the Convention Center, a post office next to the Westin Horton Plaza, and a UPS center near the Westin San Diego on Broadway. I pack a cardboard tube stuffed with a padded envelope and tape, and mail as much back as I can on Saturday morning. Think acceptable price, not best price You might find it difficult to comparison shop given the crowds and number of booths. Unless you’re looking for expensive items where there might be several dollars difference, consider making a list with prices that you’ll accept and then buying the first item you see that meets your price. For New Book Purchases, Remember The Core Three Longtime con-goers make frequent use of a core group of booths placed between the publisher and retailer groupings on the floor: Comic Relief carries a large number of items and anticipates books that might be buzz books for the show. Bud Plant stocks an enormous number of art and illustration books in addition to comics volumes. Mile High Comics provides discounted mainstream trade collections and in past years has allowed people to do Internet orders from the show. They’re great for hardcore and casual shoppers. Network Laterally As Much As Vertically One way to make contact with people you don’t know is to access the people you do know. If you’re a journalist who wants to meet cartoonists, ask your fellow journalists to introduce you around. If you’re a creator who wants to meet an editor, a good way to have the person not glare at you and say, “I’m off the clock” is to have a fellow creator make an introduction. Everyone you meet at Comic-Con is a potential contact. The Best Rule For Business Cards Right pocket holds your business cards; left pocket is where you put theirs. Please Don’t Smell Bad It’s a jam-packed show: not the time to skimp on basic grooming. No one’s going to be upset if you’re not runwayready—it’s a long show, with a lot of walking and time on one’s feet. If you make an effort to be presentable, you’ll be fine. If you want to make an even more positive impression on someone, it can’t hurt to go casual-dressy. Most folks are laid back at the show, and many are dressed down, but I can’t imagine it’s ever an advantage when applying for a job that the first thing that pops into someone’s mind is your tight-fitting Lone Ranger t-shirt. Avoid The “Con Crud” Spending so much time in contact with so many people, you stand a good chance of coming down with a cold-flu mix affectionately known as the “con crud.” I suggest taking a preventative supplement before, after and through the show. If you’re shaking a lot of hands or otherwise making a lot of physical contact on the show floor, we’re now in an era where you can use hand-wipes or other germ protection without people thinking you’re an obsessive-compulsive jerk.

Editor’s Note:

Convention Center Food … Well, it’s Convention Center Food Don’t expect too much of the Convention Center food; expect even less of it given the cost and wait, and you’ll be fine snagging a Coke here or a sandwich there. Consider A Box Lunch Taking food into the Convention Center is apparently against the rules, but a lot of people take their mid-day meal outside. In addition to the neighborhood Ralph’s and Cheese Shop Deli nearby, your hotel may facilitate delistyle carry-outs through a shop or restaurant. Enjoy Your Line Experiences Some lines are unavoidable. Rather than let them get you down, enjoy them for what they are—a chance to meet like-minded fans and anticipate the experience at line’s end.

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Don’t Be Afraid To Ask For Photos

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People in costumes tend not to wear them to avoid attention; most will pose for you if you ask. Many people not in costumes, including several TV and movie stars, are amenable to talking to you or having you take their photo if you’re nice and ask. Don’t approach people away from the Convention Center or in the restroom, though, unless you want to be an unfortunate anecdote on Monday’s TMZ. Also please don’t ask for or encourage photos in the aisles where people are trying to walk or I will hate you.

Take Drugs With the booths and music and loudspeaker announcements and brightly colored publications, going to the show can sometimes be like going on a carnival ride that lasts eight hours long. Pack aspirin. Get The pedi-cab Price Before You Get in You’re never going to look cool in the back of a pedicab—a bicycle with a seat in back for you and a friend—but you’ll look much less cool rolling around on the sidewalk holding your feet and crying in pain after walking around all day. Key: make sure you get a price before you jump on board. Look For Offbeat Signings Your favorite artists and publishers publicize their signings leading up to the show. There is also a schedule of signings made available every morning at ComicCon. Check for unusual places that a talent may sign. A creator that commands a huge line at the DC Comics booth may not have one at the CBLDF booth.

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the views and opinions expressed in this article are those of the author and not necessarily those of comic-con international. photo by valerie irene perez.


enjoy san diego

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Always introduce Yourself Three days into the visual cacophony that is the Exhibit Hall, I wouldn’t recognize my own cousin were she to walk up and start talking to me. Be kind: remind people who you are and how you know them. Old School Con Enjoyment Tip one: Walk Artists’ Alley The heart of Comic-Con is Artists’ Alley, where creators from a variety of backgrounds do sketches, meet fans, and ply their wares. You should walk it at least once. I guarantee that if you read comics you’ll see someone whose work you dearly love, and someone else you haven’t thought of in ten years. The Art Auction is upstairs now, but it’s another place where you can watch artists work. Old School Con Enjoyment tip Two: Visit Cartoonist Panels I love the big Hollywood presentations, but hearing cartoonists speaking about their art and craft is even better. Some typically great panels to consider are the ones with a European cartooning guest, ones with older comic book creators, and anything with Mark Evanier and Sergio Aragonés. Old School Con Enjoyment Tip Three: Attend The Eisners and The Masquerade The Eisner Awards are a comic book awards program; attending them is a full evening, but there are almost always seats and it’s fascinating to see comics honor its best—for one thing, you’ll never see such a wide variety of fashion choices. The Masquerade is the annual costume contest and features people having more fun than I’ve ever had doing anything. You have to get in line for that one. it May Pay To Eat Dinner Early If you’re eating out, I suggest phone or Internet reservations a week in advance. For more impromptu plans, your hotel may be able to help you, and there is a restaurant reservation booth in the Convention Center. Because the show stretches into the early evening, it can be easier to find an empty table in the 5:00-7:00 PM timeframe. Beware The Large Dinner Group If you must eat with more than four other people, get reservations. Come 8:00 PM every night, you always see groups of eight to twelve people roaming the streets, checking out menus, being told they can’t be seated. They look haunted, lost and awfully hungry.

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Use Your Concierge If your hotel has a concierge service, use it! They’re wellconnected people paid to be your advice-giving friend. In fact, even if you don’t need any help, ask them weird questions just to see what they’ll say.

Tom Spurgeon

Unlike conventions where the action is contained within the Exhibit Hall and a hotel bar near an airport, ComicCon International offers you all of San Diego. Enjoy it! Eat out once or twice, or do a tour of an aircraft carrier, or visit the world-famous zoo (careful: a lot of walking involved there). it’s a lovely city, and if you’re staying a few days a field trip can make your whole weekend that much more special. Besides, there’s no trip that can’t be made better by a close encounter with a pygmy marmoset. don’t forget to Tip The people of San Diego put on a great show, but ComicCon is a peculiar weekend for them. Be nice. Tip your cabbies, waiters, and hotel staff—it’s good karma, and it’s the right thing to do. Do Something Charitable The Comic-Con hosts a Blood Drive, and there are two comics charities of great value that have aggressive fundraising schedules: the Comic Book Legal Defense Fund (a free speech advocacy group) and The Hero Initiative (a group that supports older cartoonists in need). All are worth your time and might provide some balance to a weekend of commerce and excess. Not that there’s anything wrong with commerce and excess. Start a Tradition A lot of people go to Comic-Con for years and years, and part of the fun is to repeat certain experiences. So find a quiet place where you like to have breakfast, hit the discount Silver Age spinner rack at Lee’s Comics first thing every morning, end each day with a toast—it’s the little things that you’ll remember. A lot of folks used to go Tijuana, which can be an awesome time but remember: you need a passport to do this now, not just money for bail.

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Comic-Con is a big enough event there’s bound to be some stress, but it’s amazing how many people look glum and out of sorts. You’re at the biggest, craziest pop culture extravaganza in the world. Take time to enjoy the moment!

is the editor of The Comics Reporter www.comicsreporter.com

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Comic-Con Anime

Ato to

Z

So you thought we had it all covered when we introduced you to “Comic-Con A to Z” in the last issue of ComicCon Magazine, didn’t you? Well, face front, True Believer (where have you heard that before?), this is the real deal! Expanded, enlarged, even invigorated, here’s the new A to Z rundown for Comic-Con 2008 (minus a few letters—we apologize to J, K, L, Q, U and X for not having any work for them this time out). As always, your complete source for up-todate information and breaking news is www.comic-con.org (Please note: All schedules and information listed here with specific website addresses will also appear in the onsite Events Guide, available free to Comic-Con attendees while supplies last.) SEE FAST FACTS ON PAGE 1 FOR ADDITIONAL IMPORTANT INFORMATION!

28 Comic-Con Magazine • Spring 2008

A

Comic-Con will again present three full rooms dedicated to the very best in anime screenings throughout the entire four days of the event. Comic-Con’s anime rooms will be 24BC, 25AB, and 25C at the San Diego Convention Center, the same locations as in previous years. As always, you can expect some old favorites, some new surprises, and maybe even a premiere or two! More information, including a complete schedule, will be posted at www.comic-con.org/cci/cci_anime.shtml as the event gets closer.

Art Auction Comic-Con’s Art Auction offers you a chance to see some of the best artists in the industry create art right before your eyes! Best of all, you can purchase this original art for your own collection when it’s auctioned off at Comic-Con. Among the beneficiaries of the Art Auction are the Disabled Services Department and Artists’ Alley. As a nonprofit organization, Comic-Con is committed to making the convention an enjoyable event for all attendees. By actively promoting access for all those with special needs and providing interpreters for its deaf members, Comic-Con guarantees an even wider audience who can appreciate all that comics and pop culture have to offer. The Art Auction helps defray the costs of these services, as well as the costs of Artists’ Alley, where space is provided free to the participating artists. Check your onsite Events Guide for the exact location of the Art Auction, and visit it often during ComicCon. You just might catch your favorite artist creating a masterpiece!

Artists’ Alley Artists’ Alley gives Comic-Con attendees the chance to meet and greet some of their favorite creators, many of whom sell original art, sketches, and exclusive limited-edition prints and sketchbooks. Here’s a preliminary list—as of press time—of who will be in Artists’ Alley. (Comic-Con special guests are in bold.) Check www.comic-con.org/cci/cci_artalley.shtml for updates! RC Aradio Dominic Aradio Robert Aragon Attila Adorjany Jay Anacleto Brent Anderson Matt Batt Banning David Baron Chris Batista Moose Baumann Thomas Baxa Scott Beaderstadt Doug Beekman Steven Belledin Joe Benitez Scott Benefiel Ryan Benjamin Daniel Brereton Lee Bermejo Patrick Block Shelly Block Tim Bradstreet Mark Brooks Reilly Brown Ron Brown James Bryson Steve Buccellato Buzz Jacob Chabot Zander Cannon Sergio Cariello Tommy Castillo Paul Chadwick Howard Chaykin Matthew Clark Denis Calero Katie Cooke Colleen Coover Joe Corroney Dave Crossland

Wes Craig Justin Chung Cynthia Cummins Carlos D’Anda Paul Dale Sue Dawe Walt Davis Renae Deliz Tony DeZuniga Jeff De los Santos Mark De los Santos Otto Diffenbach Ray Dillon Steve Ellis Randy Emberlin Gabe Ettaeb Greg Espinosa Jason Felix Derek Fridolfs Tom Fowler Otis Frampton Franchesco Derek Fridolfs Rich Friend Randy Gallegos Dave Garcia Alex Garner Ale Garza Patrick Gleason Chris Giarrusso Joel Gomez Grant Gould Keiron Grant Rob Granito Mick Gray Peter Gross Brian Haberlin David Hahn Matt Haley Bob Hall

Jesse Hamm Cutter Hays James Heffron Chachi Hernandez Gabe Hernandez Jim Hillin Thomas Hodges Sandra Hope Josh Howard Sam Storm Crows Hayes Mark Irwin Anson Jew Benton Jew Drew Johnson Margaret Organ Kean Ryan Kelly JJ Kirby Todd Klein Lee Kohse Brian Kong Rich Koslowski Jason Kruse Peter Kuper Joe Largent Brian Laub April Lee Leo Leibelman Henry Liao Steve Lieber Ron Lim Michael Lopez Barbara Marker Gary Martin Jose Marzan Jr Theresa Mather Laura Martin Randy Martinez Ruben Martinez Joey Mason Shaun McManus

Meghan McMahon Josh Middleton Monte Moore Chris Moreno Jeff Moy Phil Moy Sho Murase John Boy Myers David Nakayama Dustin Nguyen Tom Nguyen Hung Van Nguyen Oliver Nome Steve Oatney Mitch O’Connell William O’Connor Jim Ottaviani David Palumbo Flora Panopoulos Jorge Pacheco Lucio Parrillo James Pascoe Sergio Paez Ken Penders Mark Pennington Andrew Pepoy Joe Phillips Whilce Portacio Brian Pulido David Rabbitte Humberto Ramos Tarlo Raheem Ron Randall Bill Reinhold Robert Roach Roger Robinson Ed Roeder Bejamin Roman David M. Ronzone Brian Rood

Michael J. Ryan Nigel Sade Alex Saviuk Stuart Sayger Brandon Schiflett Jarrod Schiflett Gregg Schigiel JD Seeber Dave Seeley Terry Shoemaker Bill Sienkiewicz Howard Simpson Clem Sauve Alex Sinclair Cat Staggs Angela Talbot Billy Tan Phillip Tan Sherilyn Tanala Ben Thompson Heather Theurer Art Thibert Anthony Tollin Cyril van der Haegen Alain Viesca Russell Walks Shelly Wan John Watkins Chow Jonathan Wayshak Dustin Weaver David Williams Freddie Williams III Chuk Wojtkiewicz Marc Wolfe Weldon Wong Thomas Yeates Leinil Francis Yu


SAN DIEGO COMIC-CON INTERNATIONAL JULY 24 - 27 • SAN DIEGO CONVENTION CENTER

Art Show Whether you’re looking for drawings, paintings, jewelry, sculpture, or even something more unusual, you’ll find an eclectic and beautiful selection of items in Comic-Con’s Art Show. Located in the Sails Pavilion upstairs at the Convention Center, the Art Show contains original works by both amateurs and professionals. It also displays the nominated books and comics for the Will Eisner Comic Industry Awards and houses a special exhibit devoted to members of the Will Eisner Hall of Fame. Many of the original pieces displayed by artists are for sale by silent or voice auction. Some pieces are marked for quick sale. Bidder numbers and Art Show information can be obtained from the administration table inside the Art Show. You must be 18 years of age and have legal identification to purchase artwork, and payments may be made with cash, check, Visa, or MasterCard. Information on entering the Art Show, including all necessary forms, is available at www.comic-con.org/ cci/cci_artshow.shtml. The deadline for entry before the convention is June 30. Samples of the art must be sent in along with the application and payment for display space. Walk-in reservations at the Art Show are on a first-come, first-served basis, if space is still available. Mail-in art is accepted according to the conditions stated in the Art Show rules. (At right, one of the impressive Mang sculptures in last year’s Art Show.)

