YOUR COMPLETE GUIDE TO COMIC-CON INTERNATIONAL
SAN DIEGO • JULY 20-23, 2006
NO. 1 | 2006
2006 The 50th Anniversary of the Flash! Interviews with special guests Carmine Infantino and cover artist Brian Bollland!
PLUS: WonderCon! APE! And much more!
TM & © 2006 DC Comics. All Rights Reserved.
BEAT. THE. RUSH. Preview Night Returns Nothing’s better than being ﬁrst in line, and with Comic-Con International’s Preview Night, you get the opportunity to be that top dog. On Wednesday, July 19, all pre-registered 4-day members and industry professionals are allowed to pick up their badges and explore the entire Exhibit Hall. Not only does that mean access to all those rare comics, toys, convention exclusives, and other super cool stuﬀ before the general public, but you won’t have to wait in registration lines on Thursday. Combine that with an advance copy of your 2006 Events Guide, and you’ll even be able to plan your whole weekend in advance. But remember, no onsite registration is available during Preview Night. None. Nada! So if you want to ensure your own entrance on Wednesday, turn to page 36 for more info on how to pre-register. You’ll be glad you did.
B. Brown © SDCC
CONTENTS BOARD OF DIRECTORS President John Rogers Secretary Mary Sturhann Treasurer Mark Yturralde Vice Presidents Events Robin Donlan Exhibits Beth Holley Operations William Pittman Directors at Large Frank Alison Ned Cato Jr. Dan Davis Eugene Henderson Eddie Ibrahim Martin Jaquish James Jira Executive Director Fae Desmond Director of Marketing and Public Relations David Glanzer HR/Guest Relations Sue Lord Talent Relations Maija Gates-Johnson Director of Programming Gary Sassaman Eisner Awards Administrator Jackie Estrada Exhibit Manager Justin Dutta Professional Registration Glenda Moreno Anna-Marie Villegas EVENTS At-Show Newsletter Chris Sturhann Films John Cassels Games Ken Kendall Masquerade Martin Jaquish Japanese Animation John Davenport Josh Ritter Technical Services Tristan Gates EXHIBITS Art Auction/Artists’ Alley Clydene Nee Autograph Area Katherine Forster Morrison Exhibit Floor Manager Andy Manzi Convention Services Taerie Bryant OPERATIONS Archivist Eugene Henderson Disabled Services William Curtis Hospitality Suite Mikee Reynante Logistics Dan Davis Materials Chief/Blood Drive Craig Fellows Registration Frank Alison & John Smith Volunteers Luigi Diaz & Jennifer Diaz Information Coordinator Bruce Frankle UPDATE Richard Andreoli Fae Desmond Jackie Estrada David Glanzer Tommy! Goldbach Scott Saavedra Gary Sassaman Dan “The Man” Vado
Preview Night: Beat. The. Rush. .........................................................................IFC The Hot Sheet: Cosplayers Heat Up Comic-Con ..............................................2 Curious About Cosplay? ...........................................................................................3 The Hot Sheet: The Heat Is On at WonderCon .................................................4 WonderCon Host Hotel.............................................................................................5 The Hot Sheet: The Hottest APE Around............................................................6 APE Hot Facts ................................................................................................................6 The Masquerade Unmasked ...................................................................................7 Masquerade Fast Facts ..............................................................................................9 Panels and Presentations: Programmed to Please .......................................10 Comic-Con International Fast Facts ...................................................................11 Let’s Talk Tinseltown ................................................................................................12 Anime and Films Rooms: Flights of Fantasy ...................................................13 The Silver Age’s Golden Anniversary: A Chat with Carmine Infantino ....14 Gaming: Roll of the Die ...........................................................................................16 Portfolio Review and Autograph Area: Under the Sails .............................17 CCI’s Independent Film Festival: In Focus with Hidetoshi Oneda ..........18 CCI’s Independent Film Festival: Do You Have What It Takes? .................19 The (Exhibit) Hall of Justice ...................................................................................19 Comic-Con Exhibitors 2006.................................................................................. 20 Exhibit Hall Hours .....................................................................................................21 The Amazing Art Auction ..................................................................................... 22 What Is Disabled Services? ................................................................................... 22 Brian Bolland: The Cover King ............................................................................. 23 Instructional Seminars: First-Hand Experience ............................................ 25 Blood Drive Moves to Marriott............................................................................ 26 Comic-Con International 2006 Themes: Amazing Anniversaries .......... 27 The Gallery of Guests for Comic-Con 2006 .................................................... 28 Volunteers: We Want You! .................................................................................... 32 2006 Eisner Awards ................................................................................................. 33 Eisner Awards Submission Information ........................................................... 34 Will Eisner Spirit of Comics Retailer Award: Call for Nominations ......... 35 Pre-Register Now ..................................................................................................... 36 Registration Fun Facts ............................................................................................ 36 Multipurpose Form ................................................................................................. 37 Hotel Descriptions: Room Service! .................................................................... 38 Hotel At-a-Glance Chart ........................................................................................ 39 Hotel Reservation Form ......................................................................................... 40 MISSION STATEMENT: Comic-Con International is a nonproﬁt educational organization 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. ABOUT THE COVER: Brian Bolland recreates the cover to Showcase #4, the ﬁrst appearance of the Silver Age Flash. TM & © 2006 DC Comics. All Rights Reserved. COMIC-CON INTERNATIONAL 2006 UPDATE #1 Published by Comic-Con International. All material, unless otherwise noted, is © 2006 Comic-Con International and may not be reproduced without permission. All other artwork is TM & © 2006 by respective owners. Printed in Canada. Comic-Con International, P.O. Box 128458, San Diego, CA 92112-8458. www.comic-con.org Fax: (619) 414-1022, Comic-Con Hotline (619) 491-2475
COMIC-CON INTERNATIONAL: SAN DIEGO
THE HOT SHEET
Cosplayers Heat Up Comic-Con
K. Green © SDCC
“Comic-Con tends to be more about pop culture,” observes Oscar Chang, a cosplayer from the San Francisco Bay Area. “Comic-Con absorbs movies, American videogames, Dungeons & Dragons, comic books, and anime, too. So you see a whole diﬀerent set of costumes which is really cool.” But what, exactly, is the appeal behind cosplay?
Heroes and villains are all perfect subjects for cosplaying at Comic-Con International.
“Cosplay is short for ‘costume play,’ and my understanding is the term came out of Japan,” says Dany Slone, a cosplayer from San Francisco. The most common belief is that SF/fantasy/anime/videogame fans in Japan adopted the hobby after observing American attendees at Star Trek conventions donning Starﬂeet uniforms. They in turn began dressing up as their favorite anime and video game characters, calling it “cosplay,” and this “new” hobby eventually traveled back to the United States via anime fan groups. “That’s probably why a lot of people connect the term to anime,” Slone observes. It makes sense that fan conventions covering speciﬁc interests, such as a Star Wars show as opposed to an anime event, will have cosplayers dedicated to those particular themes. Comic-Con International, on the other hand, features a wide array of hall costumes because the convention itself covers so many topics.
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While Slone often adopts a character persona depending on the situation, such as whether she wants children to be enraptured by her costume versus when she is trying to communicate with adults in a more mainstream situation, Chang and his friends rarely take on character traits unless it’s while being photographed. Nevertheless, the general public often assumes that donning an alternate persona goes hand-in-hand with this hobby. The confusion stems from the “play” portion of the word, because it implies a performance of some sort, and while this element of cosplaying essentially depends on the person’s own taste or sensibility, across the board these fans stress that they are not live-action role Alice (from American McGee’s players but reAlice) and Johnny the Homicidal ally costumers Maniac shot by Oscar Chang at the at heart. 2005 Comic-Con.
O. Chang © SDCC
One of the most stunning sights at conventions is attendees wearing costumes from their favorite comic books, movies, or television programs. Whether it’s simple capes and wigs that have been thrown together that morning or elaborate creations that require months of preparation, hall costumes have long been associated with the fan convention experience. However, about ten years ago the term “cosplay” began popping up at Japanese animation events to describe people wearing anime costumes, and since then the moniker has been adopted by the larger costuming community, making this the hottest trend for fans of all genres.
“I could just go to a convention and walk around and it would be ﬁne, but having the chance to put together a costume and be [someone else] for a day is diﬀerent,” says Slone. Certainly there is a rush in having people take your photo or marvel at your ability to craft a stunning outﬁt, but Slone also enjoys the escapism involved. “For me, that’s exciting.”
That said, some cosplayers adamantly believe that the term should only be applied to people dressing in costumes inspired by anime or Japanese videogames. Similarly, there are those who believe that fans can’t really consider themselves legitimate cosplayers if they purchase their costumes. “I think it’s a fandom thing,” says Kyle Johnsen, administrator for Cosplay.com and whose primary interest in cosplay involves photographing attendees. “When you are a fan of a speciﬁc genre of entertainment you tend to defend that fandom. The word ‘cosplay’ has more of a stigma of being about anime and manga, but I take a very neutral stance regarding that on the site. Everybody is welcome. This is about people who want to dress up in costumes, have fun, and show oﬀ their stuﬀ.”
CURIOUS ABOUT COSPLAY? Here are some sites for interested fans. www.Cosplay.com – The largest cosplay site, with convention wrapups, photo hosting, and an interactive forum; currently, approximately 450,000 images are in the photo gallery and the site has nearly 41,000 registered users. www.CosplayLab.com – Another popular site with photo hosting, search capabilities, and member directories. www.UsagiChan.com – Numerous convention photos, including some from Japanese events. www.FansView.com – The administrator posts convention photos during events, oﬀering as close to a live view as one can get. Comic Market, aka “Comiket” – The largest costuming convention in Japan. Most of the site is in Japanese, but there is a small English section. www.comiket.co.jp Costume Con – This is the largest traveling convention in the United States devoted to costuming. While its roots are in the SF/fantasy worlds, it has expanded to include all areas of costuming. www.costume-con.com
Most fans agree with this sentiment, saying that it’s only hardcore cosplayers who follow the strict anime deﬁnition. Even Chang, who began cosplaying through anime, branches out into other areas as well. “I usually attend anime conventions, but I make costumes based on if I like the show [or] movie and how challenging the costume is to make,” Chang explains. “One of the costumes I did for Comic-Con was Beast Boy from Teen Titans. I had never done face paint before and also my friends were doing the group. So part of my interest was the challenge and part was because we all wanted to do the same series.”
At t e n de e s o f every age get into cosplaying at Comic-Con.