Autograph Area Comic-Con’s Autograph Area is a fan-favorite destination each year. Located upstairs at the Convention Center in the Sails Pavilion, it is “signing central” for all four days of the event, where you can get autographs from movie stars, current and classic TV personalities, science fiction and fantasy authors, and comic book greats. The Autograph Area is your one-stop shop for signings, including sessions for some of ComicCon’s special guests and other panel participants following their programs. As of press time, some of the celebrities confirmed for 2008 include Lindsay Wagner (the original Bionic Woman), Katey Sagal (Married With Children, Futurama), Erik Estrada (CHiPS, Sealab 2021), and Richard Hatch (Battlestar Galactica). Look for a complete schedule at www.comic-con.org/cci/cci_autographs.shtml closer to the event and in the onsite Events Guide. (At right, Neil Gaiman signs in the 2007 Autograph Area.)

B

Blood Drive

The San Diego Comic-Con Robert A. Heinlein Blood Drive returns for its 31st big year in 2008. The Blood Drive opens at 10:00 AM Thursday, Friday, and Saturday, and at 11:00 AM on Sunday. When you donate blood, you get a special goody bag containing comics, books, and other fun things, a limited-edition T-shirt, and a raffle ticket for a good chance to win one of many prizes donated by exhibitors, and maybe even an exclusive surprise! It only takes about 45 minutes. Sign up at the Blood Drive Booth (upstairs in the Sails Pavilion near the Freebie Table), and remember to return to the booth at the end of the day to check the winning numbers to see if you’ve won a prize! A big thank you to Diamond Select Toys for helping make last year’s Blood Drive Comic-Con’s biggest success ever, with the San Diego Blood Bank collecting 841 units of blood. We’d also like to thank all the exhibitors who donated so many fantastic raffle prizes for our daily drawings. And to all those who donated blood, the biggest thank you of all! People’s lives were saved because of your compassion and generosity. More info: www.comic-con.org/cci/cci_blood.shtml

C

Child Care We all know the young ones simply can’t sit through an all-day session in Hall H or spend hours searching through those long boxes in the Exhibit Hall. If you’re a parent, don’t worry: Professional Child Care is available! KiddieCorp, a long-time presence at Comic-Con, is committed to providing your children with a comfortable, safe, and happy experience. They offer age-appropriate activities that include arts and crafts, group games, music and motion, board games, story time, dramatic play, and much more. KiddieCorp provides snacks and beverages, but parents must supply all meals, as well as diapers, baby formula, and a change of clothes. KiddieCorp’s hours fit the daytime Comic-Con schedule: Wednesday: 6:00-9:00 PM; Thursday through Saturday: 9:30 AM-7:00 PM; and Sunday: 9:30 AM-5:00 PM. KiddieCorp’s fees are also kind to your pocketbook: $9.00 per hour per child for children 6 months through age 2 and $7.00 per hour per child for children ages 3–12 for registrations received on or before June 26. Late (received after June 26) or onsite registration fees are $11.00 per hour per child for children 6 months through age 2 and $9.00 per hour per child for children ages 3–12 years. To enroll a young one in this program, you must fill out a children’s program registration form and a consent form. You can obtain these forms through the Comic-Con office, on the Comic-Con website at www.comic-con.org/cci/cci_child.shtml, or directly from KiddieCorp at 858-455-1718.You can also register online at https://www.kiddiecorp.com/comickids.htm or send an email to: info@kiddiecorp.com.

Photos by LaFrance Bragg, Barry Brown, and Kira Olsson-Tapp.

Spring 2008 • Comic-Con Magazine 29


Comic-Con A to Z

D

Disabled Services Comic-Con is dedicated to serving all of its attendees. The Disabled Services Department was established to offer a hand to visitors with special needs, including:

• A rest area for the disabled, the elderly, expectant mothers, and parents with small infants. • An enclosed nursing area for mothers with infants. • Runners to go upstairs and pick-up your membership if you are unable to wait in line. • Cold storage of medications. • Wheelchairs for loan in two- to three-hour increments on a first-come, first-served basis; all you need is an ID and a $20 cash deposit. • American Sign Language interpreters for the deaf at large panels and the Masquerade. • Special limited seating for large programming events and the Masquerade. If you are an attendee with disabilities, Comic-Con wants to make your experience as fun and entertaining as possible, but there are a few limitations on what can be provided. For example:

• Programming rooms fill up quickly, and all seating is on a first-come, first-served basis, so special seating may not be available if you wait until the last minute to get to the room. Please read your Events Guide and plan your day accordingly, keeping in mind the popularity of most events. • Special autograph sessions are always limited, so it is a good idea to make arrangements to have someone within your group save a spot for you in line. Keep in mind that Disabled Services cannot guarantee any seating, autographs, or giveaways. The Disabled Services team is here to help. By working together, we can make the convention experience enjoyable for everyone. Visit www.comic-con.org/cci/cci_dissvc.shtml for more details.

E

30 Comic-Con Magazine • Spring 2008

Will Eisner Comic Industry Awards The nomination list for the 2008 Will Eisner Comic Industry Awards represents the most diverse slate of titles and creators in the 20-year history of the awards. The nominees range from high-priced comprehensive collections of archival works to small self-published pamphlets, from literary Japanese graphic novels to comics based on popular TV series, from goofy humor titles to works about the Soviet space program, a Chinese magician, and the Negro Leagues. In fact, the nominations are so varied that it is difficult to summarize any trends. No one company or creator dominates this year’s nominations, which were chosen by a blue-ribbon panel of judges. The 2008 Eisner Awards judging panel consists of John Davis (director of pop culture markets, Bookazine), Paul DiFilippo (SF and comics author), The 2008 Eisner Awards judging panel, holding the nominees in Atom! Freeman (owner of Brave New the Best Graphic Album-New category: Paul Di Filippo, Atom! World Comics in Santa Clarita, CA), Freeman, John Davis, Eva Volin, and Jeff Jensen. Jeff Jensen (senior writer, Entertainment Weekly), and Eva Volin (supervising children’s librarian for the Alameda Free Library in Alameda, CA). The judges added one new category this year, splitting the previous Best Title for a Younger Audience into two: Best Publication for Kids and Best Publication for Teens, to reflect all the great material that is being produced for these audiences. All in all, this year’s nominations are the most ever: 148 nominations in 29 categories (not including Hall of Fame). Ballots were sent in late April to comics creators, editors, publishers, and retailers. A downloadable PDF of the ballot will also be available online, and a special website has been set up for online voting, www. eisnervote.com. The results in all categories will be announced in a gala awards ceremony on the evening of Friday, July 25 at Comic-Con International. Photos by Kevin Green,Tom Deleon, and Jackie Estrada.


2008 Will Eisner Comic Industry Awards Nominees Best Short Story “Book,” by Yuichi Yokoyama, in New Engineering (PictureBox) “At Loose Ends,” by Lewis Trondheim, in Mome #8 (Fantagraphics) “Mr. Wonderful,” by Dan Clowes, in New York Times Sunday Magazine “Town of Evening Calm,” by Fumiyo Kouno, in Town of Evening Calm, Country of Cherry Blossoms (Last Gasp) “Whatever Happened to Fletcher Hanks?” by Paul Karasik, in I Shall Destroy All the Civilized Planets! (Fantagraphics) “Young Americans,” by Emile Bravo, in Mome #8 (Fantagraphics) Best Single Issue (or One-Shot) Amelia Rules! #18: “Things I Cannot Change,” by Jimmy Gownley (Renaissance) Delilah Dirk and the Treasure of Constantinople, by Tony Cliff (self-published) Johnny Hiro #1, by Fred Chao (AdHouse) Justice League of America #11: “Walls,” by Brad Meltzer and Gene Ha (DC) Sensational Spider-Man Annual: “To Have or to Hold,” by Matt Fraction and Salvador Larroca (Marvel) Best Continuing Series The Boys, by Garth Ennis and Darick Robertson (Dynamite) Buffy the Vampire Slayer, Season 8, by Joss Whedon, Brian K. Vaughan, Georges Jeanty, and Andy Owens (Dark Horse) Naoki Urasawa’s Monster, by Naoki Urasawa (Viz) The Spirit, by Darwyn Cooke and J. Bone (DC) Y: The Last Man, by Brian K. Vaughan, Pia Guerra, and Jose Marzan, Jr. (Vertigo/DC) Best Limited Series Atomic Robo, by Brian Clevinger and Scott Wegener (Red 5 Comics) Dark Tower: The Gunslinger Born, by Peter David, Robin Furth, and Jae Lee (Marvel) Nightly News, by Jonathan Hickman (Image) Parade (with Fireworks), by Michael Cavallaro (Shadowline/Image) The Umbrella Academy, by Gerard Way and Gabriel Bá (Dark Horse) Best New Series Buffy the Vampire Slayer, Season 8, by Joss Whedon,

Brian K. Vaughan, Georges Jeanty, and Andy Owens (Dark Horse) Immortal Iron Fist, by Ed Brubaker, Matt Fraction, David Aja, and others (Marvel) Johnny Hiro, by Fred Chao (AdHouse) The Infinite Horizon, by Gerry Duggan and Phil Noto (Image) Scalped, by Jason Aaron and R. M. Guéra (Vertigo/DC) Best Publication for Kids Amelia Rules! and Amelia Rules! Funny Stories, by Jimmy Gownley (Renaissance) Star Wars: Clone Wars Adventures, edited by Jeremy Barlow (Dark Horse) Mouse Guard: Fall 1152 and Mouse Guard: Winter 1152, by David Petersen (Archaia) The Wall: Growing Up Behind the Iron Curtain, by Peter Sis (Frank Foster Books/Farrar, Straus & Giroux) Yotsuba&!, by Kiyohiko Azuma (ADV) Best Publication for Teens Laika, by Nick Abadzis (First Second) The Mighty Skullboy Army, by Jacob Chabot (Dark Horse) The Annotated Northwest Passage, by Scott Chantler (Oni) PX! Book One: A Girl and Her Panda, by Manny Trembley and Eric A. Anderson (Shadowline/Image) Satchel Paige: Striking Out Jim Crow, by James Sturm and Rich Tommaso (Center for Cartoon Studies/Hyperion) Best Humor Publication Dwight T. Albatross’s The Goon Noir, edited by Matt Dryer (Dark Horse) Johnny Hiro, by Fred Chao (AdHouse) Lucha Libre, by Jerry Frissen, Bill, Gobi, Fabien M., Nikola Witko, Hervé Tanquelle et al. (Image) Perry Bible Fellowship: The Trial of Colonel Sweeto and Other Stories, by Nicholas Gurewitch (Dark Horse) Wonton Soup, by James Stokoe (Oni) Best Anthology Best American Comics 2007, edited by Anne Elizabeth Moore and Chris Ware (Houghton Mifflin) 5, by Gabriel Bá, Becky Cloonan, Fabio Moon, Vasilis Lolos, and Rafael Grampa (selfpublished) Mome, edited by Gary Groth

and Eric Reynolds (Fantagraphics) Postcards: True Stories That Never Happened, edited by Jason Rodriguez (Villard) 24Seven, vol. 2, edited by Ivan Brandon (Image) Best Digital Comic The Abominable Charles Christopher, by Karl Kerschl, www.abominable. transmission-x.com Billy Dogma, Immortal, by Dean Haspiel, www.deanhaspiel. com/immortal.html The Process, by Joe Infurnari, www.theprocesscomic.com PX! By Manny Trembley and Eric A. Anderson, www. pandaxpress.com Sugarshock!, by Joss Whedon and Fabio Moon, www.myspace. com/darkhorsepresents?issu enum=1&storynum=2 Best Reality-Based Work Laika, by Nick Abadzis (First Second) The Magical Life of Long Tack Sam, by Ann Marie Fleming (Riverhead Books/ Penguin Group) Satchel Paige: Striking Out Jim Crow, by James Sturm and Rich Tommaso (Center for Cartoon Studies/Hyperion) Sentences: The Life of MF Grimm, by Percy Carey and Ronald Wimberly (Vertigo/DC) White Rapids, by Pascal Blanchet (Drawn & Quarterly) Best Graphic Album—New The Arrival, by Shaun Tan (Arthur A. Levine/Scholastic) Bookhunter, by Jason Shiga (Sparkplug Books) Essex County, vols. 1-2: Tales from the Farm/Ghost Stories, by Jeff Lemire (Top Shelf) Exit Wounds, by Rutu Modan (Drawn & Quarterly) Percy Gloom, by Cathy Malkasian (Fantagraphics) Best Graphic Album—Reprint Agents of Atlas Hardcover, by Jeff Parker, Leonard Kirk, and Kris Justice (Marvel) Gødland Celestial Edition, by Joe Casey and Tom Scioli (Image) James Sturm’s America: God, Gold, and Golems, by James Sturm (Drawn & Quarterly) Mouse Guard: Fall 1152, by David Petersen (Archaia) Super Spy, by Matt Kindt (Top Shelf) Best Archival Collection/ Project— Comic Strips (The Complete) Dream of the Rarebit Fiend,

by Winsor McCay (Ulrich Merkl) Complete Terry and the Pirates, vol. 1, by Milton Caniff (IDW) Little Sammy Sneeze, by Winsor McCay (Sunday Press) Popeye, vol. 2: Well Blow Me Down, by E. C. Segar (Fantagraphics) Sundays with Walt and Skeezix, by Frank King (Sunday Press) Best Archival Collection/ Project—Comic Books Amazing Spider-Man Omnibus, vol. 1, by Stan Lee and Steve Ditko (Marvel) Apollo’s Song, by Osamu Tezuka (Vertical) The Completely MAD Don Martin, by Don Martin (Running Press) Daredevil Omnibus, by Frank Miller and Klaus Janson (Marvel) I Shall Destroy All the Civilized Planets! by Fletcher Hanks (Fantagraphics) Best U.S. Edition of International Material The Arrival, by Shaun Tan (Arthur A. Levine/Scholastic) Aya, by Marguerite Abouet and Clement Obrerie (Drawn & Quarterly) Garage Band, by Gipi (First Second) I Killed Adolf Hitler, by Jason (Fantagraphics) The Killer, by Matz and Luc Jacamon (Archaia) Best U.S. Edition of International Material— Japan The Ice Wanderer and Other Stories, by Jiro Taniguchi (Fanfare/Ponent Mon) MW, by Osamu Tezuka (Vertical) Naoki Urasawa’s Monster, by Naoki Urasawa (Viz) New Engineering by Yuichi Yokoyama (PictureBox) Tekkonkinkreet: Black & White, by Taiyo Matsumoto (Viz) Town of Evening Calm, Country of Cherry Blossoms, by Fumiyo Kouno (Last Gasp) Best Writer Ed Brubaker, Captain America, Criminal, Daredevil, Immortal Iron Fist (Marvel) James Sturm, Satchel Paige: Striking Out Jim Crow (Center for Cartoon Studies/ Hyperion) Brian K. Vaughan, Buffy the Vampire Slayer (Dark Horse); Ex Machina (WildStorm/DC), Y: The Last Man (Vertigo/DC)

Spring 2008 • Comic-Con Magazine 31


Comic-Con A to Z Joss Whedon, Astonishing X-Men (Marvel); Buffy the Vampire Slayer (Dark Horse) Brian Wood, DMZ, Northlanders (Vertigo/DC); Local (Oni) Best Writer/Artist Jeff Lemire, Essex County: Tales from the Farm/Ghost Stories (Top Shelf) Rutu Modan, Exit Wounds (Drawn & Quarterly) Shaun Tan, The Arrival (Arthur A. Levine/Scholastic) Chris Ware, Acme Novelty Library #18 (Acme Novelty) Fumi Yoshinaga, Flower of Life; The Moon and Sandals (Digital Manga) Best Writer/Artist—Humor Kyle Baker, The Bakers: Babies and Kittens (Image) Fred Chao, Johnny Hiro (AdHouse) Brandon Graham, King City (Tokyopop); Multiple Warheads (Oni) Eric Powell, The Goon (Dark Horse) James Stokoe, Wonton Soup (Oni) Best Penciller/Inker or Penciller/Inker Team Steve Epting/Butch Guice/Mike Perkins, Captain America (Marvel) Pia Guerra/Jose Marzan, Jr., Y: The Last Man (Vertical/DC) Jae Lee, Dark Tower: The Gunslinger Born (Marvel) Takeshi Obata, Death Note, Hikaru No Go (Viz) Ethan Van Sciver, Green Lantern: Sinestro Corps (DC) Best Painter or Multimedia Artist (interior art) Ann-Marie Fleming, The Magical Life of Long Tack Sam (Riverhead Books/ Penguin Group) Eric Powell, The Goon: Chinatown (Dark Horse)

Bryan Talbot, Alice in Sunderland (Dark Horse) Ben Templesmith, Fell (Image); 30 Days of Night: Red Snow; Wormwood: Gentleman Corpse (IDW)

Best Cover Artist John Cassaday, Astonishing X-Men (Marvel); Lone Ranger (Dynamite) James Jean, Fables (Vertigo/ DC); The Umbrella Academy (Dark Horse); Process Recess 2; Superior Showcase 2 (AdHouse) J. G. Jones, 52 (DC) Jae Lee, Dark Tower: The Gunslinger Born (Marvel) Jim Lee, All Star Batman and Robin the Boy Wonder (DC); World of Warcraft (WildStorm/DC) Best Coloring Jimmy Gownley, Amelia Rules! (Renaissance) Steve Hamaker, Bone, vols. 5 and 6 (Scholastic); Shazam: Monster Society of Evil (DC) Richard Isanove, Dark Tower: The Gunslinger Born (Marvel) Ronda Pattison, Atomic Robo (Red 5 Comics) Dave Stewart, BPRD, Buffy the Vampire Slayer, Cut, Hellboy, Lobster Johnson, The Umbrella Academy (Dark Horse); The Spirit (DC) Alex Wald, Shaolin Cowboy (Burlyman) Best Lettering Jared K. Fletcher, Catwoman, The Spirit (DC); Sentences: Life of MF Grimm (Vertigo/DC) Jimmy Gownley, Amelia Rules! (Renaissance) Todd Klein, Justice, Simon Dark (DC); Fables, Jack of Fables, Crossing Midnight (Vertigo/ DC); League of Extraordinary Gentlemen: The Black Dossier (WildStorm/DC); Nexus (Rude Dude)

Lewis Trondheim, “At Loose Ends,” Mome 7 & 8 (Fantagraphics) Chris Ware, Acme Novelty Library #18 (Acme Novelty) Special Recognition Chuck BB, Black Metal (artist, Oni) Matt Silady, The Homeless Channel (writer/artist, AiT/ PlanetLar) Jamie Tanner, The Aviary (writer/ artist, AdHouse) James Vining, First in Space (writer/artist, Oni) Best Comics-Related Periodical/Journalism Comic Art #9, edited by Todd Hignite (Buenaventura Press) Comic Foundry, edited by Tim Leong (Comic Foundry) The Comics Journal, edited by Gary Groth, Michael Dean, and Kristy Valenti (Fantagraphics) The Comics Reporter, produced by Tom Spurgeon and Jordan Raphael (www.comicsreporter.com) Newsarama, produced by Matt Brady and Michael Doran (www.newsarama.com) Best Comics-Related Book The Art of P. Craig Russell, edited by Joe Pruett (Desperado) The Artist Within, by Greg Preston (Dark Horse) Manga: The Complete Guide, by Jason Thompson (Del Rey Manga) Meanwhile . . . A Biography of Milton Caniff, by R. C. Harvey (Fantagraphics) Reading Comics: How Graphic Novels Work and What They Mean, by Douglas Wolk (Da Capo Press) Understanding Manga and Anime, by Robin Brenner (Libraries Unlimited/Greenwood Publishing)

Complete Terry and the Pirates, designed by Dean Mullaney (IDW) Heroes, vol. 1, designed by John Roshell/Comicraft (WildStorm/DC) Little Sammy Sneeze, designed by Philippe Ghielmetti (Sunday Press) Process Recess 2, designed by James Jean and Chris Pitzer (AdHouse) Sundays with Walt and Skeezix, designed by Chris Ware (Sunday Press) Hall of Fame Judges’ Choices: R. F. Outcault Major Malcolm Wheeler-Nicholson Nominees (4 will be selected by voters): Matt Baker John Broome Reed Crandall Rudolph Dirks Arnold Drake George Evans Creig Flessel Graham Ingels Mort Meskin Tarpe Mills Gilbert Shelton George Tuska Mort Weisinger Len Wein Barry Windsor-Smith

Best Publication Design (The Complete) Dream of the Rarebit Fiend, designed by Ulrich Merkl (Ulrich Merkl)

Eisner Spirit of Comics Retailer Award The late Will Eisner’s dedication to the comic medium led him to ask Comic-Con to help create this award, acknowledging the important role of comic book retailers as the vital link between the creator and the customer. First begun in 1993, 24 store owners have been honored for their efforts over the past 15 years. This year’s award recipient will be announced during the Will Eisner Comic Industry Awards on Friday night, July 25.

Events Guide Comic-Con’s onsite Events Guide is given free to each attendee (while supplies last). It’s the official schedule of the entire show, encompassing Programming, Autograph signings, Games, Anime, and Film screenings (including the Comic-Con International Film Festival). It also lists all the exhibitors and contains a special section highlighting events and signings at booths in the Exhibit Hall. This giant publication also features maps and info to help make your visit to Comic-Con—and downtown San Diego—more complete. Look for it with your Souvenir Book and goody bag when you pick up your membership badge! 32 Comic-Con Magazine • Spring 2008


SAN DIEGO COMIC-CON INTERNATIONAL JULY 24 - 27 • SAN DIEGO CONVENTION CENTER

Exclusives Each year, Comic-Con features an incredible line-up of amazing items, many of which can only be found here for the four days of the show. Here’s a quick early rundown of some of the great action figures and other items you’ll find this year. Most exclusives are limited in number and are available for sale at individual company booths. The method of distribution is different for each company. Please check the booths for information on possible raffles, limited quantities and prices. And the list is growing! For more information and a larger listing of Comic-Con exclusives, please visit www.comic-con.org as we get closer to the event.

1

2

1 Action Figure Xpress 3

Decepticon Skywarp Limited to 400 pieces; $60.00 each

4

2 Diamond Select Toys

Transformers G1 Animated Optimus Prime Bust Limited to 750 pieces; $60.00 each

3 Funko

Gold Edition Iron Man Mark 1 Armor Bobblehead Limited to 1008 pieces; $17.00 each

4 HasbroToyShop.com

G.I. Joe Cobra Commander Figure (Black Suit) Exclusive figure comes with protective case

5 Mattel Masters of the Universe Classics King Grayskull Inaugural MOTU figure with super articulation and classic detail; includes three accessories

5

6

6 Mezco Toyz

Heroes - Future Hiro 7” figure Sword and sheath accessories; quantity TBD

7 Peanuts

Vintage Charlie Brown Bobblehead Modeled after the first Charlie Brown doll produced in 1958. Limited to 600 pieces; $15.00 each

8 Sideshow Collectibles

7

9

8

Star Wars—Aayla Secura 12” Figure Limited to 3,000 pieces; $64.99 each Available via pre-order at www.SideshowCollectibles.com

9 Top Cow Productions, Inc.

Witchblade #118 San Diego Comic-Con Variant Exclusive cover by Marc Silvestri Limited to 2,000 copies Spring 2008 • Comic-Con Magazine 33


Comic-Con A to Z

Exhibit Hall (Open Thursday-Saturday: 9:30 AM-7:00 PM, Sunday: 9:30 AM-5:00 PM) Comic-Con’s giant Exhibit Hall comprises over 460,000 square feet of comics and pop culture shoppers’ paradise. Taking up Halls A through G of the San Diego Convention Center, the exhibitors include the leading comics publishers in the U.S. and elsewhere, manga and anime companies, book publishers, movie studios, TV networks, toy companies, artists and illustrators, and much more. Check www.comic-con.org/ cci/cci_exhib.shtml for updated information before the show. Here is the complete list of exhibitors, small press publishers, and fan tables as of press time. (See Artists’ Alley on page 29 for a preliminary list of who will be in that area at Comic-Con 2008.) Please note: the following lists are in alphabetical order by the first letter of the first name of a company or individual, and based on how exhibitors indicated their names be presented.