“One of the things I’ve noticed while covering a convention in Japan this past summer was that over there cosplay is very tied in to modeling,” says Johnsen. “It’s more about appearing in a costume, posing for the cameras, and sharing a goofy hobby with everybody.” This naturally raises the question of how one acquires his or her wardrobe, but for those who can’t sew on their own, purchasing a costume is the only option. As Chang says, “At ﬁrst I found clothes that looked like the costume I wanted to [wear], and when I couldn’t do that anymore I started making them from scratch.” Now he creates all of his costumes, but “the general consensus is that you should never compete [in a masquerade competition] wearing a purchased costume, and as long as you’re truthful about how you got the costume, then it’s ﬁne.” Ultimately, some fans are reticent to dress up for a convention, but Slone stresses that if there was ever a safe place to try out cosplay, it’s at Comic-Con. “Comic-Con is a testing ground,” she says. “You go in, do it, and if you like it then by all means continue.” She points out that there is little room for fear, because among nearly 100,000 attendees, most costumes will be quickly forgotten. “But this is about having fun,” she stresses. “You’ll have only lost out if you don’t try.” COMIC-CON INTERNATIONAL: SAN DIEGO
THE HOT SHEET
The Heat is On at WONDERCON February 10–12 at San Francisco’s Moscone Center West Comic-Con International’s sister convention to the north—WonderCon to all you fans out there—is the premiere comics and pop culture event to attend in February. The 2005 show saw a staggering 14,500 fans and exhibitors descend on Moscone Center in beautiful downtown San Francisco, and 2006 will be even better as we pull out all the stops for WonderCon’s 20th anniversary celebration! GUESTS GALORE WonderCon consistently features powerhouse guests from both the worlds of comics and movies. Making his triumphant return to WonderCon after a standing-room-only appearance last year, is Kevin Smith, with another crowd-pleasing Q&A session. And when it comes to the world of comics, the superstar list begins with Frank Miller! The creator and co-director of Sin City, and currently writing DC’s best-selling All Star Batman and Robin the Boy Wonder, Frank makes his ﬁrst WonderCon appearance in 6 years. The comics superstar list continues with the other All Star guy: Grant Morrison! Morrison revitalized both JLA and the X-Men, is taking on All Star Superman, and is attending WonderCon for the ﬁrst time. Other creators include Eric Powell, who recently picked up Best Ongoing Series and Best Humor Publication honors at the 2005 Eisner Awards for The Goon, published by Dark Horse. You can also expect to see best-selling author Greg Rucka, who takes over Supergirl in 2006 and starts the new ongoing series Checkmate, both for DC Comics. Want more action? Peter David, scribe of Friendly Neighborhood Spider-Man and X-Factor for Marvel Comics, will be on hand, as will Mark Waid, the author who made The Flash run, revitalized the Legion of Super Heroes and earned kudos for Superman: Birthright. Could Waid have the Scarlet Speedster racing up in his rearview mirror for 2006? WonderCon attendees may be among the ﬁrst to know. For artists, WonderCon features Chris Bachalo, whose memorable career includes Sandman and Death: The High Cost of Living, Steampunk with writer Joe Kelly, and Generation X and the Age of Apocalypse miniseries with Marvel, as well as his current gig drawing Uncanny X-Men. The dynamic Frank Cho will discuss his recent work for Marvel on Spi-
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der-Man and his sexy stint on Shanna the She-Devil. Also bringing in powerful pens are Mike and Laura Allred; he’s one of the most popular artists working today, she’s one of the best colorists. Together they created Madman, have worked on numerous projects, and are currently producing The Golden Plates, a comics adaptation of The Book of Mormon. Comics of a diﬀerent kind are in focus with Gahan Wilson, whose work has appeared in magazines like Playboy, The New Yorker, and National Lampoon, which ran his memorable strip about growing up Nuts; Wilson is making his ﬁrst appearance at WonderCon and we’re thrilled to have him. The publisher of Image Comics, Erik Larsen, will discuss his hugely successful Savage Dragon series, projects new and old, and what it’s like being one of Image Comics’ founding fathers. Fan-favorite Mike Mignola will ﬁll in attendees about the future of his hugely successful Hellboy comic book and movie. Likewise, indy writer/artist/publisher and all-around great guy Terry Moore will be celebrating over 10 years of success with his series Strangers In Paradise. Finally, long-time stars like writer/comics historian Mark Evanier, fan-favorite artist and perennial guest Sergio Aragonés, and legendary Silver Age artist Ramona Fradon will also be on hand to celebrate their work as well as the 20th anniversary of WonderCon itself. THE POWER OF PROGRAMMING! This A-list talent coupled with crowd-friendly rooms and energetic attendees help make the programs at WonderCon really stand out. While many exciting plans are still in development for 2006, WonderCon’s positioning as the ﬁrst major comics convention of the new year oﬀers fans an advance look at many eagerly awaited projects. That means major companies like DC Comics, Dark Horse, Bongo Comics, and others will be on hand oﬀering sneak peeks at their biggest projects, books, and creators of 2006. WonderCon also oﬀers events like Scott Shaw!’s great Oddball Comics program and Scott Saavedra’s loopy Comic Book Heaven. Both programs deliver the fun side of comics while providing some histori-
cal—and hysterical—commentary on the medium. Also slated is Secret Origins of Good Readers, the groundbreaking educational program that shows teachers, librarians, retailers, and publishers how they can bring comic books into the classroom. And of course, WonderCon wouldn’t be complete without local Bay area TV legends Bob Wilkins and John Stanley returning with their friends for another great Creature Features retrospective. Two amazing Bay area comics-related museums are also oﬀering programs this year. The Charles M. Schulz Museum will showcase its new exhibit, “Sugar and Spice: Little Girls in the Funnies. An Exhibition of Peanuts Girls and their Predecessors, Contemporaries, and Successors,” and the Cartoon Art Museum will utilize some of WonderCon’s special guests to discuss its current exhibit, “Gross, Gruesome and Gothic,” which features original art from Eric Powell, Chris Bachalo, and Gahan Wilson. HOLLYWOOD’S GOT HEAT! WonderCon once again becomes Hollywood North with an incredible array of studio programs focusing on some of the biggest movies of 2006. Which studios? What stars? Which movies? We can’t say without getting in heaps of trouble, but past years included Tobey Maguire and Spider-Man 2, Christian Bale and Batman Begins, and Joss Whedon with the cast from Serenity, just to name a few, so you know this year will be chock full of stars and behind-thescenes info on all the hottest upcoming TV and ﬁlm releases. Take all that programming and combine it with our new celebrity autograph area, and you can be sure that you have the best access possible to the hottest people and projects for 2006. ANIME, GAMING, & MASQUERADE! In addition to all that great comics and movie programming, a special Friday night event is slated for 2006. Likewise, WonderCon oﬀers three days of great anime screenings that include classic programs, hot new titles, and a couple super surprises tossed into the mix. Gaming at WonderCon is also smokin’, with smaller sized campaigns so newcomers can learn the ropes, experienced players can dig in for intense play, and everyone can have an all-around good time. Lots of demos and other neat perks are already in the works.
But wait, there’s more! Last year’s inaugural Masquerade was a huge success, with 30 entries entertaining over 600 attendees. Contestants for 2006 are already lining up; if you want to participate, you can get an advance entry form via fax, mail, or e-mail (email@example.com). You can also ﬁnd out the latest info at www.comic-con.org.
REGISTER FOR WONDERCON
With endless fun in store you you’ll want to experience the entire three days of the show. Register online or ﬁnd out where to buy tickets at your local Bay Area comics store by visiting the WonderCon area of the Comic-Con website: www.comic-con. org. Be sure to look around the website for updated guest information and a complete schedule of events after you register.
WONDERCON HOST HOTEL San Francisco Marriott 55 Fourth Street, San Francisco, 94103 Reservation line: 1-800-228-9290 or 415-896-1600 Reservation fax: 415-442-0141 Tell them you’re attending WonderCon to receive the convention rate! Group room rates: Single/Double $139.00 + tax (14%) Triple $159.00 + tax Quad $179.00 + tax Due to the limited number of rooms the cut oﬀ is January 18, 2006. If you’re booking after this date, rooms may still be available, but not necessarily at the convention rate. Call the Marriott to ﬁnd out the latest information, or check out www.comic-con.org.
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THE HOT SHEET The Hottest APE Around Forget King Kong, APE (Alternative Press Expo) is king of the alternative and indy comics jungles in the United States! This two-day event celebrates the indelible spirit of self-publishing with an Exhibit Hall featuring new and old independent comics, minicomics, ’zines, art books, original art, and much more. Self-publishers and individual cartoonists display their work alongside publishers such as Fantagraphics, Drawn & Quarterly, SLG, Top Shelf, and AiT/ Planet Lar, to name a few. This isn’t your typical anime-toysgaming-superhero convention; this is all about stepping outside the mainstream and into a world of progressive literary delights. Adding to the exciting is the list of Special Guests for APE 2006! JUSTIN GREEN Best known for his classic Binky Brown Meets the Holy Virgin Mary, Justin Green is one of the great underground comix artists. His work has appeared in numerous anthologies, including Arcade, Bijou Funnies, and Young Lust. Most recently, Last Gasp collected his popular series of “Music Legends” strips from Tower Records’ Pulse magazine into book form. KEITH KNIGHT This popular Bay Area cartoonist just celebrated the 10th anniversary of his strip The K Chronicles, which has been collected into four books. Knight has also published Red, White, Black & Blue, featuring his single-panel strips, a (th)ink anthology, and most recently, The Beginner’s Guide to Community-Based Art. His work has also appeared in Mad magazine, and he is a regular contributor to ESPN magazine. ALEX ROBINSON Alex Robinson’s Eisner Award-winning turn on Box Oﬃce Poison positioned him as one of the new indy creators to watch. His latest graphic novel, Tricked, proves he’s got what it takes, debuting to great sales and critical raves across the board.
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RAINA TELGEMEIER Cartoonist Raina Telgemeier received rave reviews for her minicomic Takeout and her online strip Smile. She has been nominated for numerous awards and her ﬁrst major work, a comics adaptation of the popular book series The Baby-Sitters Club, debuts in the spring from Scholastic Books’ Graphix line. CAROL TYLER Carol Tyler has been a highly acclaimed professional cartoonist for over 20 years, appearing in Robert Crumb’s Weirdo, Wimmen’s Comix, and Drawn & Quarterly magazine. Her latest work, Late Bloomer from Fantagraphics Books, marks Tyler’s return and proves that she is still one of the most skillful, caustic, and emphatic cartoon storytellers of her generation. Alternative comics lovers: Don’t miss this year’s APE—visit www.comic-con.org for all the latest news.
APE HOT FACTS April 8–9, 2006 Saturday 11:30 AM – 7:00 PM Sunday 11:30 AM – 6:00 PM The Concourse at Exhibition Square in San Francisco
THE MASQUERADE U N M A S K E D
2005 Winners Discuss Their Work Comic-Con International’s Masquerade is one of the best-known costuming competitions among convention goers, with entries ranging from funny to fabulous and all skill levels being welcome. We decided to sit down with four of 2005’s most memorable contestants and ask them about their wins.
ENTRY: “Jack & Zero” from The Nightmare Before Christmas PARTICIPANTS: Paloma and David Candelaria AWARD: Best In Show WHAT GAVE YOU THE IDEA TO DO JACK AND ZERO? DAVID CANDELARIA: I’m a stopmotion animator, and every year I see these Jack and Sally costumes [at conventions] that drive me crazy. [Jack] is a puppet, so I thought it would be awesome if we made a giant Jack, but only as a puppet, and then place him with Zero because they are iconic characters together. And the only way to do Zero was if he was a marionette. Paloma designed the costumes for us and I ﬁgured out the puppets. WHY DO YOU LOVE PARTICIPATING AT COMIC-CON? PALOMA CANDELARIA: ComicCon is the only venue that really
DAVID: And the [attendees] are very appreciative of your work. WHY DO YOU THINK “JACK & ZERO” WORKED SO WELL? DAVID: We rendered it into our own style. People are scared to take liberties with the design, thinking they have to stick completely to the comic book or show image, which is really hard if you’re not three feet tall or 100 pounds. [Costumers] need to take a chance. PALOMA: I used to make costumes straight from an image like that, [but] it’s so much more fulﬁlling to make something your own. If you want to sew everything by hand, do it. If you want to go to the hardware store and attach crazy stuﬀ any way you can, make anything out of anything, then do it. Don’t hold yourself back.
ENTRY: Van Helsing at the Vampire Ball PARTICIPANTS: MaryAnn Cappa, Kent Elofson, Danica Lisiewicz, Nicole Roberts, David Rose, Dawn Rose, and Sa Winﬁeld AWARD: Judge’s Choice HOW DID YOU COME TO COMPETING LAST YEAR? KENT ELOFSON: Although I have been a costumer for over two decades, I rarely entered competitions. I was asked to join a Lord of the Rings group for the 2004 Masquerade and thought the experience might be valuable. Speaking for the rest of the group, this was the ﬁrst Masquerade for them. YOU ARE INVOLVED WITH COSTUME COLLEGE. WHAT IS THAT? KENT: Costume College is an annual seminar sponsored by the Costumer’s Guild West. It takes place in Van Nuys [California] and oﬀers scholarly courses on all manner of costuming topics. I have been participating as an instructor for many years. Their
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Dennis Hunt © SDCC
Dennis Hunt © SDCC
appreciates us for our creativity, for our craftsmanship. The detail in our costumes really gets me going, and the fact that there is [someone] judging you on detail is the best thing in the world for me.
website is www.costumecollege.org.
certainly have input, in fact they should, [but] creating an overall vision from start to ﬁnish is very important.
WHY DO YOU GUYS LOVE COSTUMING? SA WINFIELD: I love to play dress-up, I always have. [Transforming] beautiful materials into even a more beautiful garment is very satisfying.