Exhibitors 12 Gauge Comics 13 Flames Empire 38 Studios 8fish A & G Comics A-1 Comics Inc Aaron Lopresti/Terry Dodson ABC Family Abismo/Nerve Bomb Ablaze Media Abstract Studio, Inc. ACME ACME Archives Limited Action Figure Authority (AFA) Action Figure Xpress Active Images & Comicraft Activision, Inc Adam Hughes & Allison Sohn ADV Films Adventure Retail Ltd AIT/Planet Lar Albert Moy Artworks Alcatraz High - Comix Alex Horley Art Alex Ross Art Alien Entertainment All Star Auctions Allen Spiegel Fine Arts Altair 4 Collectibles Amy Brown Signature Series Angel Gate Angel Medina Art Animation Magazine Anime Depot/King Roach Enterprises, Inc Anime Link/Blackline Fever Anime One Stop Shop Anime Palace Anime Pavilion AnimeEd.com Antarctic Press Antelope Entertainment, Inc. Anthony’s Comic Book Art Anti-Ballistic Pixelations The Antidote Trust Aoshima Bunka Kuozai Co LTD Ape Entertainment Applehead Factory Arcana Comics Archaia Studios Press Arsenic Lullaby Publishing

34 Comic-Con Magazine • Spring 2008

The Art Institute Art Jumble Art! Bruno Werneck Artbox Entertainment Artists: Mary Fleener & Scott Saw ASIFA - Hollywood Aspen MLT Inc Atomic Art & Music Attaboy/Hi-Fructose Automatic Pictures Avatar Press, Inc Baby Tattoo Books Back Lot Props Badali Jewelry Specialties, Inc Bare Bones Studios Basement Comics BBC Worldwide Bean Leaf Press Bedrock City Comic Co The Behemoth/Newgrounds Beloved by Divine Hammer BennettBlackLight.com Bernie Wrightson/HimAni Prod. BET Beyond TIme Comics/V Global Media, Inc. VGM Pub. Big City Comics Big World Comics Big Wow Art The Bijou Bill Cole Enterprises, Inc Bill Plympton Billy Tucci/Crusade Bim Cards Inc Black Cat Comics Blank Label Comics Blatant Comics Bleeding Edge Blick Art Materials Blind Ferret Entertainment Bliss on Tap/ God the Dyslexic Dog Blog Harvest Bloodfire Studios Blue Dream Studios The BLVD Studio Bob Rissetto and Dave Pryor Bobby Chiu Bobcat Publishing-Llyn Hunter Bongo Entertainment Group Boom! Studios Bossa Nova Productions, Inc

Brandstudio Press Brian’s Toys Broccoli International USA/ Bandai Visual/ Uart Brute Force Leather Bud Plant & Hutchison Books Bud Plant Comic Art Buenaventura Press Bunkybrothers California Comics California Hot Shots Capcom Cards & Comics Central Carnal Comics/Mu Press Carpe Diem Cartoon Network Cartoon Passion Cartoonists Across America Century Guild Century Media Records/ Nuclear Blast Chessex Manufacturing Chimera Publishing Choice Collectibles Chris Sanders Christian Alzmann Studios Chronicle Books Cine East CineQuest.com Ciruelo - Fantasy Art Club Stripes Coastline Comics Cobblestone Books Collectibles Insurance Agency College for Creative Studies Comic Book Legal Defense Fund The Comic Cellar Comic Collector Shop Comic Gallery Comic Heaven Comic Images Comic Madness Comic Relief Comic-Central.com Comic-Con Intl. Boutique Comicage Entertainment Comicbase/Atomic Avenue Comics Buyer’s Guide Comics Guaranty, LLC (CGC) Comics-N-Stuff Comicstore.com/Spidey’s Web Conduct Happiness

Conrad Eschenberg’s Original Art Coollines Artwork/ Creative Interests Corel Corgi International Cosmic Debris Etc Inc Craig Elliot/Aristata Publishing Crazy Cat Collectibles Creative Impulse Entertainment Creature Box Critical Mass Media Group Crystal Caste D7 Studios Dabel Brothers Publishing, LLC Dale Roberts Comics Dan Bois Graphics Dan Parent Dark Horse Comics, Inc. Dark Sky Pictures/ Highlander Films Darwyn Cooke Dave Yaruss David Haug Comics David’s Doodles-David Colman Dayfree Press Daystar Studios Ent DC Comics Deb Aoki & Jon Murakami Design Studio Press Devil’s Due Publishing Dial R Studio Diamond Comic Distributors Diamond Select Toys Dini Cartoons/Art of Laurie B! DK Publishing DKE Toys Donato Arts Donnachada Daly Douglas R TenNapel Inc Draconis Art DrawerBoxes by The Collection Drawer Co Drawn & Quarterly Dumbrella E-Ville Press EA Mythic Echobase Toys EFX Collectibles Electronic Arts Enchanted Wood

Endless World Entertainment Earth Epic Proportions Eric Davison Illustration Eric Powell Every Picture Tells A Story Exhibit A Press Factory X FanFare/Ponent Mon Fantagraphic Books Fantasia Toyz Fantom Studios Fatcat Animation Studios Fathead LLC Film Cells Ltd Film School Confidential First Second Books Fleet Street Scandal Flesk Publication Flight Comics/Gallery Nucleus/Out of Picture Forward Press Fox Atomic/ Fox Atomic Comics Fox Home Entertainment Fred Glogower/Paper Gallery FreedomOfTeach.com Friends of Lulu Fun Toys Funcore FUNimation Entertainment Funko LLC Fusion Publishing/ Geek Monthly/Play Magazine Fuzzy Balls Apparel FX Show G4 Television Galaxy Press Gama-Go Gamerave LLC Gargamel Gary Ham/Dean Yeagle/ Scott Tolleson Genesis West Genius Products Gentle Giant Studios Geppi’s Entertainment Museum Gianni Illustration Gianni, Keegan, & Schultz Giant Robot GiftsBySmallFry.com & TerriSoppRae.net Photo by Kevin Green.


SAN DIEGO COMIC-CON INTERNATIONAL JULY 24 - 27 • SAN DIEGO CONVENTION CENTER The Gilded Bat Girls Drawin’ Girls Gnomon Inc Goblinfish Press GoDaddyO’s Comic Book Hideout Gold Eagle Books Golden State Sports Graham Crackers Comics LTD Graphic Collectibles Graphitti Designs greenlightjobs Greentea Design Inc Greg Spalenka Grimm Grotto Goods GTO Design Guardian Line H. Harris Toys Hachette Book Group USA Haminal/Marishi/Japan AI Hard Eight Harley Yee’s Rare Comics Harry N. Abrams, Inc Hasbro Toy Shop Hasbro, Inc Hash Inc. Haunted Memories Changing Portraits Haven Distributors Heavy Metal Heredia Designs Heritage Auctions Hermes Press Heroes Heroes & Dragons Heroes West Coast Heroic Fine Art Gallery Highgradecomics.com Higuera-Rodriguez-Wickline Holbein Artist Materials Hollywood Books/Poster Co Holzheimer’s Honeck Sculpture Hook-Ups Skateboards Hot Wheels Huckleberry Toys Hungry Tiger Press Hye Kim and Justin Ridge Iconic Replicas LTD IDW Publishing IFC Iguana Graphics Illusive Arts Entertainment Illustrated-books.com Image Comics Impact Books Imperial Quartermaster Collectibles Imperium Comics Inkworks Insight Editions Insight Studios Itoya J-List/Jast USA James Burks Jamie Graham LLC Janesko Fine Art LLC Japanese Toy Warehouse Jaran Studios Jason Engle Jason Palmer Studios Jason Shawn Alexander Javier Guzman Jay Company Comics Jay’s Junque/John P Suarez JC Collectibles Jeremy Bernstein/ Morgan Kelly Jermaine Rogers JHV Associates

Jim Balent’s Broadsword Comics Jim Calafiore/Mike McKone Jim Silke/Hot Chocolate Jones Bones Jose Lopez & Patrick Morgan JPNToys.com Julio’s Nonsport Depot Jun Planning USA, INC Juniors Jupiter Press Justin Sweet K and J Non-Sports Cards Kaiju Big Battle KC Art Keenspot Entertainment Kei Acedera Kelly’s Heroes/Firebase Ryan Kelsey Mann Kenn-Layne Dist. Khepri Comics/Khepri.com Kidrobot, Inc Kids Love Comics Killer Pumpkins Killer Tomato Entertainment Kingdom of Loathing Kinokuniya Bookstores Kleeman and Mike Knife-N-Eye Komic Company Komikwerks Konami Digital Art Kookie Enterprises Kotobukiya Co Kozik Kristen Lester/Griselda S./ Sue B./Tracy C. Labyrinth Books/Robin Mitchell Last Gasp Lava Punch Lee’s Comics Lego Systems, Inc Leialoha Leith Adams Movie Posters Lewis Gallery Lightspeed Fine Art, Inc Linda Knight Linsner.com Lionsgate—The Spirit Little Cartoons Live Action Jackson Los Angeles Academy of Figurative Art Lost in the Dark Press Loter, Inc Louie del Carmen/ Octavio Rodriguez LucasArts Lucasfilm Mad Creator Productions Maddox Productions Maerkle Press Major Comics Mammoth Art Supply Man of Action Studios Margaret Weis Productions, Ltd Mark Poole Artist Mark Texeira/Mark Sparacio Mark’s Non-Sports Cards Marvel Entertainment, Inc Massage Booth Matt’s Cavalcade of Comics Mattel Inc Maximum PC/ Gaming University McFarland & Co., Publishers McFarlane Toys Media Blasters Mega64 Mellow Manor Productions Merit International LLC

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Sofawolf Press Something Positive and Devils Panties Sony Computer Entertainment America Sony Online Entertainment Sony Pictures Entertainment Sony Pictures Home Entertainment Sony Pictures Imageworks SOTA Toys Soundtrack Movie Memorabilia Southern California Comics SOZ Studios Space Debris, Inc/ Time Forgotten Sparkplug Comic Books/ I Will Destroy You Special Collector/ Anime Gamers USA Spicy Brown Spike TV Splash Page Comic Art & Romitaman.com SQP, Inc Square Enix, Inc Stan Sakai Starbase Toys/ Dollman Collectibles Starz Steam Crow Press Steel Web Studios Stephanie Roberts Art Stephen Silver Sticker Chick Stickman Graphics Stormbringers Strange Co Strangekiss Streamline Illustrations Stuart Ng Books Studio Foglio, LLC Studio Scarab/Monte Moore The Stunt People Stupid Puppyhead Stylinonline.com Suicide Clothing Sun Magico Sunday Press Books Super 7 Super Rad Toys Super-Con Superherotoys.com, Inc Supermodifiedstudios Superworld Surf City Comics Surge of Power Enterprises The Sword and the Stone Tae Young Choi/ Samantha Aquino/Ryan Summers Tangled Dreams/Art Mercs Taos Toys Tara McPherson Taraba Illustration Art Tartan Films TC Digital—Chaotic Telltale Games Terese Nielsen & Dave Seeley Terminal Press, LLC Terry Stroud Terry’s Comics Things From Another World Things That Are Square The Those Guys THQ Inc. Thrill Books Tiger Eye Entertainment Tisinc99.com Titan Publishing Todd Lockwood/Graphic Traffic Tofu Girls tokidoki

Spring 2008 • Comic-Con Magazine 35


Comic-Con A to Z TOKYOPOP Tom Bryski TomatoTV.net/Contoons.com Tommy Castillo/Nigel Sade Tomorrow’s Treasures Tonner Too Much Coffee Man Top Cow Productions, Inc Top Shelf Productions, Inc Torpedo Comics Toy Hungry Toy Mandala Toy Qube Toy Tokyo Toynami, Inc Toynk.com Toyrocket.com Toytropolis Tri State Original Art. Inc Triangle Cards Tribbles Live Tribbles Troma Entertainment Inc True Edge Twenty To Six Books TwoMorrows Publishing UCC Distributing, Inc Udon Entertainment Corp Ugly Doll Underground Toys UNKL Unshelved/Overdue Media Upper Deck The Urban Barbarians Utilikilts Co LLC Vamp Productions Van Camp & Stein Van Eaton Galleries Vancouver Film School Vanderstelt Studios Vanguard Viper Comics Virgin Comics VIZ Media Voodoo Baby Vuduberi W. W. Norton Walt Davis/FM Designs

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Walt Disney Studios Home Entertainment War Machine Marketing Wardell Brown Warner Bros Studios Watts Atelier Weatherly Studio What’s Hot Comics & Cards Who Is Rocket Johnson? Wildcard Ink/Gumby Comics Wildstar Tempest William Stout, Inc William Wu Willow Jewelry Windlass Studios Wizard Closet Wizard Entertainment Wizkids, Inc Write Brothers Inc X-Sanguin X-Treme Toys Xbox Yamato USA/AAA Anime Yen Press Yesanime Inc Zeleznik Illustration Zenescope Entertainment

Small Press Area 100 Girls 803 Studios A Wave Blue World A.T. Comics Aswembar Productions B-Minus Presents: Those Magnificent Bastards Bad Karma Productions Banshee Comics Ben Lichius Media, LLC Big Boss Comics Big Monster Productions Bioroid Studios Black Sheep Comics Bob the Angry Flower Brick by Brick Design

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Urban Style Comics Vezun Walker WCG Comics Wild Things Creations Wire-heads.com Yellow Lab Productions Yume Comics

Fan Group Tables 501st Legion

Arizona SF Conventions Battlestar Fan Club/ Colonial Defense Force California Browncoats Cartoon Art Museum Com Station Z ConDor Conventions The Dented Helmet Furry Stuff, In-Fur Nation, CaliFur IKV Stranglehold Kingdom of Terre Neuve Legionworld Los Angeles Science Fantasy Society

Sappy Moose Tree Sean Dietrich Smorgasbord Productions Squid Works Strange Matter Comics Sturdy Comics Super Real Graphics

Power Morphieon Inc

talc Media Press Tammy Stellanova Comics tc02.net Team Atrox Teresquared Throw Boss Inc. Tim Raglin Tosh Werks

San Diego Star Wars Society

Film Festival More properly known as the Comic-Con International Independent Film Festival (or CCI-IFF), this popular programming track continues to present the best in genre-related filmmaking. The juried event, which consists of films in seven categories—action/adventure, animation, comics-oriented, documentary, humor/parody, horror, and science fiction/fantasy—will culminate in trophies and prizes given out at a ceremony on Sunday, July 27. The Festival will be in Room 26AB, with the popular “Comic-Con Film School” preceding it, all four days of the convention. This year’s celebrity judges are producer Tom DeSanto and journalist Borys Kit.