TELL US ABOUT YOUR PRESENTATION. KENT: [Our] group all had legitimate performance experience, we were all dancers, so we employed the concept of making our presentation an abbreviated ballet. No dialog, no lip-synching, just movement to music telling a simple story and showing oﬀ our costumes. We took a somewhat serious tone (rare for a masquerade) and threw in one sight gag for laughs. DO YOU HAVE ANY ADVICE FOR POTENTIAL CONTESTANTS? KENT: [Don’t] rely on words (sung or spoken) to dominate your entry unless your recording is of a very professional quality. Poor-quality recordings have ruined many otherwise good entries. SA: Make sure you all get along. This is a lot of work, and there is no room for dissent. Not making [your entry] too esoteric is also a good idea; nobody enjoys an inside joke. These Masquerades are also about theater, [so] having one person in your group “direct” is a very good idea. Everyone can
Dennis Hunt © SDCC
DANICA LISIEWICZ: It’s that darn imagination of mine getting me in trouble again. I love to wear costumes—always have. What’s more, I love costumes that look as if they were clothes, not costumes. Cheap, ready-made things [don’t] interest me at all. I’m terribly proud of the way all the Van Helsing costumes look.
DANICA: Good presentations are hard to come up with. Just remember that it is a “show” and utilize your sense of drama.
ENTRY: The HCC Rose of Versailles PARTICIPANTS: A. J. Wu, Judy Grivich, Aimee Steinberger, and Cheryll Del Rosario AWARD: Most Beautiful WHAT ORIGINALLY BROUGHT YOU TO COMIC-CON? A. J. WU & JUDY GRIVICH: The driving force turned out to be that our group, The One Ring Circus, wanted to perform in the  Comic Con Masquerade. We’ve participated in the Masquerade every year since then. HOW DO YOU COME UP WITH YOUR IDEAS? A. J. & JUDY: We pick our skits based on what we think the audience will enjoy and our costumes based on what we’re interested in. For how much eﬀort we put into our projects, there has to be a lot of love for said project or it’s just not fun. We also try to choose really diﬀerent costumes and presentations from year to year to keep it interesting. The year before last, we tackled armor (Easterlings from Lord of the Rings), while this past year it was elaborate historical costumes.
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WHY DO YOU ENJOY THE MASQUERADE? A. J. & JUDY: It’s a great way to express our love of the material, be it comic books, movies, or other media. We’ll never be comic book artists (we can’t draw our way out of a wet paper sack), but we happen to know a few things about sewing. and we show our appreciation through that. And yes, we know it’s dorky, but it’s a lot of fun. WHAT ADVICE WOULD YOU GIVE PROSPECTIVE CONTESTANTS? A. J. & JUDY: The audience can be large and intimidating. If you go out there, have fun and love what you do, and the audience will love you for it. And remember [to bring] munchies! It’s a long night backstage. ENTRY: Disney Princesses PARTICIPANTS: Lynleigh, Angela, Jean, Jenn, Maryssa, Lisa, Briana, Ashley, Wendy, Cindy, Kimberly, Lily, Rebecca, Emily, Mike, Tony, Andy, Flo, and Kevin AWARD: Most Humorous WHY THE DISNEY PRINCESSES? LYNLEIGH: The idea came randomly while walking through Comic-Con 2004 [and] before I knew it, an entire routine popped into my mind. But honestly, having such a large group wasn’t my original intention. I was aiming to have just the core roles ﬁlled, with a few nonprincess roles to balance it out. Soon the skit turned into a record-breaking amount [of participants]. Who would of thought that all my friends were long-time Disney fans, each with their own inner princess?
Dennis Hunt © SDCC
HOW DID YOU PULL IT ALL TOGETHER? LYNLEIGH:There was a lot of meticulous and strategic planning. From past experiences with costuming groups, I knew the importance of [resembling] the characters you were portraying. I wanted everyone to appear as if they came right out of the movie or Disneyland. With the help of Ashley (Wendy) and Jean (Pocahontas), we cast friends as speciﬁc core Princess characters based on their favorite movies and whom they most looked like before moving on to the other main heroines.
As roles were being ﬁlled, I created a LiveJournal. com community for the group. This way, I could keep in contact with all the skit members, post updates on changing roles, convention information, and costume details. About 6 months before the convention, I posted information on what example fabric types everybody should use and that the style should stay faithful to the original animation and/or the Disneyland face characters. With this we were able to keep all the costumes consistent for the ﬁnal presentation. Last, [we] worked on the actual script, song lyrics, and dance routine. I had the entire idea in my head for months, but none of it was ﬁnalized yet, only tweaked as
roles were ﬁlled. Considering the type of audience at Comic Con, I thought that it would be amusing to have the Princesses not act so Princess-y, but a bit wild and naughty, as to make fun of Disney. Using the song “Barbie Girl,” I changed the title to “Disney Girl” and the lyrics to ﬁt the theme of Disney gone wrong. In order to make this skit fun and stress free, the choreography was arranged to keep it extremely simple, easy to learn, and left lots of room for improvising. By Friday night of [Comic-Con], everyone knew the routine. AND IT LOOKED AMAZING. LYNLEIGH:All of [us] were surprised by the audience’s reaction. Awards and prizes are great, but to hear people talking about your skit when it’s all over is the real reward! I’m pleased that the Disney Princesses skit rekindled the Disney in all of us.
COMIC-CON INTERNATIONAL MASQUERADE FAST FACTS What is it? The Masquerade is on-stage costume competition in which contestants display original designs as well as amazing recreations from comics, movies, fantasy art, anime, and more. The event has been held for 32 years and there’s no stopping us now. When is it? Saturday, July 22, 8:30 PM. Are there prizes? You bet. Impressive trophies are bestowed in a variety of categories by a panel of guest judges, and there are generous cash and merchandise prizes bestowed by a dozen participating companies.
Who hosts it? Returning as Master of Ceremonies is comic book writer and artist Phil Foglio. He not only keeps the show moving along but deftly handles a room full of crazy fans with ease. So it’s big? No, it’s huge. Last year the ballroom was ﬁlled to 4,200person capacity and an overﬂow audience of over 1,500 watched via giant video screens in other rooms. Can anyone attend? Yep, and it’s free for anyone with a Comic-Con membership. Details on how to attend will be posted in the next Update.
Can we take pictures? Photographers interested in reserving a spot at our oﬀ-stage photo area should write to the Masquerade Coordinator; info on how to do that is below. Can anyone participate in the Masquerade? Deﬁnitely, but last year all the contestant slots were ﬁlled a month before the convention, so sending in an Entry Form early is highly recommended! How do we do it? To obtain complete Masquerade rules and an entry form, ﬁll out the Multipurpose Form on page 37 and return it t via fax or mail, or visit www.comic-con. org.
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PROGRAMMED TO PLEASE CCI’s Panels and Presentations Score Big in 2006
The Exhibit Hall is fun, anime and ﬁlms are awesome, gaming scores big, and the Masquerade is tops, but when it comes to events that get posted on websites and blogged about all year long, nothing beats Comic-Con International’s programming schedule. The 2005 show featured over 300 special events, ﬁlling the San Diego Convention Center and encompassing almost every aspect of pop culture. And yet attendees still couldn’t get enough! Luckily, the slate for 2006 will be just as fun-ﬁlled and exciting as ever.
Companies are also on hand to meet the fans and promote their upcoming projects. In 2006, head honchos from such majors as DC, Marvel, Dark Horse, and Image will sit alongside such independent and alternative publishers as SLG, Bongo, IDW, Oni Press, and more. And with manga being such a huge phenomenon in the States, ComicCon wouldn’t be complete without featuring Viz, TOKYOPOP, Seven Seas, and many other publishers of Japanese comics.
A KINGDOM OF COMICS Comic-Con International’s mission includes creating an awareness of and appreciation for comic books and related popular art forms, so programming focuses heavily on those topics. The process begins with inviting industry heavies as special guests to participate in discussions and retrospectives on their careers. In 2006 that lineup includes such contemporary ﬁgures as Daniel Clowes, George Pérez, Howard Porter, Robert Kirkman, and Andy Runton opposite classic creators Carmine Infantino, Sheldon Moldoﬀ, Everett Raymond Kintsler, and Jim Mooney and international stars Brian Bolland, John Wagner, and Yoshihiro Tatsumi. A list of special guests is located on page 28, and though some additional famous folks will be added between now and July, it’s clear that this is going to be a year to remember.
Beyond current titles, companies, and stars, programming also salutes the Golden and Silver Ages of comics. First in focus are Comic-Con’s titanic anniversary topics, which can be found on page 27 and include milestones for Dick Tracy, The Flash, Space Ghost and more. Then dedicated panels covering comics history are presented by the same women and men who made this industry a reality; these ﬁne folks not only regale audiences with their stories but oﬀer a perspective on where comics are headed in the future.
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EDUCATION, ANYONE? The Comic Arts Conference, the leading academic conference focused on the comics medium, returns to Comic-Con in 2006 with new topics for interested attendees. Likewise, Comic-Con’s highly successful
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Legendary stop-motion animator Ray Harryhausen. “How To” seminars feature programs on becoming a professional in various industries. While the article on page 25 speciﬁcally discusses the illustration panels, other presentations include writing for comics, novels, TV shows, and movies; coloring comics;
self-publishing your own work; and business-related topics, such as legal issues and marketing your own product. NO, WE’RE NOT DONE! But we are running out of space in this Update. Just know that in the coming months programs will be added that cover comic strips, costuming, all manner of gaming, dedicated Kids’ Day programming on Sunday, and some absolutely amazing science ﬁction/fantasy writers and artists as special guests. It’s a world of fun for everyone, and that’s just one of the reasons that Comic-Con International is the largest comics and pop culture convention in North America.
COMIC-CON INTERNATIONAL FAST FACTS Preview Night for Pre-registered Full Members and Professionals Only! Wednesday, July 19 6:00 PM – 9:00 PM Thursday, July 20 – Saturday, July 22 10:00 AM – 7:00 PM
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Sunday, July 23 10:00 AM – 5:00 PM Don’t miss out on any of the excitement! For more information, visit www.comic-con.org. Cartoonist Lalo Alcaraz thrilled fans at the 2005 Comic-Con. COMIC-CON INTERNATIONAL: SAN DIEGO
LET’S TALK TINSELTOWN There are hundreds of comic book and science fiction conventions in the United States, but none has a stronger Hollywood presence than Comic-Con International. From previews of new television shows and upcoming blockbuster movies to Academy Award–winning celebrities answering questions from eager fans, San Diego is a must-hit hotspot for TV and ﬁlm fanatics everywhere. MOVIE MAGIC In 2005 attendees were thrilled by the world premiere of Lion’s Gate Film’s The Devil’s Rejects and delighted to learn about the future of Star Wars directly from executives at Lucasﬁlm. The year’s biggest movies also came into focus with such ﬁlms as The Chronicles of Narnia: The Lion, The Witch and the Wardrobe; King Kong; Harry Potter and the Goblet of Fire; Serenity; and Tim Burton’s Corpse Bride. Meanwhile, sneak peaks of movies scheduled for 2006 included Superman Returns, Ghost Rider, Underworld: Evolution, and many more. B. MCCLELLAND © SDCC
These types of presentations naturally delivered huge names, including producer Joel Silver, writer/direcDirector Bryan Singer ﬂew in tor Joss Whedon, from Australia to talk about and directors Bryan his new f ilm, Superman Singer and David Cronenberg. But Returns. let’s talk celebrities! Where else could you ﬁnd Charlize Theron, Jamie Foxx, Adrian Brody, Natalie Portman, Rachel Weisz, Kate Beckinsale, The Rock, Scott Speedman, Maggie Grace, Jessica Biel, Josh Lucas, and Naomi Watts all under one roof? Or an amazing set by Tenacious D comedians/musicians Jack Black and Kyle Gass? (Okay, that was a rhetorical question, but if you’re playing along we’ll give you a hint: CCI. ) TV TERRITORY Looking to the smaller screen, television networks connect with fans of all backgrounds by premiering their new series and oﬀering cast appearances at Comic-Con, so every year promises something
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Hollywood Hits San Diego in 2006
The cast and crew from Battlestar Gallactica brought in a packed audience during the 2005 Comic-Con. special. In 2005 that included an advance screening of the WB Network’s Supernatural pilot episode, ABC delivering Invasion and Nightstalker, and Fox bringing Bones along with stars Emily Deschanel and David Boreanz. And speaking of cast appearances, actors from Veronica Mars, Lost, Battlestar Gallactica, Stargate SG-1, Stargate: Atlantis, and The 4400 all showed up to meet their peeps as well. AWESOME ANIMATION The world of animation has always found a home at Comic-Con. Superheroes launched the excitement with panels on The Batman, Justice League Unlimited and an exclusive Teen Titans live event featuring an actual script read-through session. Jetix’s original animation oﬀered Super Robot Monkey Team Hyperforce Go! and previews of Get Ed. Cartoon Network presented sessions on Adult Swim, The Boondocks, and Toonami’s ﬁrst original series IGPX, while Nickelodeon brought out Catscratch, The X’s, Skyland, and Avatar: The Last Airbender. AND IN REEL TIME . . . All of these events and appearances are just part of the norm, and they kept every room buzzing, especially the magniﬁcent 6,500-seat Hall H. But now that the 2006 show is zooming into view, the ComicCon oﬃces are littered with production schedules, tentative release dates, and studio phone numbers, so you can count on this summer in San Diego once again being the focal point for what’s pumping in Hollywood. The discussions have already begun, and while we can’t reveal any exciting surprises just yet, trust us when we say that 2006 will be our most dazzling show to date.