Tom DeSanto Tom DeSanto is a writer/producer and a self described pop culture junkie. Tom’s the proud owner of more than 30,000 comic books and dreamed of bringing the characters he loved as a kid to life in Hollywood. X-Men was first on his list and besides producing DeSanto co-wrote the story, spawning a billion-dollar movie franchise. DeSanto developed Battlestar Galactica for Universal Television, eventually finding a home on Sci-Fi. Tom still dreams of bringing his full vision for Galactica to the big screen one day. In 2003, DeSanto returned as part of the guiding creative team for X2: X-Men United. That same year, DeSanto went after Transformers, another dormant property that he was a fan of since childhood. Together with Don Murphy, DeSanto set the project up with Dreamworks and Paramount. DeSanto will return as producer of Transformers 2 for Summer 2009. 36 Comic-Con Magazine • Spring 2008

Town O’ Crazies

Rebel Legon Robotech X San Diego Fan Force San Diego International Children’s Film Festival SCA—Iron Brigade Scifihero.net


SAN DIEGO COMIC-CON INTERNATIONAL JULY 24 - 27 • SAN DIEGO CONVENTION CENTER

Borys Kit As senior film reporter at the The Hollywood Reporter, Borys Kit covers many aspects of the entertainment industry, from script sales and A-list castings to studio upheavals, on-location shoots, and the Oscars. He has appeared as an industry expert on Good Morning America, Today Show, and CBS Evening News, as well as the Canadian Broadcasting Corporation (CBC) and the BBC, and acted as a judge at the Palm Springs International Short Film Festival. Borys has made a name for himself covering comic book, horror, fantasy, and other genre movies and was one of the first reporters in Hollywood to seriously cover Comic-Con and comic book movies. In 2006, he moderated the very first Marvel Studios panel at Comic-Con. Borys was employed for many years at a comic book shop conveniently named the Comic Book Shoppe in Ottawa, Canada. When he was five, he ran away from home after his mother refused to let him watch Spider-Man on TV. He returned a few minutes later.

Film Festival Trophy

Films

Helping you stay up all night, Comic-Con’s film screenings will take place at both the Convention Center and the official headquarters hotel, the San Diego Marriott Hotel & Marina. Pre-registered 4-day attendees will have a jump on everyone else by getting a sneak peek at the complete films schedule online, closer to the event. Expect another great year of films well worth staying up late to watch!

Freebie Tables One of the best parts of any convention: free stuff! Comic-Con has it by the bag-load, starting at the giant Freebie Tables located in the Sails Pavilion upstairs, beginning on Thursday, July 24. There you will find everything from posters, buttons, and special items to flyers and special coupons for exhibitors in the giant Exhibit Hall downstairs. Best of all, it changes every day, so make sure you visit and check it out each time you come back. Many companies give out items at their booths in the Exhibit Hall, too.

G

Games You can always count on hours upon hours of games at Comic-Con! The Convention Center’s Mezzanine level is devoted to games all four days of the event, and the gaming room at the headquarters hotel, the San Diego Marriott Hotel & Marina, offers action into the wee hours of the night. Look for a complete schedule closer to the event at www.comic-con.org/cci/cci_gaming.shtml including special tournaments and other gaming events!

Guests As always, Comic-Con presents an incredibly diverse guest list that includes writers and artists from the worlds of comics and science fiction/ fantasy/horror. The following special guests are confirmed for Comic-Con 2008. (Guests with the word “New!” next to them have been added since the last issue.)

SERGIO ´ ARAGONES

RALPH BAKSHI

The world’s fastest cartoonist returns to Comic-Con as one of the show’s most popular guests. Sergio enters his 26th year of telling the tales of his wandering barbarian, Groo, and is in his 45th year of contributing cartoons to MAD magazine. In addition, he is now the co-writer on DC Comics’ Will Eisner’s The Spirit, along with frequent collaborator—and fellow Comic-Con special guest— Mark Evanier.

Animation director Ralph Bakshi got his start at Terrytoons, then went on to direct animated films for an adult audience, which included the X-rated Fritz the Cat. His other films include Heavy Traffic, American Pop, Cool World, and his forays into fantasy, Wizards, Fire and Ice, and an animated version of The Lord of the Rings. In the 1980s, his revival of Mighty Mouse for television brought new life to the character. The new book, Unfiltered: The Complete Ralph Bakshi, celebrates his art and career. Cosponsored by Universe Publishing

Sergio Aragonés and Kyle Baker photos by Tom Deleon.

KYLE BAKER

MIKE W. BARR

One of the most prolific cartoonists in comics today. Baker’s work includes Why I Hate Saturn, Plastic Man, Cartoonist Volumes 1 and 2, and two color hardcover collections of his popular cartoons based on his family, The Bakers: Do These Toys Belong Somewhere, and The Bakers: Babies & Kittens, He’s won both numerous Harvey and Eisner Awards in the past, including the Eisner for Best Reality-Based Work in 2006 for Nat Turner, which has just been republished by Abrams. Writer Mike W. Barr is perhaps best known for his work on Batman and the Outsiders, a popular 1980s DC series that has recently been revived by the company and is celebrating its 25th anniversary. Barr also co-created Camelot 3000, along with artist Brian Bolland. Barr has written other Batman tales, including “Year Two” and “Son of the Demon,” has published numerous Star Trek stories, and created The Maze Agency comics series. His latest book is The Silver Age Sci-Fi Companion, published by TwoMorrows Publishing. Spring 2008 • Comic-Con Magazine 37


Comic-Con A to Z

LYNDA BARRY

Cartoonist, novelist, and playwright Lynda Barry is the creator of the syndicated strip Ernie Pook’s Comeek, as well as the books One Hundred Demons; The! Greatest! of! Marlys!; Cruddy: An Illustrated Novel; and Naked Ladies! Naked Ladies! Naked Ladies! Born in Wisconsin in 1956, she studied at Evergreen State College, where she became good friends with Simpsons creator Matt Groening. Her work has been widely praised, and her book The Good Times Are Killing Me won the Washington State Governor’s Award.

RAY BRADBURY

The dean of American science fiction writers returns to Comic-Con. Ray Bradbury is the author of such classics as The Martian Chronicles, The Illustrated Man, Something Wicked This Way Comes, and Fahrenheit 451, many of which have been adapted into comic book and cinematic form. He was given The National Book Award in 2001 for his contribution to American Literature, and President Bush awarded him The National Medal of Arts in 2004. His latest book is Now and Forever. (Saturday only)

MAX BROOKS

Author Max Brooks is most famous for his zombie books, including the Zombie Survival Guide and World War Z: An Oral History of the Zombie War, which is being made into a movie. Brooks has appeared in TV shows such as Rosanne and 7th Heaven and has worked as a voice actor on animated shows such as Justice League, Buzz Lightyear, and Batman Beyond. Brooks also wrote for Saturday Night Live for three seasons. Brooks is working on his first graphic novel with Avatar Press, based on his Zombie Survival Guide, Recorded Attacks.

MATT BUSCH

Artist Matt Busch began his career in Hollywood in the early 1990s, working in every aspect of the movie business. He began illustrating books, magazines, posters, comics, trading cards, and toys for pop culture properties, including Lord of the Rings, Heroes, and Star Trek. Known best for his work with the Star Wars universe, Busch has written and illustrated dozens of SW books and magazines. Busch has also provided art for many major music acts, including Alice Cooper, Beastie Boys, and Beck, among others.

EDDIE CAMPBELL

For over 25 years, Eddie Campbell has gathered an international following for his work, along with nearly every honor in the comics field, including the Eisner, Ignatz, and Harvey Awards. He co-created and drew From Hell with writer Alan Moore, and his other creations include the Eyeball Kid, Bacchus, and a number of books featuring his autobiographical character, Alec. His latest works are a pair of graphic novels for First Second: The Fate of the Artist and The Black Diamond Detective Agency.

GENE COLAN

One of Marvel’s top artists from the ’60s through the ’80s, Gene Colan penciled such titles as Iron Man, Daredevil, Doctor Strange, Sub-Mariner, and Howard the Duck. His shadowy and evocative pencils were perfect for titles like Tomb of Dracula, and some of his best work appeared on that title. Colan also did work for DC, including Batman, Wonder Woman, and Night Force. He’s still active in the comics industry, currently working on a special Captain America issue for Marvel Comics.

38 Comic-Con Magazine • Spring 2008

FRANK BEDDOR

Writer/producer/actor Frank Beddor’s second novel in the New York Times best-selling Looking Glass Trilogy, Seeing Redd, was published last fall. His film-producing credits include the hit comedy There’s Something About Mary, and the Looking Glass story has made its mark in comics, too, with the series Hatter M, published by Desperado. Beddor’s re-imagining of the Alice in Wonderland story continues with a lavishly illustrated scrapbook, Princess Alyss of Wonderland.

STEVE BREEN

Steve Breen has been the editorial cartoonist for the San Diego Union-Tribune since 2001. His work is nationally syndicated by Copley News Service and regularly appears in USA Today, The New York Times, Newsweek, and US News & World Report. In 1998, Steve was one of the youngest people to be awarded the Pulitzer Prize for editorial cartooning, while drawing for The Asbury Park Press in New Jersey. He is the creator of the comic strip “Grand Avenue” for United Media.

ED BRUBAKER

JIM BUTCHER

HOWARD CHAYKIN

KIM DEITCH

Ed Brubaker had the comics story of the year when he killed off Captain America, a move that got much attention in the mainstream media in 2007. His career includes a long stint writing the Batman family of characters, including the award-winning Gotham Central (along with Greg Rucka). Brubaker’s three monthly Marvel titles—Captain America, Daredevil, and his creator-owned Criminal with Sean Phillips—garnered him the 2007 Eisner Award for Best Writer. The New York Times best-selling author is one of the fantasy genre’s most prolific and popular storytellers. Butcher’s work includes two major series, The Dresden Files (10 books to date) and Codex Alera (four books to date). He’s entered the world of comics with Jim Butcher’s The Dresden Files: Welcome to the Jungle, a four-issue series published by Del Rey/Dabel Brothers. Co-sponsored by Dabel Brothers Productions In 2008, writer/artist Howard Chaykin celebrates the 25th anniversary of his groundbreaking comics series American Flagg! As a pioneer graphic novelist, his adaptations of The Stars My Destination and Empire were published in the late 1970s. Chaykin was also the first artist to draw Star Wars, written by Roy Thomas and published by Marvel in 1976. His other work includes The Shadow, Blackhawk, and recently Hawkgirl for DC, and Blade and Wolverine for Marvel. His TV work includes The Flash, Viper, and Mutant X. One of the godfathers of the underground comix movement, Kim Deitch has had a career in cartooning spanning 40 years. Beginning with the East Village Other in the late 1960s, Deitch, the son of famed animator/illustrator Gene Deitch, has produced elaborate comics and graphic novels built around some of his passions, including silent movies, vaudeville, and circuses, all involving the mysterious Waldo the Cat. Recent works include The Boulevard of Broken Dreams, Shadowland, and Alias the Cat. Ray Bradbury photo by Barry Brown, Ed Brubaker photo by Tom Deleon.


SAN DIEGO COMIC-CON INTERNATIONAL JULY 24 - 27 • SAN DIEGO CONVENTION CENTER

MARK EVANIER

KEITH GIFFEN

Writer for comics, animation, and television, blogger, panel moderator—and now biographer! Mark Evanier’s latest book is a massive art tome Kirby: King of Comics, devoted to his mentor, friend, and one-time employer, Jack Kirby. He is also co-writing Will Eisner’s The Spirit with Sergio Aragonés for DC Comics. As usual, Evanier will be moderating a slew of panels at Comic-Con, including—undoubtedly—a tribute to Kirby and the everpopular “Quick Draw!” Long associated with the Legion of Super-Heroes as both writer and artist, Keith Giffen stepped back into the comics limelight recently with his incredible work doing breakdowns (preliminary art) for all 52 weekly issues of DC’s 52. He’s currently a story consultant on DC’s latest weekly series, Countdown to Final Crisis. Over his career Giffen has also had a penchant for creating humorous superheroes, including Lobo (with Roger Slifer) and Ambush Bug.