FLIGHTS OF FANTASY The CCI Anime and Films Rooms Experience Largest Turnout Ever!
Graphic image provided courtesy of AnimEigo, Inc. © 1993 by Kodansha, Ltd
While most comics conventions relegate screenings of Japanese animation to extremely cramped quarters or consider classic and contemporary cinema as unimportant to the attendees’ overall experience, ComicCon International loves to spotlight anime and ﬁlms every year . . ., and the fans appreciate it. In 2005, attendance for these two cornerstone programming areas went through the roof, and the 2006 show looks to be just as exciting. THE ANIMATION NATION In three dedicated rooms, attendees could view over 145 Japanese animation programs all day and well into every night. The 2005 show featured perennial fan favorites like Oh! My Goddess, Ghost in the Shell, Urusei Yatsura and Full Metal Alchemist as well as special screenings that included the U.S. premiere of Karas, an advance screening of the upcoming Di Gi Charat Nyo TV series, special screenings of the full-length Steamboy movie, and the Studio Ghibli film Pom Poko. Anime companies also knocked on CCI’s doors with previews from TOKYOPOP, ADV, Viz, Bandai, Genoeon Entertainment (Pioneer) and more. And that was only the beginning. These totally unique experiences wowed the crowds, and organizers are already in talks with major anime companies and studios to make the 2006 show another blockbuster year to remember. FILM FUN FOR EVERYONE The energy was palpable as ﬁlm fans dove straight into Middle Earth on Thursday for the Lord of the Rings trilogy screening in the beautiful Manchester Grand Hyatt. Imagine, a room packed with devotees enjoying those epic adventures once more, back to back. That same sense of excitement was continually generated throughout the entire Comic-Con weekend. While the Convention Center featured digital releases, the evenings-only screenings at the Hyatt retained a classic cinema sensibility. Daytime showings of super-hero fare such as Spider-Man 2 and Blade: Trinity were complimented by Friday night’s horror movie freak fest, while fan favorites like Napoleon Dynamite, This is Spinal Tap, and Amazon Women on the Moon kept attendees coming back for more. Even young attendees got in on the act during Sunday Kids’ Day screenings of Lilo and Stitch 2 and The Muppets Wizard of Oz, making this one of the most all-inclusive years to date. The 2006 convention promises more exciting screenings for both the Convention Center and the hotel, and an amazing schedule is already in the works. What’s more, four-day pre-registered members will be able to score a sneak peak at the complete ﬁlms schedule a couple weeks before the event, allowing them to prepare for their weekend in advance. Everyone else has to wait until they receive their Events Guide onsite— how sad for them. So pre-register now to save time and money for next year’s show. You’ll be glad you did. COMIC-CON INTERNATIONAL: SAN DIEGO
The Silver Age’s Golden Anniversary A Chat With
CARMINE INFANTINO You can’t discuss the Silver Age of comics without bringing up Carmine Infantino’s name right at the start. He is the artist who redesigned the Flash, reintroduced Batgirl, took Adam Strange into orbit, and helped rescue Batman from cancellation—and that was all before being named editorial director and publisher of DC Comics. With this year marking the Flash’s 50th anniversary, it only made sense to invite Infantino as one of Comic-Con’s special guests. We took a minute to chat with him about his place as a creative legend.
J. David Spurlock and Carmine Infantino
COMIC-CON INTERNATIONAL: HOW DID YOU GET HOOKED ON COMIC BOOKS? Carmine Infantino: As a kid, I used to love the movie serials, and in those days for ten cents you got to see two ﬁlms, three serials, and about four cartoons. I guess that instilled something in me. I highly enjoyed the medium and then got hooked
on comic books. I started reading Superman moved up to Batman, then on up the scale. WHEN YOU WERE REVAMPING CHARACTERS LIKE THE FLASH, DID YOU HAVE ANY IDEA IT
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WOULD BECOME SUCH A HUGE MOMENT IN COMICS HISTORY? No, not at all. They were experimenting with everything in those days—mystery, westerns, science ﬁction—hoping to get something to break through. I had created a character called Captain Wiz, and all these villains called the Covenant of Evil. I tried to sell it to Joe Simon and Joe said, “Carmine, superheroes aren’t selling these days.” So I put it in the drawer. Then two years later Julie [Schwartz] called and said, “We’re going to try superheroes again.” I said, “Oy vey, zmir.” I wasn’t thrilled about doing it, but it was work. So he says we’re going to bring back the old Flash, but he was silly looking with that helmet. So I brought in my Captain Wiz, which is now The Flash. And then I had all these villains like Gorilla Grodd, Captain Boomerang, and so on. [Robert] Kanigher wrote the ﬁrst one, I penciled it, and Joe Kubert inked it. Then the numbers came in and they didn’t believe them, so we did a second one. About the third issue we knew we had something going. And that’s how we would work. I’d create a cover, bring in one of my old villains, put him on the cover with the Flash, and they’d write stories around it. And the thing took oﬀ like a rocket, but nobody at the time knew it was going to work.
WHEN YOU LOOK BACK, WHICH OF THOSE CHARACTERS DID YOU REALLY ENJOY WORKING ON? Adam Strange I liked very much. I didn’t create Adam Strange, by the way; that was Gil Kane. He did the ﬁrst cover and Mike Sekowsky penciled the ﬁrst one. Detective Chimp is my favorite actually. Didn’t sell very much but it’s my favorite. WAIT, “DETECTIVE CHIMP”? YOU HAVE ALL THESE MAJOR CHARACTERS AND YOU CHOOSE DETECTIVE CHIMP? Well, you had to be diverse. We worked on The Flash, Adam Strange, my little Detective Chimp, and then [Harry] Donnenfeld said, “The Batman is dying. You guys have six months to bring it back.” So he gave it to Julie and me, and the book started to move. But in fairness, the TV show popped and the thing went crazy. I don’t know if [the comic] would have gotten that strong without the TV show. I suspect not. HOW DID BATGIRL COME OUT OF THAT PERIOD? The show’s creator, [William] Dozier, wanted some female characters, so Julie says to me, “Do you have any more characters at home?” I had two of them. One was Poison Ivy and the other was The Silver Fox. Julie liked them both, so I said, “Let’s make [The Silver Fox] The Batgirl.” We tried them on the books ﬁrst, and they both sold well. So we told Dozier and that’s how Batgirl came about. HOW DID YOU BECOME A BIGWIG AT DC? I ended up becoming the editor because we were getting killed by Marvel at the time, and Donnenfeld loved the covers I was creating and said he wanted to hire me as a cover artist and just do covers. Nothing else. Which I did in the beginning. But [when DC Comics] got married to Time Warner, he left the company. I went to Jack Liebowitz, who was running the place at the time, and I said, “Who do I report to now? Who’s running this thing?” And he said, “You do it.”
like Jack Kirby, Curt Swan, putting them in barrels. I stopped him cold. We had made money that year so I put out a memo to all the creative people [saying] you’re not only getting paid for your reprint rights but your artwork will be returned. They all loved the idea and it helped me out, too. With me it was the best of all worlds, the worst of all worlds. I did some good things, I did some bad things. When you run a company that’s what happens. WHAT WOULD YOU SAY WAS A HIGHLIGHT OF YOUR TIME AT DC? Getting the Superman movie sold. HOW’D THAT COME DOWN? Mario Puzo had written a script and it was terrible. The plot was absurd: some villain trying to kill the Pope. What the hell does this have to do with Superman? So I went out to California. Mario, myself, and the producers sat down and hashed out Superman I and II. They were [also] trying to get a name actor for Superman. I said, “You guys are crazy. You get him, and suppose there’s a number two or three movie. You’re not going to get him back. Get an unknown and put a contract around him.” So they did. They got Marlon Brando as the father, Gene Hackman as the villain. and that’s how it went. To ﬁnd out more about Carmine Infantino’s life in comics, check out his book The Amazing World of Carmine Infantino (Vanguard Productions) and visit San Diego this summer for Comic-Con International.
WHEN YOU WERE RUNNING DC YOU WERE INSTRUMENTAL IN CREATORS RECEIVING ROYALTIES AND ORIGINAL ARTWORK BEING RETURNED TO ARTISTS. HOW DID THAT COME ABOUT? We were moving from Lexington Avenue to Third Avenue, [and] as we were moving I walked into the oﬃce and our production guy was tearing up artwork and throwing it away. Wonderful artwork
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ROLL OF THE DIE Role-Playing Games Continue to Thrive at CCI Time was, when a fan mentioned gaming the ﬁrst thing everyone thought of was multisided dice, dungeon masters crouched behind well-worn books, and players taking on alternative personas for hour-long campaigns into mystical lands. But a simple visit to the Mezzanine level of the San Diego Convention Center shows how those things have evolved: video and trading card games battle alongside miniature ﬁgure competitions, live-action demonstrations, and company-sponsored tournaments featuring cash and merchandise awards. So where have all the denizens of dice gone? To the Manchester Grand Hyatt. “The main gaming feature here is RPGA,” explains Tom Kee, the ﬁgurative NPC* covering gaming at the Hyatt. He says that most of the role-playing campaigns involve Dungeons and Dragons 3.5 edition games, but occasionally other systems are also featured. “Additionally, some of the space is used for open gaming, which means anyone can come and run any game they wish,” he says. Whereas the Convention Center’s gaming setup predomi-
attacks and countermeasures, pen and paper to track their imaginary journeys, and miniature ﬁgures to help keep character positioning straight. These games run on a regular schedule—approximately every ﬁve hours—and while participation in most games is pre-registered before the convention, Kee and his team do everything they can to cover walk-in players as well. Gaming at the Hyatt is also run in conjunction with the Role-Player’s Gaming Association (RPGA), which “is mostly a volunteer organization that arranges for the [hosting] of role-playing games around the world,” says Kee. “These campaigns allow [attendees] to play characters, gain experience, and then play the characters again at the next RPGA event, which could be anywhere in the world.” That ability to connect campaigns at the Hyatt with the larger gaming community is unique, setting Comic-Con apart from other conventions. “These are organized role-playing games,” Kee emphasizes. “While they’re common for gaming conventions, for a media/comic convention it’s fairly unusual to have such a large gaming presence.”
nately involves long rows of fans sitting at tables and facing oﬀ over stacks of cards, gaming at the Hyatt oﬀers a more traditional sensibility: round tables where players use rule books to reference various *NPC means Non-Playing Character. That was a little inside joke for us gaming geeks out there.
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The 2006 convention is promising more exciting campaigns at the Hyatt. Sessions run into the wee morning hours and allow fans to fully enjoy the gaming experience. Whether you’re a newbie or a long-time aﬁcionado, there are always worlds of fun to be found in CCI’s gaming. Want to learn more about the RPGA? Visit www.wizards.com/rpga. Interested in gaming at Comic-Con? Visit www.comic-con.org and stay tuned to the next Update for more info.
UNDER THE SAILS Portfolio Review and Autograph
Area Offer Strong Showing
PORTFOLIO PRIORITIES Let’s face it, a lot of you folks want to become professionals in the comic book industry, and ComicCon International has a long-standing reputation for being the place where companies seek out new talent. In the packed Portfolio Review Area artists of all skill levels have their work examined by professionals and make contacts that may lead to future employment. Although some companies perform reviews at their exhibitor booths, during the 2005 show Comic-Con provided space for 20 companies to check out attendee portfolios. Sessions ran from 11 AM until close every day and included representatives from such comics companies as Dark Horse, Marvel, Disney Publishing Worldwide, TOKYOPOP, and Platinum Studios, as well as from gaming and entertainment companies such as Lucas Licensing, Disney Animation, Midway Games, Wizards of the Coast, High Moon Studios, Impact Books, CinemaGraphix Entertainment, and more. Comic-Con will dedicate a large section of the Sails Pavilion for Portfolio Reviews in 2006. Visit the website, www.comic-con.org, closer to the convention to see which companies will be present and whether there are any special requirements you need to meet. But most important, start working on your material now so that your work will really stand out under the sails in 2006.
In 2005 over 150 talented individuals made their presence known, including such creators as animator J. J. Sedelmaier (Saturday Night Live’s Saturday TV Funhouse), director David Cronenberg (A History of Violence), and author Ray Bradbury (Fahrenheit 451). Group signings also drew huge crowds, including those for Veronica Mars, Threshold, The 4400, and actors from the classic Superman movies, while individual sessions with folks like author Orson Scott Card, actor/author Bruce Campbell, cartoonist Lalo Alcaraz, and comic book legend Stan Lee featured a more intimate atmosphere. No other convention oﬀers the diversity and number of signings as Comic-Con. To make the most of your 2006 convention experience, visit www. comic-con.org or check the onsite Events Guide for a schedule of signings. You never know what surprises may be in store under those Convention Center sails.
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ASTOUNDING AUTOGRAPHS Meeting a favorite creator or celebrity at ComicCon is always an amazing experience, and while signings happen all across the show, the Autograph Area is truly a focal point for the entire weekend.
Stan “The Man” Lee is only one of many comic book legends to sign autographs at Comic-Con International.
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FILM FESTIVAL In Focus with Hidetoshi Oneda Born in New York City and raised in New Jersey, writer/director Hidetoshi Oneda attended Art Center College of Design in Pasadena, California. Following graduation he worked for Dentsu, the largest advertising agency in Japan, but he came to our attention after winning the Best Science Fiction/ Fantasy Film award at the 2005 Comic-Con International Independent Film Festival. His entry, La Belle Dame Sans Merci, is based on the John Keats poem of the same name. In the ﬁlm, a shipwrecked navigator (John Mycroft) encounters a knight of old (Jack Donner) who recalls a tale of regret about a Writer/director Hidetoshi Oneda. mysterious lady (Natassia Malthe) with whom he fell in love, then lost due to his own fears. Oneda, ments of fantasy and a touch of horror, even though who currently lives in Tokyo, Japan, spoke with us it’s based on a Keats poem. about his winning submission. WHAT DID YOU THINK OF THE CONVENTION CCI: WHY DID YOU START MAKING FILMS? EXPERIENCE? Hidetoshi Oneda: One day, I wanted something I was completely blown away by the number of peoto watch on a Sunday afternoon but I could not ple attending the show sharing a common passion ﬁnd [anything] that hit the right spot. I realized for what is generally, and unfortunately, a misunthe kind of ﬁlms I wanted to see, for one reason or derstood art form. The second thing that amazed another, had not been made. Then I had a crazy me [was] the passion itself. For some, it bordered on thought—why don’t I make them? I left a job that I unbridled religious fervor, and I must admit it was was perfectly happy with [at Dentsu] so that I could overwhelming at times! What impressed me was ﬁll those empty slots in my DVD collection. how comics had crossed over from being a paper booklet to every media form that exists, so much so HAD YOU ATTENDED COMIC-CON BEFORE? that at times it felt as though comics were bystandThis was my ﬁrst time. My ﬁlm, La Belle Dame Sans ers at their own wedding. Merci, was co-written with Mark Smylie, who HOW DID IT FEEL TO WIN YOUR CATEGORY? writes and draws a [I was] ﬂoored. There were so many great works comic book called Arthat I was honored just to be invited. Being in the tesia. Mark has been tesia ﬁrst juried festival at the convention, I was doubly going to Comichonored. Most of all, it was the ﬁrst time since I left Con regularly. He my job that I had solid feedback. I will never regret brought the festival my decision to make ﬁlms, but it helps every now to my attention and then for someone to tap you on your shoulder and thought that and say, “Hey man, I liked your work.” And for me to the Comic-Con return a heartfelt, “Thank you.” audience might be a good one for my You can learn more about Oneda and La Belle Dame short, as it has eleSans Merci at www.celophaine.com.
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Coming oﬀ its ﬁrst big year as a juried event, the Comic-Con International Independent Film Festival is now accepting submissions for 2006. Last year, the selection committee screened nearly 60 ﬁlms and bestowed awards in six of the seven categories, including the festival’s “Judges’ Choice” award to the entry deemed best in show. The 2005 judges were Mark Altman, editor of CFQ Magazine, and Scott Zakarin of Creative Light Entertainment; judges for 2006 have been chosen and will be announced once judging is completed. The CCI:IFF accepts ﬁlms in the following genre categories: • Action/Adventure • Animation • Comics-oriented • Documentary (limited to genre and pop culture topics) • Horror/Suspense • Humor/Parody • Science Fiction/Fantasy SUBMISSION DEADLINE: March 1, 2006 Submissions should be no longer than 95 minutes and should be appropriate for an all-ages audience. At least one member of the ﬁlmmaking crew should be present at Comic-Con to discuss the ﬁlm, and all entries must be in their ﬁnal form; no rough cuts, trailers or works-in-progress will be accepted. The submitted project should have a completion date within the last three years (2003–2006). Complete submission guidelines and the required oﬃcial entry form are available at www.comic-con.org.
THE (EXHIBIT) HALL OF JUSTICE One of the most exciting areas at Comic-Con International is the Exhibit Hall. No matter what their interests, attendees all passed through those giant gray doors to take in the over 460,000 square feet of fun space. In 2005 alone, that included over 104,000 enthusiastic fans checking out all of the 1,000+ individual exhibitors; that included over 140,000 enthusiastic fans, exhibitors and professionals making the 2005 show the largest and most exciting comic and pop culture event in the United States. So what can be found inside those hallowed halls? You fans of new comics and graphic novels can expect booths from the major comics companies, including DC, Dark Horse, and Image; lots of alternative comics publishers, such as Fantagraphics and Drawn & Quarterly; the Small Press Pavilion featuring numerous self-publishers; and the Independent Publishers Pavilion featuring cool alternative comics companies. In Artists’ Alley you can meet creators from the Golden, Silver, and current comics ages, while you can ﬁnd some of the biggest names in SF/Fantasy art in the Illustrators Pavilion and the Fantasy Illustrators Pavilion. As you wander through the hall you’ll run into booths set up by the National Cartoonists’ Society, animation companies, movie studios, and TV networks. And for you gaming fans, you can expect major gaming companies oﬀering demos on their latest video, card, and role-playing game releases. Oh, and did we mention shopping? Obviously Comic-Con is the ultimate destination for comic books and graphic novels—there is even a pavilion speciﬁcally dedicated to Golden and Silver Age comic books—but there are also booths devoted to Japanese manga and animation, vintage and modern toys, action ﬁgures, statues, trading cards, DVDs, movie posters and memorabilia, clothing and jewelry, and tons of other cool stuﬀ to constantly surprise and delight visitors. The next couple of pages list exhibitors that have signed up for the 2006 show. Take a peak, start saving your cash, and get ready for another awesome year at Comic-Con International!
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DO YOU HAVE WHAT IT TAKES? The CCI-Independent Film Festival Returns in 2006!
The SciFi Network always wows the crowds with its amazing booths at Comic-Con.
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COMIC-CON EXHIBITORS 2006 It’s early in the game but an amazing diversity of exhibitors have already signed up for the 2006 Comic-Con International. Check it out! A & G Comics A-1 Comics Abismo/Nerve Bomb Ablaze Media About Comics Harry N. Abrams Abstract Studios, Inc. ACME Action Figure Authority, Inc. Action Figure Xpress Activision Adventure Retail/Atlas Games/Steve Jackson AiT/Planet Lar AK Comics AKA Comics Albert Moy Artworks AlcatrazHigh.com AlexRossArt.com Alias Enterprises Alien Entertainment Company The Aliens Legacy Allen Spiegel Fine Arts Altair 4 Collectibles Amazing Adventures Amelia Rules/Buzzboy/ WJHC Amy Brown Signature Series Android 8 Animationmentor.com AnimEigo, Inc. Anime Depot Anime Link Anime Pavilion AnimeEd.com Antarctic Press Anthony’s Comic Book Art Anti-Ballistic Pixelations Applehead Factory, Inc. Sergio Aragonés Arcade Comics Arcana Studios Archaia Studios Press Art Asylum Artbox Entertainment ASIFA- Hollywood Aspen MLT, Inc. The Asylum Asymmetric Publications, LLC Atomic Age Collectibles Atomic Art & Music Atomic Monkey Inc. Attaboy’s Yumfactory/Hifructose Atticus Clothing, Inc. Avatar Press. Inc. Backbone Entertainment Badali Jewelry Specialties, Inc. Bag of Chips/Blank Label Comics Kyle Baker Publishing Bakshi Productions, Inc. Jim Balent’s BroadSword Comics
Basement Comics BBI/Merit International LLC Bedrock City Comic Co. The Behemoth Bennettblacklite.com Big Wow Art Bijou Bill Cole Enterprises Black Cat Comics Black Gold Comics & Graphics Blacksmith Entertainment Blackwater Blick Art Materials Bliss On Tap Bloodﬁre Studios Bloody Mary Bongo Comics Group Brand Fury/Yolk /Blacklava Break Point Books Brian’s Toys, Inc. Bro Hawk Studio Broadview Graphics Broccoli Books/Synch Point Brom Brota Oroian Bud Plant/Hutchison Books Bud Plant Comic Art Buenaventura Press Build-A-Rama Bob Burden Jim Calaﬁore, Mark McKenna, Mike McKone, Mark Sparacio Calcom California Comics California Hot Shots Capcom Entertainment, Inc. Cards and Comics Central Cartoon Passion Cas Iberia Caveman Robot Century Guild Chessex Manufacturing Chimera Publishing Chimni Mark Christiansen Christopher Reeve Paralysis Foundation Cine-East Circus Punks Ciruelo—Fantasy Art Claypool Comics Club Coconut Coastline Comics Cobblestone Books Cold Cut Presents: Indy Island Collectibles Insurance Agency College for Creative Studies College University, LLC Com Station Z Combustibleorange.com/ Mwtfunny.com/stuﬀsucks.com Comic Base/Atomic Avenue Comic Book Legal Defense Fund The Comic Cellar Comic Collector Shop Comic Gallery Comic Heaven Comic Images Comic Madness
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Comic-Central.com Comicquest Original Art Comics Buyers Guide Comixwave Inc. ConDor Conventions Conjecture V Consumer Systems Co. The Contemporarier Cool Stuﬀ/Reel Art Coollines Art Corgi USA, Inc. Craig Elliott/Aristata Publishing Crazy Cat Comics Creation Entertainment Creatus Maximus Critterbox, LLC Crush County Studios/Rankinstein Multimedia/The Gute Productions Crystal Caste CrystalEtching.com D.F. Productions D7 Studios, Inc. Dale Roberts Comics Dark Horse Comics, Inc. Das Illustration Dave Nestler Pinup Art David Haug DVDs David’s Doodles/Jim VanDerKeyl Prod. Dayfree Press DC Comics Roger Dean Design Studio Press Devil’s Due Publishing Diamond Comics Distributors Diamond Select Toys & Collectibles Digital or Not Digital Webbing Disguise, Inc Disney Consumer Products DKE Toys/ Distributoys Donato Arts Dreamworks DrShroud.com Drunken Master Drawn & Quarterly Dumbrella e frontier Echobase Toys Scott Eder/Comicbookart.com Electric Tiki Design, Inc. Steve Ellis Illustration Elmore Productions Emily the Strange Emotes by Evergrow Endless World The Entertainment Art Academy Entertainment Earth Epic Proportions Every Picture Tells a Story Exhibit A Press Fantagraphics Books Fantasia Toys Fenickx Productions Film School Conﬁdential First Second Books Flapjack Toys
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THE AMAZING ART AUCTION Auctions have long been used to raise funds for worthwhile projects, and Comic-Con International’s annual Art Auction is just such an event. As a means of raising money to help attendees with special needs through the Disabled Services Department, the Art Auction features pieces from leading comic and sf/fantasy artists working in the industry today. These skilled professionals produce their work live on stage in front of many eager fans; the art is then auctioned oﬀ during the weekend. “Each of the artists has their own style,” observes Clydene Nee, the Art Show/Artists’ Alley Coordinator. “Some of them attack the canvas or paper, doing big strokes and you don’t see what’s happening. Then, as if it comes out of nowhere, there’s a face, a body, a mountain.” Conversely, Nee recalls the year artist Charles Vess participated and “he sat there just making these tiny little strokes. Then all of a sudden you saw from his little strokes this giant tree and this faerie descending from it. It was a really miraculous event.” Although primarily industry professionals are invited to participate, on Thursday and Friday fans can sometimes get in on the action as well. Interested visitors must show their portfolios to Nee or her assistant
Jean Goddin and, if accepted, will be allowed on stage; Comic-Con oﬀers the supplies free of charge to participants. Attendees are welcome to watch throughout the weekend and bid on the items during the Saturday and SunWonderful pieces of art, like day auctions, and this Batman by Stuart Sayger, for serious collectors are available at the Comicit’s one of the hotCon Art Auction. test places to score works from names like Jim Lee, Joe Chiodo, Monte Michael Moore, Jerry Vandersteldt, and more. Whether as a participating professional, an observer, or one of the lucky bidders, you’re what makes the Comic-Con Art Auction function. The 2006 event is already set with some top name artists, so stop by throughout the weekend and become a part of this fun and worthy cause. The Art Auction is located in the Exhibit Hall.