NEIL GOOGE

Neil Googe got his break in comics working on Shotgun Mary at Antarctic Press. He next drew Judge Dredd and Mercy Heights for 2000 AD and then went on to be one of the co-founders of com.x comics, creating, among others, Bazooka Jules. After taking a small break from comics, he returned a few years later, relaunching Majestic for WildStorm Productions before transitioning to the critically acclaimed Welcome to Tranquility. Currently, Googe is re-envisioning the WildStorm flagship title, Wildcats. Courtesy WildStorm

MIKE GRELL

This prolific comics writer/artist started in the industry assisting Dale Messick on the syndicated comic strip Brenda Starr. Grell’s first comic book assignment was Superboy and the Legion of Super-Heroes in 1973. He went on to create The Warlord and to revamp Green Arrow for DC. His other creations include Starslayer, Shaman’s Tears, Bar Sinister, and Maggie the Cat. His most famous creation, Jon Sable, Freelance, was originally published by First Comics and is now appearing in a new adventure on comicmix.com.

JOE HILL

JOHN HOWE

Joe Hill’s first book of stories, 20th Century Ghosts, received the British Fantasy Award, The International Horror Guild Award, and the Bram Stoker Award for best collection. He is also a 2006 World Fantasy Award winner, for his novella “Voluntary Committal,” which appears in the same book. His first novel, Heart-Shaped Box, immediately vaulted him into the top echelon of fantasy and horror writers. One of the world’s most renowned fantasy artists, John Howe is best known for his definitive vision of J. R. R. Tolkien’s Middle Earth, for illustrating epics such as Beowulf, and for his work as concept designer, alongside Alan Lee, on the Lord of the Rings film trilogy. He is a prominent and active member of the worldwide fantasy art community and holds regular exhibitions and lectures on his work around the world. His latest book is the John Howe Fantasy Art Workshop from Impact Books. Cosponsored by Impact Books

AL FELDSTEIN

GIPI

VICTOR GORELICK

PAUL GULACY

BRYAN HITCH

AL JAFFEE

As editor, writer, and artist at EC Comics, Al Feldstein was a guiding force behind one of the most influential and controversial comics lines of all time. In the early 1950s he went on to greater glory as editor of MAD magazine, a post he held for almost 30 years. An Eisner Hall of Fame member, Al lives in Paradise Valley, Montana, where he enjoys painting the area’s ranch life, its wildlife, and its spectacular scenery. He is represented by numerous galleries in the Northwest and has participated in juried shows where he has received many awards. Italian comics creator Gipi has emerged as a worldclass artist and writer. He teaches in fine arts academies, directs short films, and illustrates for the newspaper La Repubblica. He has received major awards at the Lucca and Naples comics festivals, and both The Innocents and They Found the Car have earned him Eisner Award nominations. His latest books, Garage Band and Notes for a War Story (winner of the 2005 Goscinny Prize for Best Script and 2006 Best Book at Angoulême), were published in the U.S. by First Second. This year Victor Gorelick celebrates having worked at Archie Comics for 50 years. He joined Archie as an art assistant in October 1958 and has served as production manager, art director, and managing editor before recently being named editor-in-chief. For Archie, he has done everything from writing to coloring. He served on the Comic Magazine Association of America’s Comics Code Authority Guidelines Committee, and he is a member of the Board of Advisors for the Joe Kubert School, This is the first time he has been a Comic-Con special guest. Paul Gulacy is an internationally acclaimed comic book artist with over 30 years in the field, who has also worked in magazine illustration, animation, and at highprofile advertising agencies. His trademark action-packed cinematic style can be found in such titles as Shang Chi: Master of Kung Fu, James Bond, Star Wars, Batman, and many others. The recently published book Spies, Vixens and Masters of Kung Fu is a rich retrospective study of Gulacy’s extensive career catalog of drawings and paintings. British artist Bryan Hitch is most famous for his work on Marvel’s The Ultimates, along with writer Mark Millar. His American comics work includes JLA and his cocreation (along with Warren Ellis) of WildStorm’s The Authority. One of the most popular artists in comics today, Hitch has reunited with Millar to take over Fantastic Four for Marvel. Their run on “The World’s Greatest Comic Magazine” began in February of this year. One of MAD’s maddest cartoonists, Al Jaffee is best known for his work on the magazine’s “Fold-Ins,” incredible pieces that have an entirely different meaning once folded inward. In addition to producing over 400 of those pieces since 1964, Jaffee has worked as writer/artist on many other MAD features, including “Snappy Answers to Stupid Questions,” and he has appeared in more issues of the magazine than any other artist. His comic career dates back to the 1940s working in the Eisner/Iger Studio and for Timely and Atlas Comics. Spring 2008 • Comic-Con Magazine 39


Comic-Con A to Z

GEOFF JOHNS

TODD KLEIN

JIM LEE

NOEL NEILL

JIM OTTAVIANI

STEVE PURCELL

After working as an assistant to movie director Richard Donner, Geoff Johns broke into comics in 1999 with Stars and S.T.R.I.P.E., and he has since become one of the top authors in the field, writing titles including Teen Titans, The Flash, Hawkman, Infinite Crisis, 52, and many others. He is currently continuing his top-selling runs on Green Lantern, Action Comics, and Justice Society of America, as well as co-writing the historic one-shot DC Universe: Zero. Courtesy DC Comics Todd Klein’s incredible body of work has garnered 14 Eisner Awards and 8 Harveys as Best Letterer. In addition to lettering and logo design for all the major comics companies, his work includes a long-time collaboration with Alan Moore, including lettering and designing the recent League of Extraordinary Gentlemen: The Black Dossier. In 2005, he authored the lettering section in the DC Comics Guide to Coloring and Lettering, and his own website and blog at kleinletters.com, focuses on all aspects of his career, and lettering in general. Acclaimed comic book illustrator Jim Lee was born in Seoul, South Korea in 1964. Today Lee is the creative director of WildStorm Studios (which he founded in 1992) and the penciller for many of DC Comics’ best-selling comics and graphic novels, including All Star Batman and Robin, The Boy Wonder; Batman: Hush; and Superman: For Tomorrow.

Celebrating her 60th anniversary as America’s favorite fictional reporter, Noel Neill is the Lois Lane. Noel first took on the role of Superman’s girlfriend in the 1948 Columbia serial, then revisited the character in the 1950s on the classic Adventures of Superman TV series costarring George Reeves and Jack Larson. Noel’s work includes many other film roles, and a new book on her, Beyond Lois Lane by Larry Thomas Ward, showcases the actress’s incredible career.

Writer/editor Jim Ottaviani makes science fun with his series of “real-life” graphic novels. Ottaviani’s books include Fallout, Dignifying Science, Two-Fisted Science, Suspended in Language, Wire Mothers, Bone Sharps, Cowboys, and Thunder Lizards, and Levitation: Physics and Psychology in the Service of Deception. His work has been nominated for numerous awards, including the Eisner and the Ignatz. Winner of the 2007 Eisner Award for Best Digital Comic, Steve Purcell is best known for creating the characters Sam & Max Freelance Police, the verbose and overzealous dog and rabbit crime-fighting team. Over 20-odd years Sam & Max have appeared in comic books, a LucasArts video game, and an award-winning animated TV series. Sam & Max are currently appearing in an acclaimed episodic game series from Telltale Games. Steve works in story development at Pixar Animation Studios.

40 Comic-Con Magazine • Spring 2008

J. G. JONES

DEAN KOONTZ

RUTU MODAN

FLOYD NORMAN

WENDY PINI

ROBERT J. SAWYER

He brought us 52 weeks of startling covers on DC’s groundbreaking weekly series, 52. J. G. Jones’s comic work extends beyond the world of covers to include Wanted with writer Mark Millar (made into a major motion picture this summer), Wonder Woman: The Hiketeia with writer Greg Rucka, and the eagerly awaited Final Crisis with Grant Morrison, also debuting this summer.

Hailed by Rolling Stone as “America’s most popular suspense novelist,” Dean Koontz has had ten of his novels rise to number one on the New York Times hardcover bestseller list (One Door Away From Heaven, From the Corner of His Eye, Midnight, Cold Fire, The Bad Place, Hideaway, Dragon Tears, Intensity, Sole Survivor, and The Husband), making him one of only a dozen writers ever to have achieved that milestone. This is his first appearance at Comic-Con. Rutu Modan is one of Israel’s best-known cartoonists and is co-founder of the alternative comics collective and publishing house Actus Tragicus. She has received much recognition for her work, including nominations for Eisner, Ignatz, Quill, and Angoulême awards. Her graphic novel Exit Wounds, published by Drawn & Quarterly in 2007, was named “Best Comic of the Year” by Entertainment Weekly and was included on “Best Of” lists from Time, The Washington Post, New York Magazine, and more. Animator Floyd Norman began his career while still in high school assisting Bill Woggon on Katy Keene for Archie Comics. He started working in animation for Disney on Sleeping Beauty, then story sketches on The Jungle Book. In the 1970s, Floyd supervised animation layout at HannaBarbera Productions, then joined Disney Publishing in the early 1980s. Floyd went back to animation to storyboard on The Hunchback of Notre Dame and other features. In 1997, Floyd moved to Pixar, where he joined the story crew for Toy Story 2 and Monsters, Inc. Wendy Pini began her professional career as an illustrator for science fiction magazines such as Galaxy. In 1977, a deeply personal project called Elfquest was born. With husband/publisher/editor Richard, she has scripted, drawn, and painted many Elfquest comic books and graphic novels and also produced numerous calendars, portfolios, and art prints. As of spring 2008— the 30th anniversary year—millions of copies of Elfquest comics, graphic novels, and books have been sold worldwide. Hailed as the “dean of Canadian science fiction writers,” Robert J. Sawyer is a Hugo and Nebula award-winning author. The only writer in history to win the top science fiction awards in the United States, China, France, Japan, and Spain, Sawyer has also won a record-setting nine Canadian Science Fiction and Fantasy Awards (“Auroras”). In 2006, his novel Mindscan won the John W. Campbell Memorial Award (the world’s top juried prize for science fiction) for Best Science Fiction Novel of the Year. His latest is Rollback, published in 2007. Dean Koontz photo by Jerry Bauer.


SAN DIEGO COMIC-CON INTERNATIONAL JULY 24 - 27 • SAN DIEGO CONVENTION CENTER

JAMES SHOOP

A professional sculptor since 1983, James Shoop began his career working at his family’s bronze-casting foundry. James then moved to New York City where he studied sculpture at The Art Students League, The National Academy of Design, and The New York Academy. Since 2001 he has worked for DC Comics, on such projects as the Superman/Batman Bookends designed by Ed McGuinness, the Batman 1:4 Scale Museum Quality Statue, and action figure sets including Looney Tunes, Green Lantern Series 1, and more. Courtesy DC Direct

JOE STATON

Prolific and versatile, Inkpot and Eisner Award winner Joe Staton has, since 1971, drawn everything from The Incredible Hulk to Scooby Doo. In the early 1970s, Joe cocreated E-Man with Nicola Cuti at Charlton Comics. Joe is also credited as co-creator of The Huntress, The Omega Men, and several members of the Green Lantern Corps, all from DC. In addition to the return of E-Man from Digital Webbing, Joe is also doing a Femme Noir miniseries with Chris Mills from Ape Entertainment and is taking his shot at re-imagining the Archie gang.

ETHAN VAN SCIVER

One of the most popular artists working in comics today, Ethan Van Sciver is best known for his work on the miniseries that brought back Hal Jordan, Green Lantern: Rebirth. He’s also penciled Superman/Batman and was the cover artist for the special issues introducing readers to the Green Lantern nemesis, The Sinestro Corps. He is one of DC’s top cover artists. For Marvel Comics, Van Sciver has worked on X-Men.

LEN WEIN

Comics, TV, and movie writer Len Wein began his career in comics 40 years ago. He has been editor-in-chief of Marvel Comics, Disney Comics, and Top Cow, as well as a senior editor at DC Comics. He is the co-creator of comic book series Swamp Thing, Human Target, Brother Voodoo, Wolverine, and the New X-Men. His new feature-length screenplay of Swamp Thing is currently in development with Silver Pictures, and he has also written the screenplay for Whirlwind, a new superheroine for POW! Entertainment.

BILL WILLINGHAM

Writing, and sometimes drawing, comics for more than 20 years, Bill Willingham has had work published by nearly every publisher in the comics business, and he’s created many critically acclaimed comic book series, including Elementals, Coventry, Proposition Player, Jack of Fables, and the multi-Eisner-winning Fables. For the DC Universe, Bill has written Robin and Shadowpact, and along with frequent collaborator Matthew Sturges, he is also writing the new monthly Vertigo series House of Mystery. Courtesy Vertigo

JIM WOODRING

Cartoonist Jim Woodring is best known for his series Jim and Frank, published by Fantagraphics. Collections include The Book of Jim and The Frank Book. His surreal and dreamlike art reveal a lifelong obsession with hidden worlds and alternate realities. He had to briefly set those obsessions aside in the 1970s when he worked at the Ruby-Spears animation studio, where he got to know both Bob Kane and Jack Kirby. Woodring’s most recent book, Seeing Things, came out last fall.

Bernie Wrightson photo by Tim Bradstreet.

JIM STARLIN

Comics’ most cosmic creator, Jim Starlin has had a long career that also includes Captain Marvel, Warlock, Silver Surfer, and the Infinity Gauntlet at Marvel, Batman (writing the story arc “A Death in the Family, ” which featured the death of the second Robin, Jason Todd, Cosmic Odyssey, the recent Death of the New Gods, and the upcoming Rann/Thanagar: Holy War. His creator-owned comics include the long-running Dreadstar for Epic Comics and First Comics, and Kid Kosmos.

ADRIAN TOMINE

Adrian Tomine has written and drawn the comic book series Optic Nerve since 1991. His most recent graphic novel is Shortcomings, which was selected as a New York Times Notable Book and made the Best of 2007 lists of Amazon, Publishers Weekly, Entertainment Weekly, and papers around the country. His previous books include 32 Stories, Sleepwalk, Summer Blonde, and Scrapbook. Tomine’s artwork has graced the covers of the New Yorker and the New York Times Magazine. Courtesy Drawn and Quarterly

JEFF WATTS

Artist and educator Jeff Watts studied at The California Art Institute where he was soon invited to teach as he began his illustration career in the movie industry. However, Jeff’s desire to become an easel painter brought him back to San Diego, where he started a small life drawing and painting studio, which has evolved into Watts Atelier of the Arts, now managed by Jeff and his wife. Jeff’s oil paintings have won numerous awards, and he has received feature articles in Art of the West, Southwest Art, and American Artist Magazine.

SIGNE WILKINSON

CONNIE WILLIS

BERNIE WRIGHTSON

Signe Wilkinson started her newspaper career as a reporter, stringing for the West Chester (PA) Daily Local News. Wilkinson landed a full-time editorial cartoonist job at the San Jose Mercury News in 1982, and she then moved to the Philadelphia Daily News. She became the first woman to win the Pulitzer Prize for editorial cartooning in 1992. In 2008, Wilkinson created the syndicated strip Family Tree.

One of the most honored science fiction writers of the ’80s and ’90s, Connie Willis has won nine Hugos and six Nebulas. Her works include Lincoln’s Dreams, Doomsday Book, To Say Nothing of the Dog, D.A., and The Winds of Marble Arch. Her next book, All Clear, a time travel novel to the time of the London Blitz, is in the works. This is her first appearance at Comic-Con.

Artist Bernie Wrightson started his career at DC in 1968 with a story in House of Mystery 179. In 1971, he cocreated (along with Len Wein) the legendary DC character Swamp Thing. In the 1970s, he illustrated a version of Mary Shelley’s Frankenstein, with over 50 intricate pen-and-ink illustrations. He’s also produced work for Marvel and Warren Publishing, and did the illustrations for Stephen King’s Creepshow, The Stand, and Cycle of the Werewolf. His Heavy Metal strip, Captain Sternn, was adapted in the movie based on the magazine. Spring 2008 • Comic-Con Magazine 41


Comic-Con A to Z

DEAN YEAGLE

Dean Yeagle has produced, directed, designed and animated innumerable TV commercials and CD-ROMs, with clients across the United States and Europe. He also does work for corporate clients, designing characters for various products, and works on a continuing series of children’s books, designs the occasional toy, and contributes cartoons to Playboy magazine. In recent years, he has produced much sought-after sketchbooks for his convention appearances featuring his “Mandy” character.

For updated special guest information and the complete Comic-Con Programming schedule as we get closer to the event, visit:

www.comic-con.org

Hospitality Suite

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Your little oasis away from the crowds at Comic-Con, the Hospitality Suite can be found at the headquarters hotel, the San Diego Marriott Hotel & Marina. The suite offers munchies, soft drinks, and a quiet place to chill, relax, and meet new friends. Hours and exact location will be posted in the onsite Events Guide.

Hotels Hotels at Comic-Con International are always hot commodities and fill up well in advance of July. That said, room inventory is constantly monitored for availability and updated frequently. To find out the situation at your favorite hotel, check www.comic-con.org or call the Comic-Con Travel and Housing Desk at 1-877-55-COMIC. If you are outside the U.S., call 212-532-1660. The reservation deadline for Comic-Con special member rates is June 13, 2008. Comic-Con’s headquarters hotel for 2008 is the San Diego Marriott Hotel & Marina, right next door to the Convention Center. Here you’ll find Comic-Con’s Hospitality Suite, nighttime games, and film screenings, as well as Starbucks and three great restaurants for meetings or dinners with friends. In the evenings you can always grab a quick pizza with no waiting (in the lobby by the Starbucks) and head on up to watch films or participate in games.

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Inkpot Awards Comic-Con’s own Inkpot Awards are given to individuals for their contributions to the worlds of comics, science fiction/fantasy, film, television, animation, and fandom services, among others. The award was initiated in 1974 and has been an important part of Comic-Con ever since. Each year, individuals from among the show’s special guests are chosen to receive the award. Most Inkpots are presented at the individual guest’s “Spotlight” panel. This year, the Inkpot Award has been totally redesigned, based on sketches by popular cartoonist Rick Geary.

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42 Comic-Con Magazine • Spring 2008

Masquerade Costumes are everywhere at Comic-Con! As you stroll through the seemingly limitless Exhibit Hall, you’ll notice it’s nearly impossible to find a booth that doesn’t feature costuming in some way. You see costumes on posters, comics, toys, trading cards, video games, statues, and fantasy art. They are in many of the films, are discussed in depth in costuming panels, and are often spotted on attendees as they walk around as Jedi Knights, Spider-Man, Hogwarts students, or characters from the latest anime from Japan. Costumes are an integral part of most of the popular arts and are often works of art themselves. For those reasons—as well as simply for the fun of it!—Comic-Con presents its 34th annual costume competition on Saturday evening, always one of the most popular events of the convention. Not a dance or party as the name often implies, the Masquerade is an on-stage costume show, with a master of ceremonies, a panel of guest judges, impressive trophies and cash awards, a large raised stage with theater-style lighting and sound, and four giant video screens providing great close-up views. An audience of 4,200 packed Ballroom 20 last year for the event, while over 1,500 more people watched the show on large video screens elsewhere. Some entries are solo costumes, others are groups with a shared theme. Many contestants present their creations with music, humor, drama, or unexpected twists. All genres are welcome, but no purchased costumes are allowed, as this is a contest of creativity and skill, not shopping ability. This years MCs will once again be the talented and entertaining artists and writers Phil and Kaija Foglio of Studio Foglio. Impressive Comic-Con trophies will be presented in categories of Best in Show, Judges’ Choice, Best Re-Creation, Best Original Design, Best Workmanship, Most Humorous, Best Presentation, Most Beautiful, Best Novice, and Best Young Fan.


SAN DIEGO COMIC-CON INTERNATIONAL JULY 24 - 27 • SAN DIEGO CONVENTION CENTER In addition, the following companies and organizations will be presenting their own awards to outstanding costumes that their representatives select: • Frank and Son Collectible Show, of the City of Industry, CA, will present to the entry they deem the audience favorite a prize of $1,000 cash, plus an impressive trophy. • DC Comics representatives will present $300 cash to the finest entry portraying a DC Comics character or characters. • Lucasfilm will reward the best Star Wars costumers with fabulous items from its Licensing Archives. The finest entries from the Star Wars galaxy will be selected by a Lucasfilm representative to receive special limited-edition collectibles. • Century Guild will present, to the costume they select as best portraying elements of Art Nouveau or fantasy, the winner’s choice of either $200 cash or up to $500 credit at Century Guild’s Exhibit Hall booth. • Studio Foglio will present, for the best entry based on a webcomic, $250 in cash, plus a bag of impressive goodies. (This is for any webcomic costume, not just one from Studio Foglio.) • The Comic Gallery Store of San Diego will present $150 cash to the entry they select as their favorite, and $100 cash to their favorite Young Fan costumer. • Anime Pavilion will present, to what they choose as their favorite anime costumes in the show, $150 booth credit for their first choice, $50 credit for runner-up, and $40 credit to the best Young Fan entry. • The Testmarket Evolution will present three cash prizes: $100 for Best Video Game Character, $100 for Best Anime Character, and $100 for what they deem as the People’s Choice for best entry. • Lynn Perry of Darkest Desires will award $150 cash to the best costume entry inspired by horror or other dark genres, such as vampires, demons, creatures of the night, creepy alien monsters, etc. • The Costume Designers Guild, Local 892, the labor union representing Costume Designers and other costume professionals in film and TV, will present to their favorite entry a unique CDG Masquerade Award statue, a subscription to the Costume Designer magazine, and a guided “behind the scenes” visit for two to a Hollywood costume house. • The Dented Helmet, the Internet’s #1 Boba Fett/Jango Fett costuming forum, will be bestowing a prize of $200 cash to the entry that best showcases the best crafting and use of helmets or other head coverings in their costume entry. • Harper Collins, publisher, and Deborah Landis, Academy Award-nominated costume designer of many   films (including Spielberg’s Raiders of the Lost Ark and Michael Jackson’s Thriller), will present $100 cash plus a copy of her 2007 book, Dressed: A Century of Hollywood Costume Design, to her favorite entry. • Paramount Home Entertainment will present two generous DVD prize packages of movies, each worth well over $150, one for Best Hero or Villain, and one for the Best Youth Costumer. More prizes will be added as the convention approaches. Check www.comic-con.org/cci/cci_masq.shtml for updated information. For more information on the Comic-Con Masquerade, see the “Fast Facts” feature in the sidebar on this page.

Memberships (see Registration on page 45) Masquerade photos (above, previous page) by Jerry Shaw.

Masquerade Fast Facts When and where:

Saturday 8:30 PM in Ballroom 20 of the Convention Center. Doors open at 7:45 for audience seating (but the line will start forming much earlier!). Running time is about 3 hours. Tickets are required for ballroom seating, and are given out free beginning at 4:30 PM to people waiting in line, until all tickets have been distributed. There will be overflow seating in the Sails Pavilion and in another ballroom, where the show will be simulcast on large screens. (Check your onsite Events Guide for the exact location.) Program participants, press, and exhibitors can get their tickets before Saturday afternoon at the Masquerade Desk. Reserved seating is available for Comic-Con special guests and for the disabled. No flash photography is allowed! Personal cameras are welcome, but all photos and video taken must be for personal use only. Videos taken of the show cannot be shown or shared for profit. Flash photography is permitted only in the Photo Area outside the Ballroom where contestants pose after their presentations. Photographers wishing a reserved spot in that area should write to the Masquerade Coordinator, as space is limited.

How to participate: Being in the Masquerade is free for anyone with a ComicCon membership, but contestants must obtain a copy of the rules and should submit an entry form as soon as possible. There is a limit on the number of entries, and last year the Masquerade filled up a month and a half before the convention. For complete information, rules, and an advance entry form, download the form at www.comic-con.org/cci/cci_ masq.shtml. To contact the Masquerade Coordinator, e-mail cci-info@comic-con.org. Please type “Masquerade” in the subject line of your e-mail. Spring 2008 • Comic-Con Magazine 43


Comic-Con A to Z Nighttime

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Comic-Con doesn’t end when the Exhibit Hall closes at 7:00 each night! Programming, anime, gaming, film screenings, and other events continue well into the night, with several big events planned for the weekend. On Thursday night, it’s the return of the Star Wars Fan Film Awards; on Friday night, it’s the comic book industry’s version of the Oscars: the Will Eisner Comic Industry Awards; and on Saturday night, it’s the gala Comic-Con Masquerade. Check www.comic-con.org/cci/cci_prog.shtml and the onsite Events Guide for complete details on these and other nighttime events!

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Onsite Newsletter Each day of the show, Comic-Con produces an Onsite Newsletter, packed with updated program changes, added autograph signings, and more. The Saturday and Sunday editions also include the Eisner Awards results and the Masquerade winners list. Look for the Onsite Newsletter at various locations throughout the Convention Center, including by each set of doors to Halls A-G in the lobby, and upstairs in the Sails Pavilion and the top of the escalator near Room 20.

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Parking and Public Transportation

Parking can be one of the most challenging aspects of coming to Comic-Con, but a little knowledge ahead of time will help. While Comic-Con itself has no control over the parking situation in downtown San Diego, our advice is simple: Come early and be prepared with a map of parking locations, so you don’t have to spend your time driving in circles trying to find another lot if your first choice is full. (San Diego’s Centre City Development Corp. has one here: www.ccdc.com/index.cfm/fuseaction/planning.parking_transportation). Better yet, park outside of downtown and utilize public transportation, including the San Diego Trolley. For updated information on parking and public transportation to and from Comic-Con, visit www.comic-con.org/ cci/cci_park.shtml and/or www.comic-con.org/cci/cci_trans.shtml. See page 46 for a shuttle bus map route that also has some key parking locations.

Portfolio Review Many companies use Comic-Con to look for new talent. The Portfolio Review area in the Sails Pavilion offers an opportunity for attendees to get an honest evaluation of their work, and in some cases to interview for actual jobs. (Please note: you cannot schedule a review session in advance. All registration takes place onsite and is usually on a first-come, first-served basis.) In addition to the upstairs area, some companies conduct portfolio reviews at their booths in the Exhibit Hall. Check www.comic-con.org/cci/cci_portrev.shtml for more details on the Portfolio Review area.