WHAT IS DISABLED SERVICES? Comic-Con International is dedicated to serving all of our attendees; as such the Disabled Services department was established to oﬀer a hand to visitors with special needs. What does that entail? • 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 register 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 hearing-impaired at large panels and the Masquerade • Special limited seating for large programming events and the Masquerade Comic-Con wants to make your visit fun and entertaining, but this show is so big that even Super-
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man or The Mighty Thor would have a tough time tackling all the challenges. As such, we have a few limitations. 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 the disabled services department is notiﬁed at the last minute. Please read your Events Guide and plan your day accordingly, keeping in mind the popularity of certain events. • Special autograph sessions are always limited to the ﬁrst 100 to 200 people in line no matter who the attendee is; you can make arrangements to have someone within your group save a spot for you in line, but Disable Services cannot guarantee any seating, autographs, or giveaways. The Disabled Services team is here to help; by working together we can make this an enjoyable convention experience for everyone.
THE COVER KING Brian Bolland Comes to Comic-Con British artist Brian Bolland has a long history of impressing fans with his gorgeous drawings. From his early work on Judge Dredd in the UK magazine 2000 AD to his numerous covers for Animal Man, Batman Gotham Knights, Wonder Woman, and The Flash, his clean lines and attention to detail boldly stand out amid a sea of other superhero images. In anticipation of Bolland’s return to Comic-Con as a special guest in 2006, we spoke with him about his life in comics.
WHAT DO YOU CONSIDER YOUR FIRST BREAKOUT JOB? I did a lot of one-oﬀ illustrations for very little money. Back in the late 60s, early 70s, we had the alternative youth culture underground magazines and I did quite a few drawings for them. But for proper comic book work I did a thing called Powerman, which was published in England but distributed in Nigeria. Dave Gibbons and I did alternate issues, so that was my ﬁrst two years worth of continual work.
COMIC-CON INTERNATIONAL: YOU STARTED DRAWING AT A VERY YOUNG AGE. WHAT DID YOUR FAMILY THINK ABOUT YOU WANTING TO BE AN ARTIST? BRIAN BOLLAND: They were supportive but I don’t think they understood it. My father was a farmer, and to his credit he was prepared to pay for my art school time even though he didn’t really know much about it. He didn’t have any interest in it. I think he assumed that it would lead to a paying career, which is not always the case. (He laughs.) But at least I had that degree of support. WHEN YOU WENT OFF TO SCHOOL, DID YOU WANT TO BE A COMIC ARTIST? I was mad keen on dinosaurs and there was a Dell comic in 1960 called Dinosaurus!, which was a comic book of a Jim Danforth movie—he was a [stop-motion animator like] Ray Harryhausen but not as good. My grandmother bought me this comic, which really started me oﬀ buying comics and getting me wanting to do that kind of thing. AND LOOK AT YOU NOW. It’s quite a life. I could have been something that paid really well. I could have been a Captain of Industry! I could have been a diplomat!
© 2006 DC Comics. All Rights Reserved. TOP OF PAGE: Self-portrait © 2006 Brian Bolland
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Then I started doing Judge Dredd in 2000 AD in England, and that was a great leg up because he turned out to be a really popular character. So I was kind of hitched to a very popular character, which didn’t do me any harm at all. WAS THAT HOW YOU STARTED DOING SO MANY COVERS FOR U.S. COMICS? The ﬁrst work I did on 2000 AD that had Judge Dredd was all cover work. I did quite a lot of the covers before I started doing regular interior work. But the cover work for DC really came as a result of doing [the maxiseries] Camelot 3000, which was another 280 pages or something, and then I did The Killing Joke. BETWEEN YOUR ART, ALAN MOORE’S WRITING, AND WHAT HE DID WITH THE CHARACTERS—SUCH AS HAVING THE JOKER PARALYZE BARBARA GORDON, AMONG OTHER THINGS— KILLING JOKE BECAME AN INSTANT HIT. WHAT HAPPENED FOR YOU AS A RESULT? I got a lot of work oﬀers, but I obviously hadn’t got time to do all that work because I’m quite slow.
So they said, “If you can’t do the interiors can you do the cover?” So the cover work came as a result of that. I was more able to ﬁnd time to do covers than I was to do a 25-page comic book regularly. YOUR RUN DOING THE WONDER WOMAN COVERS WAS WONDERFUL. Really? That’s very, very nice of you to say. I always thought she was sexy, I thought the costume was very sexy. WHICH COVERS HAVE BEEN YOUR FAVORITES TO DRAW? I’m a DC fan so I always enjoy drawing the DC characters that I read when I was a kid. I really enjoyed drawing the covers on this short-lived Tank Girl series because I like that spiky and dark humor that was on Tank Girl. I found myself with loads of ideas for those covers. I do like a kind of surreal humor to creep into the work and there isn’t always that much scope for it because a lot of the [superhero] characters you have to take very seriously. I enjoy drawing Batman. There’s something about the Joker, I could draw him until the cows come home. And the Penguin, actually, I like him. DO YOU HAVE A DREAM JOB YOU’D LIKE TO DO NOW THAT YOU CAN SORT OF PICK AND CHOOSE YOUR PROJECTS? I’ve got a number of projects that pop into my mind. I do quite enjoy drawing stuﬀ that I’ve written myself, and I’d like to do that not because I think I’m a good writer. I always believe that there is something about the medium of comics where if you could devise the whole thing you could entwine the visuals with the writing in such a way that a writer who is not also drawing it wouldn’t be able to do. So a dream job for me would be something I devised myself. I did a story in Batman Black and White where I was able to write and draw the thing, and it didn’t have to be colored so that was a dream job for me. WHEN DID YOU FIRST ATTEND COMIC-CON? I was there in 1977 but as a paying customer. I was there in 1982 as a professional artist. I hear it’s changed quite a bit. I think in the old days it was just a comic convention, now it’s a proper professional trade fair, isn’t it? I’m excited to come.
A MAN AND HIS MOAT: When not illustrating some of the most popular covers in comics, Brian Bolland spends his free time cleaning the moat around his home.
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You can hear more from Brian Bolland at the 2006 Comic-Con International.
FIRST-HAND EXPERIENCE Attendees See Long-term Beneﬁts from Comic-Con’s Instructional Seminars How do you become a professional in any given industry? At Comic-Con, that question rages through the minds of many attendees who hope to become the next Neil Gaiman, Alex Ross, or even Stephen Spielberg. To help attendees realize their dreams, Comic-Con has a long-standing tradition of oﬀering programming in which professionals from numerous ﬁelds present the concrete steps one can take to become a writer, artist, inker, self-publisher, ﬁlmmaker, cartoon voice actor, costumer, and more. And among the most useful sessions oﬀered during the four-day convention are Comic-Con’s hands-on panels. “It’s like going to a play,” says Jeﬀ Watts of the Watts Atelier School in San Diego, who presents “Life Drawing” and “Painting From Life” seminars at Comic-Con every year. “You get to actually see someone put their credibility on the line and produce a painting right in front of you as you learn. That’s kind of cool.”
Housed in Convention Center meeting rooms, the most common hands-on seminars focus on art and illustration. Instructors generally work at easels, via overhead projectors, or with computer Jeff Watts hook ups to demonstrate the various styles and techniques being discussed. Larger panels oﬀer more basic instruction, whereas limited-seating events allow the instructor to oﬀer more speciﬁc suggestions and critiques to attendees. In cases like Watts’ Life Drawing seminar, live models are even brought in to help students learn the importance of translating reality into their artwork. “People like myself didn’t have these types of classes in this ﬁeld,” explains Billy Martinez, publisher of Neko Press Comics. Martinez, an invited guest for Comic-Con 2006 who also runs an art school in San Diego, oﬀers the jam-packed “How To Draw Manga Style” as well as other seminars. “These kids are the industry’s next professionals, so it’s important they have the right tools. It’s [also] beneﬁcial to the parents so they can see what we do and know it’s a valid art form. It’s about getting the awareness out there.”
Phong Le © SDCC
These events are open to all skill levels, though seminars like Martinez’s are dedicated toward younger attendees for Sunday’s Kids’ Day programming. But both he and Watts stress that these are low-key programs meant to teach while having fun.
Erik M. Gist, instructor at Watts Atelier of he Arts, conducts a 25-minute life drawing demonstation with model Marlo Meekins at a Comic-Con instructional seminar. Materials are charcoal pencil on newsprint.
“People are welcome to sit and sketch and observe, and some will just do a drawing from the model along with us,” explains Watts, a working artist who teaches the atelier method, which is an apprenticeship style of training that was common in turn-of-the-century Europe. “We’ll come around, give advice, and sometimes do a tracing layover for COMIC-CON INTERNATIONAL: SAN DIEGO
them, but it’s really an unintimidating thing. It’s just drawing from life.” Watts does occasionally meet attendees who wonder why they need to learn life drawing in order to become comic book artists, but his answer is simple. “If you’ve got really stiﬀ ﬁgures that are anatomically incorrect and don’t have any feeling of form because the lighting is not correct on them and you don’t understand edges and value, then how are you going to tell a story?” he asks. “It’s impossible.” Being both a working artist and a comics publisher, Martinez also teaches panels on the business side of the industry, skills that many prospective professionals ignore. As he explains, “People come to
shows who want to be comic artists but they don’t know how to put a portfolio together, how to look you in the eye and talk properly at an interview. I explain common etiquette, what you need to do in this business, and how you need to conduct yourself as a person.” Ultimately, though, both Watts and Martinez say that the way for attendees to get the most out of these panels is by showing up and giving them a shot. “I think for people coming in it’s important to just keep an open mind and enjoy the process.” You can ﬁnd out more about Billy Martinez at www. nekopresscomics.com and Jeﬀ Watts through www. wattsatelier.com.
BLOOD DRIVE: MOVES TO MARRIOTT
K. Green © SDCC
Annual Event Celebrates 30th Anniversary
Staff proudly display the 2005 Blood Drive T-shirt. The Robert A. Heinlein Blood Drive is a major event at Comic-Con International. Last year alone saw 855 people oﬀering to donate their blood, with 590 being able to complete the process, making Comic-Con the second largest donating organization in San Diego after the Chargers. And with 2006 marking the Blood Drive’s 30th, some really exciting changes are in store. As in the past, all donors will receive a San Diego Blood Bank T-shirt and a bag of fun stuff contributed by Comic-Con’s generous exhibitors. A raffle will also be held so donors can score some higher-end items, and talks are underway for other super cool surprises; last year that included Diamond Select Toys contributing an exclusive “T1” unpainted Spike action figure
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from Season 5 of Angel to the first 500 donors, so who knows what might come along for 2006. Also making headlines is the Blood Drive’s move to the gorgeous Marriott Hotel & Marina next door to the Convention Center. In this beautiful new location, visitors will discover a much more relaxed atmosphere in which to oﬀer up their arms, allowing the Blood Bank to process even more donors while also ensuring a pleasant experience overall. The Blood Drive booth will still be located in the Sails Pavilion on the Convention Center’s top ﬂoor for all your on-site questions. You can look for further information on this amazing anniversary at www.comic-con.org and in future issues of Update. We look forward to draining you dry next summer!