Preview Night What used to be a mellow evening of strolling through a wide-open Exhibit Hall floor has quickly become one of the busiest parts of Comic-Con! Preview Night—Wednesday, July 23, from 6:00 to 9:00 PM—is open to four-day pre-registered members and professionals only. It’s the first big shopping event of the convention, but you can’t go to it if you’re not pre-registered! If you’re a four-day, pre-registered member, you can also pick up your badge on Wednesday without attending Preview Night; that way, you’ll be all set to go first thing Thursday morning! Either way, hurry and register now, before memberships sell out! Visit www.comic-con. org/cci/cci_reg.shtml

Professional Registration Professional registration for Comic-Con 2008 was available online from March 1 until May 1. Professionals wishing to register onsite may do so, but badges are limited and a registration fee will be charged. Check www. comic-con.org/cci/cci_pros.shtml for more details. A list of professionals who are confirmed for the 2008 event, and who have granted permission to publish their names will be available on the Comic-Con website as the event gets closer.

Programming With close to 400 events over all four days, Comic-Con’s program slate is the largest in the nation. Programs include major comics publisher presentations, “Spotlight” panels on all the special guests, and the greatest number of events geared toward the entire spectrum of comics of any convention. Hall H features major movie 44 Comic-Con Magazine • Spring 2008

Photo by Tom Deleon.


SAN DIEGO COMIC-CON INTERNATIONAL JULY 24 - 27 • SAN DIEGO CONVENTION CENTER studio programs (judging from this issue’s cover and feature interview, you can bet one of them will include Frank Miller and The Spirit!), and the TV networks give presentations that showcase favorite and new shows. (Comic-Con has a tradition of premiering network shows months before they air, with past examples including Lost, Heroes, Chuck, Pushing Daisies, Reaper, and many more.) As of press time, the Programming Department is talking to comics publishers, the major Hollywood movie studios, and television networks, anime/manga, action figure, and gaming companies to again offer the most comprehensive—and mind-blowing!—roster of events at any pop culture show. The Comic Arts Conference will return for four big days of academic study of the wonderful world of comics. And remember—at ComicCon, that world includes all aspects of comics: superhero comics from the Golden Age to the Silver Age to now, independent and alternative titles, graphic novels of all types, manga, European comics, webcomics, editorial cartoons, comic strips, and more! In addition, the Programming schedule will feature panels and events devoted to some of this year’s special themes (see the Themes entry on page 47). Plans for nighttime “big events” are in motion as well (see the Nighttime entry on page 44). The complete Programming schedule will be posted at www.comic-con.org/cci/cci_prog.shtml ten days to two weeks prior to the show. It’s a good idea to print that schedule out so you can highlight your “mustsee” panels and events. The complete schedule is also provided in the onsite Events Guide, and updated daily on signs outside of all the Programming rooms. And remember, your membership includes all programming (while space is available). There are no extra charges for panels and events!

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Registration We expect to sell out of all memberships for 2008 before July. No onsite membership badges will be sold. We strongly urge you to register online now.

Four-day and one-day memberships are currently available online at

www.comic-con.org/cci/cci_reg.shtml All 4 Days: Adults: $75.00 One-Day Memberships: Thursday: Adults: $25.00 Friday: Adults: $30.00 Saturday: Adults: $35.00 Sunday: Adults: $20.00

Junior/Senior: $35.00* Junior/Senior: $12.00* Junior/Senior: $15.00* Junior/Senior: $15.00* Junior/Senior: $10.00*

*Children under 12 free with PAID adult membership. Juniors are 12-17 years old and Seniors are 60 or more years old. Active military will pay the Junior/Senior price. This offer does not extend to dependents. PLEASE NOTE: Badges will NOT be mailed out in advance. All pre-registered badges will be available for pickup at Attendee PreRegistration in the San Diego Convention Center’s Sails Pavilion (Upper Level), beginning Wednesday, July 23, 2008. Badge pickup hours for pre-registered 4-day members only on Wednesday, July 23 from 3:00 to 8:00 PM. Badge pick-up hours: Thursday-Saturday: 9:00 AM-6:00 PM, Sunday: 9:00 AM-4:00 PM. There will be no onsite registration.

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Shuttle Bus

Most of the Comic-Con hotels in the downtown area are on or near a Comic-Con’s shuttle bus route. Some hotels are only on the route during the evening hours, so please check your schedule closely. This is a free service to all Comic-Con attendees. See the preliminary map on page 46 of this issue. An updated map and schedule will be available prior to the show at www.comic-con.org/cci/cci_trans.shtml

Souvenir Book This giant trade paperback is given free to all attendees (while supplies last) and features biographical information on all of the special guests, articles and art dedicated to this year’s special themes and anniversary celebrations, and background information on the Eisners and other awards. This year’s annual edition (number 39) also counts as the third issue of the year of Comic-Con Magazine and is available only to those who attend the show! (At left, last year’s edition featuring the 30th anniversary of Star Wars, with art by Adam Hughes.) Star Wars © 2008 Lucasfilm; photo by Adrian Velasquez.

Important Information Regarding Programs and Autographs at Comic-Con All event and program rooms have limited capacity as set by the Fire Marshal. Even though your badge is needed to get into all events, YOUR BADGE DOES NOT GUARANTEE YOU ACCESS TO ANY EVENT IF IT HAS REACHED ITS CAPACITY. We do not clear rooms between events. Most autograph signings are of a limited nature. Your badge does not guarantee autographs at any event.

Spring 2008 • Comic-Con Magazine 45


Comic-Con Shuttle Bus Route Map

Comic-Con 2008 Shuttle Bus Service PURPLE ROUTE 1. Embassy Suites 2. Cruise Ship/ Lane Field Parking Lot 3. Holiday Inn on the Bay 4. County Admin. Bldg. 5. Hampton Inn Downtown 6. Manchester Grand Hyatt

GREEN ROUTE 7. Doubletree Downtown 8. Best Western 9. Sheraton Suites 10. Courtyard by Marriott 11. Ivy Hotel

BLUE ROUTE 12. 13. 14. 15. 16. 17. 18.

Westin Horton Plaza The Bristol The Sofia Hotel Westgate Hotel US Grant Hotel Westin San Diego One American Plaza/ Train Depot 19. W Hotel

ORANGE ROUTE 20. Ralphs Grocery 21. Tailgate/ MTS Parking Lot 22. Padres Parkade 23. Park It On Market

BLACK ROUTE *24. Marriott Gaslamp *25. Omni Hotel *26. Hilton Gaslamp *27. Horton Grand *28. Mariott Hotel and Marina *29. Hard Rock Hotel *30. Hotel Solamar *Note: Service from 6:30 PM to 3:00 AM only, every 20-30 minutes 46 Comic-Con Magazine • Spring 2008

YELLOW ROUTE

PARKING LOCATIONS

31. Sheraton Harbor Island (East Tower)

P1. 6th & K Parkade 6th Ave. & K St.

32. Sheraton Harbor Island (West Tower)

P2. 5 Star Parking Lots Pacific Hwy. & Broadway (3 corners)

33. San Diego Convention Center

For updated information and a complete Shuttle Bus Schedule visit

www.comic-con.org closer to the event.

P3. 5 Star Parking Lot 2nd Ave. & J St. P4. County Admin. Bldg. SAT/SUN ONLY Pacific Hwy. & Grape St. P5. Park It On Market 7th Ave. & Market St. P6. Ace Parking 7th Ave. & E. St. P7. Padres Parking 14th Ave. & K. St.


SAN DIEGO COMIC-CON INTERNATIONAL JULY 24 - 27 • SAN DIEGO CONVENTION CENTER

Themes

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Each year Comic-Con celebrates a number of anniversaries and special themes related to comics and the popular arts. Some of these themes become part of the Programming schedule, while others are reserved for the Souvenir Book, where pros and fans alike contribute articles and art about these special topics. Here’s what we’re celebrating this year: • 75th Anniversary of the American Comic Book Born in 1933 with Funnies on Parade, the industry really took off in 1938 when Superman was born. • 75th Anniversary of Doc Savage The Man of Bronze first appeared in his own pulp magazine—with stories by “Lester Dent”—in 1933. • 75th Anniversary of the original King Kong This seminal “monster” movie redefined special effects and action/adventure! • 50th Anniversary of Famous Monsters of Filmland! Forry Ackerman’s pun-filled love story to movie monsters launched many a career. • 50th Anniversary of the Legion of Super-Heroes (See Comics History 101 on page 18 for more details.) • 25th Anniversary of American Flagg! Howard Chaykin’s outrageous mix of celebrity, sex, science fiction and action is a groundbreaking work. • The Editorial Cartoon (with special guests Steve Breen and Signe Wilkinson) Comic-Con celebrates your daily dose of cartoon commentary during this election year.

Volunteers

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You can volunteer for Comic-Con 2008! Putting on this big event requires over a thousand volunteers to help ensure that everyone at the show has the best experience possible. Volunteers must be 16 or older to participate. You can volunteer for any or all of the days—your choice. There are literally hundreds of volunteer tasks each day in over twenty-one departments. When you visit the Volunteer Desk to check in, you will get your first assignment. For each day you volunteer, you get a free 1-day badge for that day. All pre-registered volunteers get to attend Preview Night, and those who do at least four shifts get the rare and amazing volunteer T-shirt that cannot be bought in any store. The deadline to submit your registration, whether online or by fax or mail, is June 24 (mailed forms must be postmarked by that date). You can sign up online to volunteer for Comic-Con 2008 at www.comic-con.org/cci/cci_vol.shtml. Just follow the simple directions. If you’ve volunteered in previous years and want to do so again, we ask that you please register online for 2008. After you fill in your info, you will get an online confirmation code and an e-mail confirming receipt of your form. If you don’t have access to the Internet or prefer to mail or fax your form, you can download a PDF version of the volunteer form (you can also volunteer online for our other shows, WonderCon and APE) from the Comic-Con website, or request forms from the office by fax (619-414-1022), by mail (Volunteers, PO Box 128458, San Diego CA 92112-8458), or by e-mail (volunteers@comic-con.org).

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Website It’s the first—and last—word on Comic-Con (and WonderCon and APE)! It’s www.comic-con.org, your one-stop source for up-to-the-minute news on the big event, including schedules, registration, exhibitors, and more. Best of all, it’s there when you want it, 24 hours a day, 7 days a week, 365 days a year. Bookmark it now!

Y

You

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Z ZZ

“Y” stands for You, because we couldn’t do Comic-Con without you, whether you’re an attendee, an exhibitor, a professional, a volunteer, a Board/Committee member, an office staff worker, a Klingon, or a Stormtrooper. Comic-Con has existed, grown, and thrived for 38 years because of you. So what are you waiting for? Register now online so we can see you at Comic-Con 2008. (Yes, YOU.)

is the sleep you can get caught up on starting Monday, July 28. Your bed will still be there when you get home. Enjoy Comic-Con 2008! See you next year!

Funnies On Parade © 2008 Eastern Color Printing. King Kong artwork courtesy Warner Home Video. ©Turner Entertainment Co. and Warner Entertainment Inc. All Rights Reserved. American Flagg! ©2008 Howard Chaykin. Photo by Adrian Velasquez.

Spring 2008 • Comic-Con Magazine 47


Comic-Con’s Past

Eisner at Comic-Con One of the most revered creators in the history of the comics medium, Will Eisner also played an important role in the history of Comic-Con. He was first a guest in 1975 and returned frequently over the years, becoming a regular annual guest starting in 1988, the first year of the Will Eisner Comic Industry Awards. Every year he was on stage to greet the presenters and recipients and to shake their hands when they made their way up to the podium. Many Eisner Award recipients had Will sign the back of their awards, making it an unofficial tradition. One year Jeff Smith and Kurt Busiek, worried that Will was spending too much time standing on stage during the long ceremony, arranged to have a throne hidden backstage. Once Will was introduced, they came running out with the throne for him to sit on. Alas, the throne remained empty for the rest of the night, as Will was the kind of person who just couldn’t sit down! Will also instigated Comic-Con’s creation of the Will Eisner Spirit of Comics Retailer Award, acknowledging the important contribution retailers make to the comics industry. The award started in 1993; since then 24 comics retailers from around the world have been recipients of the honor. Although Eisner died in 2005, Comic-Con continues to celebrate his life and career every year. This year, as a major motion picture based on his signature character, The Spirit, is readied for the big screen by another prominent comic creator, Frank Miller, it seems particularly fitting that we remember his larger-than-life presence at Comic-Con and emphasize how much he is missed. For more info on Will Eisner, visit www.willeisner.com

1975

1980

2005

Eisner with Gil Kane at Comic-Con in 1975.

48 Comic-Con Magazine • Spring 2008

The Spirit ® is a registered trademark of Will Eisner Studios Inc. All Rights Reserved.


In this issue!

JUST IMAGINE!

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TOP TIPS to help make your visit to

San Diego the best ever!

San Diego Comic-Con International P. O. Box 128458 San Diego, CA 92112-8458

NONPROFIT ORGANIZATION

www.comic-con.org

COMIC-CON INTERNATIONAL

US POSTAGE PAID


Comic-Con Magazine - Spring 2008