AMAZING ANNIVERSARIES Special Themes Announced for Comic-Con 2006 Special events are always worth remembering, which is why Comic-Con International eagerly celebrates anniversaries from the comic book and pop culture universes. Through dedicated programs at the Convention Center or artwork and articles inside the free CCI Souvenir Book, we remember these important moments in fan history. The 2006 show is no exception, with a wide variety of themes to excite enthusiasts of all ages and backgrounds. DICK TRACY’S 75TH ANNIVERSARY Entertaining readers since 1931, Chester Gould’s Dick Tracy strip grew out of the lawless Depression era, when such real-life ﬁgures as Al Capone and John Dillinger ruled the headlines. The world’s greatest comic strip detective has since conquered movies, TV, and cartoons and remains one of the most thrilling characters ever published. GUMBY GUMBY’S 50TH ANNIVERSARY He was once a little green slab of clay . . . but now he’s 50, dammit! Hard to believe the little green guy (not to mention his pony pal, Pokey, too) is celebrating a half-century of pop culture popularity. THE FLASH AND THE SILVER AGE OF COMICS COMICS’ 50TH ANNIVERSARY We can argue this point until the cows don bright red suits and dash home faster than the speed of sound, but some fans regard the 1956 re-creation of The Flash in Showcase #4 as the “oﬃcial” beginning to the Silver Age of Comics; either way, it’s cause to party. SPACE GHOST’S GHOST 40TH ANNIVERSARY Before he went “Coast to Coast,” Space Ghost was a popular 1960s Saturday morning cartoon character. Comic-Con International honors the enduring appeal of a character who not only survived against cosmic villains but went on to become a Cartoon Network “talk show host” and the star of his own DC Comics miniseries! THE ORIGINAL STAR TREK’S 40TH ANNIVERSARY From its humble beginnings on network television, Gene Roddenberry’s Star Trek franchise went on to become a juggernaut, producing multiple TV series, a score of feature ﬁlms, and more merchandise than a cargo hold full of tribbles. Now it’s time to celebrate the 40th anniversary of the original Enterprise crew, who continually fulﬁlled its mission to, “Boldly go where no man has gone before …” JOIN IN ON THE FUN More anniversaries and special programming themes are coming, and Comic-Con welcomes articles and artwork based on these titanic topics for the 2006 Souvenir Book. So if anything on this list strikes your fancy, or to ﬁnd out more information on these events, visit www.comic-con.org/cci/cci_progbk.shtml.
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THE GALLERY OF GUESTS For Comic-Con 2006
Comic-Con International’s invited guest list continues to grow, adding creators from across the popular arts universe.
nominated for an Academy Award. Art School Conﬁdential, Clowes’s newest ﬁlm based on his Eightball stories, will be released in 2006.
PETER S. BEAGLE JUST ADDED An accomplished novelist, songwriter, and screenwriter for both television and feature ﬁlms, Peter S. Beagle is best known for his wonderful fantasy novel The Last Unicorn. Other novels include Tamsin, The Unicorn Sonata, and The Innkeeper’s Song, while his movie and TV projects include scripts for the animated versions of The Last Unicorn and Lord of the Rings, plus the “Sarek” episode of Star Trek: The Next Generation. WHAT ARE YOU CURRENTLY READING? “There’s usually a book open in every room of the house, and in the car as well. My father advised me very long ago, “Always bring a book. You never know.” Currently I seem to read more history than ﬁction, more mysteries than science ﬁction or fantasy, more poetry than I have since I was a good deal younger. At the moment I’m reading, pretty much simultaneously, James Shapiro’s A Year in the Life of William Shakespeare: 1599; James Lee Burke’s Crusader’s Cross; Stephen Becker’s The Last Mandarin, Jerome Charyn’s Savage Shorthand: The Life and Death of Isaac Babel, [and I] just ﬁnished Alan Furst’s World War II novel Red Gold this morning while waiting for the coﬀee to brew.”
BRIAN BOLLAND JUST ADDED One of Great Britain’s most respected comic artists, Brian Bolland has made a huge mark with American audiences as well. Check out his interview with Comic-Con Update on page 23. DANIEL CLOWES Dan Clowes’s incredible body of work includes 23 issues of Eightball (published by Fantagraphics) and several collections, including David Boring, Caricature, and Pussey. His most recent book is Icehaven (a reformatted version of the award-winning Eightball #22) published by Pantheon. Ghost World, his most popular work, was made into a movie starring Thora Birch and Scarlett Johanson; the screenplay was
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BRIAN FIES JUST ADDED Freelance writer, journalist, and cartoonist Brian Fies lives in Northern California with his wife and twin daughters. His online series, Mom’s Cancer, based on his mother’s diagnosis and treatment for lung cancer, won the 2005 Eisner Award for Best Digital Comic. The Mom’s Cancer graphic novel is being published by Abrams Books this spring. BASIL GOGOS JUST ADDED The dean of American monster mag cover artists, Basil Gogos is best known for his incredible run of covers on Forrest J. Ackerman’s Famous Monsters of Filmland. His vibrant and evocative paintings made FMoF literally pop oﬀ the newsstand racks, and 2006 marks his ﬁrst appearance at Comic-Con International. CARMINE INFANTINO JUST ADDED You can’t celebrate the Silver Age Flash’s 50th anniversary without the man who redesigned and redeﬁned him! We spoke with Mr. Infantino and you can read all about it on page 14.
EVERETT RAYMOND KINSTLER Everett Raymond Kinstler’s artistic career began with illustrating comics like Hawkman and Zorro and pulp novels featuring The Shadow and Doc Savage. He went on to become one of the world’s leading portrait artists, painting such celebrities as Tony Bennett, Carol Burnett, Katharine Hepburn, and James Cagney. Kinstler also holds the record for painting the most government cabinet oﬃcers of any artist, and his artistic renderings of Presidents Ford and Reagan are oﬃcial White House portraits. ROBERT KIRKMAN Robert Kirkman is one of the hottest and fastest-rising writers in comics today. His work on Invincible and The Walking Dead for Image Comics has brought him industry-wide attention. For Marvel, Kirkman has written Gravity, and he is working on an upcoming Invincible/Spider-Man team-up.
JAMES KOCHALKA James Kochalka’s disarmingly charming art has made him one of the most recognized cartoonists working in indy comics. Best known for his ongoing sketchbook diary, American Elf, and his latest book, Super F*ckers, his past credits include Monkey vs. Robot, Peanutbutter & Jeremy, Fancy Froglin, and Fantastic Butterﬂies. In addition to cartooning, “James Kochalka Superstar” has built a cult following for his music. JAMES KOCHALKA, WHAT ARE YOU READING? Here’s my recent reading list: Invincible by Robert Kirkman Giant Robot magazine The Summer Book by Tove Jansson Knuﬄe Bunny by Mo Willems Acme Novelty Library by Chris Ware The Golden Plates by Michael Allred Barlowe’s Guide to Extraterrestrials by Wayne Douglas Barlowe B.J. and Da Dogs by Ben Jones
ROGER LANGRIDGE Roger Langridge was born in New Zealand and moved to London in the early 1990s to try his hand as a professional cartoonist. He is best known for his work on Knuckles the Malevolent Nun (Antipodes Publishing) and Fred the Clown (Fantagraphics Books). Fred’s adventures also appear online as Hotel Fred.
ROGER LANGRIDGE, WHAT’S ON YOUR “TO READ” LIST? Fiction: The Vesuvius Club by Mark Gatiss Thud! by Terry Pratchett Nicholas by René Goscinny (translated by Anthea Bell) The Closed Circle by Jonathan Coe Nonﬁction: London 1945 by Maureen Waller Surviving the Sword: Prisoners of the Japanese 1942-1945 by Brian MacArthur Men of Tomorrow: Geeks, Gangsters and the Birth of the Comic Book by Gerard Jones How Mumbo-Jumbo Conquered the World by Francis Wheen Comics & Graphic Novels: Blankets by Craig Thompson The Gumps by Sidney Smith—picked up a 1970s hardback collection recently oﬀ eBay. Ludicrous melodrama but great fun.
BILLY MARTINEZ JUST ADDED Artist, publisher and educator Billy Martinez has been teaching comics illustration in the San Diego area for over 12 years, but he’s more widely known among fans for his comics company, Neko Press, which recently celebrated its 5th anniversary. Martinez’s creations include Wildﬂower and Kickass Girl, and his work has appeared in Heavy Metal magazine and on the SCI FI Channel show The Chronicle. WHAT’S ON YOUR CURRENT READING LIST? Flight (Image) These collections of short stories are not just entertaining but amazing to the eye. Teenage Mutant Turtles- Artobiography (Heavy Metal) This collection of Kevin Eastman’s works on the turtles is a treat for any aspiring artist. This 296-page book will inspire any artist to keep drawing and get to work! Jim Mahfood’s classic 40 oz. Comics (Image) This collection dates back to some of Jim’s early work before his workings with [Brian Michael] Bendis and Kevin Smith. It’s a great journey from page to page.
´ ` JUST ADDED JEAN-CLAUDE MEZIERES French artist Jean-Claude Mézières ﬁrst came to the attention of comics readers after a reunion with his childhood friend Pierre Christin, who in 1966 wrote a script for him to draw for Pilote. Mézières COMIC-CON INTERNATIONAL: SAN DIEGO
subsequently illustrated scripts by Fred, Reiser, Lob, and Goscinny. Then in 1967 he and Christin started Valérian, which soon became one of the most popular French science ﬁction series. Mézières produced a number of color short stories for Métal Hurlant in the late 1980s, and he continued working with Christin on such graphic albums as Lady Polaris and Canal Choc. SHELDON MOLDOFF JUST ADDED One of the Golden Age’s greats, Sheldon Moldoﬀ returns to Comic-Con after a few years’ absence. Moldoﬀ co-created the original Hawkman and had a long run ghosting the art on many Batman titles into the 1960s. Today, fans eagerly seek out fullcolor re-creations of Moldoﬀ’s popular work. JIM MOONEY JUST ADDED With a career dating back to Timely Comics in the 1940s, Jim Mooney is one of the most beloved artists of the Golden and Silver Ages of comics. While he is known for working on Tommy Tomorrow and Superboy at DC and Spider-Man at Marvel, he is probably best recognized for his work on Supergirl.
of publisher Alfred A. Knopf Books for Young Readers. Knopf subsequently released Eragon in August 2003, and it became a best-seller. Eldest, book two in the Inheritance Trilogy, was published by Knopf in August 2005. GEORGE PÉREZ JUST ADDED One of comics’ most beloved artists, George Pérez has drawn a veritable who’s-who of A-list characters to ever appear in print. From his 1980s co-creation of the New Teen Titans with Marv Wolfman to his mega-successful JLA/Avengers crossover miniseries with Marvel and DC, Pérez’s work has thrilled comics fans for over three decades.
HOWARD PORTER JUST ADDED Howard Porter’s vibrant and action-packed layouts make him one of the most exciting artists working in super-hero comics today. He has drawn the Fantastic Four for Marvel and The Ray for DC, but it was his revitalization of JLA with writer Grant Morrison that took the comics world by storm. Porter’s latest work includes a run on the Flash comic with writer Geoﬀ Johns. BESIDES GETTING EVERY DC COMIC, WHAT ELSE IS HOWARD PORTER READING? “I look for anything Hellboy—[Mike] Mignola. I recently discovered the Acme Novelty comic stuﬀ and try and ﬁnd anything I can by Chris Ware. I also really enjoy ﬁnding self-published books when I go to conventions, particularly the really old school ones that have been made with a copier and stapler.”
ANDY RUNTON Andy Runton’s Owly, published by Top Shelf, has charmed critics and readers alike and was nominated for Best Publication for a Younger Audience in the 2005 Will Eisner Comic Industry Awards. In his series of Owly books, Runton’s nearly wordless storytelling showcases both his gift for characterization and his love of wildlife and the outdoors.
CHRISTOPHER PAOLINI JUST ADDED Christopher Paolini penned his ﬁrst novel, Eragon, while living in Paradise Valley, Montana, with his parents and younger sister. After reading his work, his family self-published the book, promoting Eragon across the U.S. until it came to the attention
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ANDY, TELL US WHAT YOU’RE CURRENTLY READING. For comics and more: Where Hats Go by Kurt Wolfgang Beach Safari by Mawil Spiral Bound by Aaron Renier Calvin and Hobbes by Bill Watterson
Rover by Michael Foran Flight by the Flight crew Moo-Cow Fanclub children’s magazine by Becky Ances and Ryan Wilson And for children’s books: Lyle, Lyle Crocodile by Bernard Waber Paddington Bear by Michael Bond Make Way for Ducklings by Robert McCloskey Curious George by H. A. Rey Babar by Jean De Brunhoﬀ Stellaluna by Janell Cannon
JOHN WAGNER Born in the U.S. but a resident of the U.K. since he was 13, writer John Wagner is best known as the co-creator of Judge Dredd with artist Carlos Ezquerra, and he continues to work on the series almost 30 years after its creation. Wagner also scored raves for his work on Batman, Button Man, and The Bogie Man, the United Kingdom’s bestselling indy comic. Most recently, director David Cronenberg adapted Wagner’s graphic novel A History of Violence into a movie that has received great critical acclaim. SHAG JUST ADDED Pop artist “Shag” is the alter ego of Josh Agle, who created the moniker using the last two letters of his ﬁrst name and the ﬁrst two of his last. He began his professional career as an illustrator/designer but soon found his original paintings garnering considerable attention from galleries and collectors. Shag’s colorful and playful retro style consistently charms fans, and a major book on his work, Shag: The Art of Josh Agle, debuted in 2005.
WHAT IS JOHN WAGNER READING? “At the moment I’m reading Blue at the Mizzen, the last of Patrick O’Brian’s excellent Jack Aubrey naval stories (Master & Commander), and sorry I’ll be to see them go. Also The Book of Heroic Failures, a collection of often spectacular un-successess, by Stephen Pile, and a similar volume, Man Suﬀocated by Potatoes, by William A. Marsano.”
YOSHIHIRO TATSUMI JUST ADDED Known as the grandfather of alternative manga in Japan, Yoshihiro Tatsumi is highly regarded by cartoonists—and fans—all over the world. Tatsumi’s work predated the advent of the literary graphic novel movement in the United States by 30 years, and it has ﬁnally made it into English translation with the publication of Drawn and Quarterly’s The Push Man and Other Stories, which reprints classic tales from the artist’s 1960s period; 2006 marks his ﬁrst appearance at Comic-Con International.
SCOTT WILLIAMS One of the most popular inkers working in comics today, Scott Williams is best known for his work with Jim Lee. His projects include inking the best-selling Batman: Hush and Superman: For Tomorrow story arcs, and he is currently inking DC’s All Star Batman and Robin the Boy Wonder. Don’t miss out on any of the action! For the latest convention news and information on newly added special guests visit www.comic-con.org. COMIC-CON INTERNATIONAL: SAN DIEGO
WE WANT YOU!
Though they remain mostly unseen by convention attendees, the backbone of Comic-Con International is the volunteers. These ﬁne folks help keep everything running smoothly, and in 2005 The 2005 T-shirt front . . . over 1,100 people served in every department. We need you to join that team in 2006. REQUIREMENTS All the assigned tasks are pretty basic but volunteers . . . • Must be 16 years of age or older. • Should possess a positive attitude and a willingness to help.
WHAT YOU GET Some amazing perks, including . . . • A chance to work on the greatest comics and pop culture convention in the world! • Free entrance into that very same convention for the day you volunteered, which means no waiting in line. • A free volunteer Tshirt like the one pictured here, but only after completing a speciﬁc number of tasks for the department. • The opportunity to attend Preview Night, so you . . . and back.
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can check out the Exhibit Hall before it opens to the general public (this perk is for pre-registered volunteers only). • The opportunity to attend the CCI Volunteer Picnic in June if you pre-register to volunteer by May 25. At this festive event you get to meet fellow volunteers, introduce yourself to department heads, possibly get recruited into the department you want to work for, and win cool door prizes; now how much fun is that? HOW YOU DO IT It’s super easy, but pay attention to the ﬁne print! • Pre-registration forms must be postmarked by June 23, 2006, and if you want to attend the picnic you need to sign up by May 25. • To secure a form or obtain more info, contact the Volunteers Department via mail, fax, or e-mail (firstname.lastname@example.org) or by marking the appropriate space on the Multipurpose Form in this booklet and mailing it. You can also download everything you need at www.comic-con.org. • You can register onsite, but make the Volunteer Desk your first stop when landing at the Convention Center. Just remember, if you don’t preregister, there will be no Preview Night for you.
Judges Named, Entries Sought Entries are now being accepted for the 18th annual Will Eisner Comic Industry Awards, to be given to the ﬁnest publications and creators of 2005. Publishers can submit any comic, graphic novel, or comics-related periodical or book that was shipped to retailers between January 1, 2005 and December 31, 2005. The deadline for submissions is March 10. The submitted items will be considered by a blueribbon panel of judges, who will select the ﬁnal items to appear on the Eisner Awards ballot. This year’s judges, who have been chosen by Awards Administrator Jackie Estrada, are:
John Gallagher, cartoonist, self-publisher, and award-winning designer. Under the Sky-Dog Press banner, Gallagher has written and illustrated his online and printed graphic novel series Buzzboy since 1998, and he has run his own award-winning design and custom comics studio since 1994. Gallagher organized, edited, and published More Fund (2003) and Even More Fund (2004) comics anthologies, which raised thousands of dollars to beneﬁt the Comic Book Legal Defense Fund. He is a member of the SPX Steering Committee and sits on the Baltimore Comic-Con advisory board. Nisha Gopalan, comics editor at Entertainment Weekly. As a staﬀ editor at EW, Gopalan also works on the News and Notes and music sections. Prior to joining EW, she was employed at Premiere magazine, where she was pretty much the only comics
Jessica Wethington McLean © Eisner Awards
Christopher Allen, managing editor for ComicBookGalaxy.com. He has written for The Comics Journal, MoviePoopShoot.com, NinthArt.com, and other websites. He is also into the ﬁfth year of his Breakdowns column for ComicBookGalaxy.com.
enthusiast in the oﬃce and used that distinction to interview any comics creator she could get on the phone. Robert Randle, purchasing brand manager for Diamond Comic Distributors. A graduate from the Maryland Institute, College of Art in 2001 with a BFA in Illustration, Randle has completed freelance art assignments for a variety of clients, including published works in the comic book industry. He has been a buyer for Diamond since 2002 and is responCOMIC-CON INTERNATIONAL: SAN DIEGO
sible for the promotion and distribution of various large, mid-range, and small publishers, reviewing new submissions for acceptance into the Previews catalog, and writing reviews for comics in the Staﬀ Picks section of Previews.
co-owned The Comic Alternative in San Diego during the early 1980s and reentered comics retailing with Comickaze in 1992; the store was recently named San Diego’s Best Comic Store for 2005 by San Diego City Beat.
Robert Scott, owner/operator of Comickaze Comics Books and More in San Diego. An avid reader of comics in his early teens, Scott has continued his love of the medium as a fan, retailer, writer, and/or publisher (AFC Studio) for the last 25 years. He is also the founder of The CBIA (Comic Book Industry Alliance), an industry trade forum. Scott previously
“The judges are chosen for their knowledge about comics, their wide-ranging tastes, and their impartiality,” says Estrada. Because all publishers and creators have the opportunity to submit their work for consideration, the judges are able to look at the full spectrum of material published in the previous year.
EISNER AWARDS SUBMISSION INFORMATION Publishers submitting entries for consideration should send one copy each of the comics or books to be considered and include a cover letter indicating what is being submitted and in what categories. The tentative categories include best single issue, best short story, best serialized story, best continuing comic book series (at least two issues must have been published in 2005), best limited comic book series (at least half of the series must have been published in 2005), best new series, best title for a younger audience, best anthology, best graphic album—new material, best graphic album—reprint, best archival collection, best humor publication, best U.S. edition of foreign material, best webcomic, best writer, best writer/artist, best penciler/inker (individual or team), best painter (interior art), best lettering, best coloring, best comics-related book, best comics-related periodical, and best publication design. The cover letter should also include both a mailing address and an e-mail address. Publishers may submit a maximum of ﬁve items for any one category, and the same item or person can be submitted for more than one category. Each imprint, line, or subsidiary of a publisher may submit its own set of entries. There are no entry fees. Creators can submit materials for consideration if: (a) their publisher is no longer in business; (b) their publisher is unlikely to participate in the nomination process; or (c) they have severed connections with the publisher or have similar reasons for believing that their publisher is unlikely to consider nominating them or their work. All submissions should be sent to Jackie Estrada, Eisner Awards Administrator, 4657 Cajon Way, San Diego, CA 92115, before the deadline of March 10. The nominees will be announced in April, and ballots will go out in May to some 5,000 creators, editors, publishers, distributors, and retailers. The results will be announced by celebrity presenters at the gala awards ceremony on the evening of July 21 at Comic-Con International in San Diego. The full Call for Entries information can be found in the Eisner section of the CCI website: www. comic-con.org.
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And Make Life Easy! But you don’t understand… I’M HIS FATHER! Man, I told you to pre-register!
Just ﬁll out the Multipurpose Form on page 37 and fax or mail it in with the appropriate payment. It’s that simple. You’ll be sent a conﬁrmation receipt; bring that receipt (along with a picture ID) to the pre-registration badge pickup at Comic-Con International 2006, and you’ll receive your badge, holder, Souvenir Book, and Events Guide. Seriously, you’d be hard-pressed to ﬁnd a smoother way to begin your convention experience.
Longtime convention attendees will attest that the fastest and easiest way to attend Comic-Con International is by pre-registering. Doing so can save you cash, get you early entrance into the Exhibit Hall during Wednesday’s Preview Night, and bestow super powers on the ﬁrst 100 people to sign up! Okay, that bit about super powers was a lie. But preregistration can make your life a heck of a lot easier, and here’s how it works.
And don’t forget about Preview Night! Absolutely no Comic-Con memberships will be sold on Preview Night (Wednesday, July 19), so only those attendees who have pre-registered for a full four-day membership can gain admittance to that special night. Sure, you could just hold oﬀ until the convention, stand in line to register, and pay full price—but why? When things are this easy, you should really take advantage of them. You’ll save time, save money, and be able to enjoy Comic-Con International that much sooner.
REGISTRATION FUN FACTS!
Postmarked by June 21, 2006 Adults: $65 Juniors (12-16)/Seniors (60+): $30
Here’s your handy guide to all things registration.
• All prices are subject to change. Children 11 and under are free with a PAID adult membership. • Active Military with ID can pay the Junior/Senior Price. This deal does not extend to dependents. • Pre-registration memberships are transferable or refundable until June 21, 2006.
PRE-REGISTRATION PRICES for full 4-day Memberships Only Postmarked by April 19, 2006 Adults: $50 Juniors (12–16)/Seniors (60+): $25 Postmarked by June 7, 2006 Adults: $55 Juniors (12-16)/Seniors (60+): $27
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ON-SITE HOURS Wednesday, Preview Night: 3:00 PM to 8:00 PM* Thursday–Saturday: 9:30 AM to 6:00 PM Sunday: 9:30 AM to 4:00 PM * No on-site registration, preregistered members only
SAN DIEGO JULY 20-23, 2006 Full Membership At-the -Door Prices
Adults Juniors (12-16) & Seniors (60+)
Only 4-day pre-registered members can attend Preview Night. No onsite registration will be available for Preview Nightâ€”only badge pickup for pre-registered full members.
Pre-Registration Prices (check one)
Need Info? (check as needed)
Must be postmarked by APRIL 19, 2006 Adults Juniors (12-16) & Seniors (60+)
Must be postmarked by JUNE 7, 2006 Adults Juniors (12-16) & Seniors (60+)
Must be postmarked by JUNE 21, 2006 Adults Juniors (12-16) & Seniors (60+)
Active Military with ID can pay the Jr/Senior price. This deal does not extend to dependants.
Please send me information on exhibiting in the Art Show. Please have your Disabled Services Department contact me about my special needs. Please send me a volunteer application and information. Please send me information about participating in the Masquerade. BADGES WILL NOT BE MAILED OUT IN ADVANCE. All pre-registered badges will be available for pickup at Attendee Pre-Registration in the Convention Center's Sails Pavilion (Upper Level), beginning Wednesday, July 19 at 4:00 p.m.
Note: All prices subject to change. *Children under 12 free with PAID adult membership.
Forms postmarked or faxed after June 21, 2006 will NOT BE PROCESSED. No e-mail registration will be accepted. Sorry, NO REFUNDS after June 21, 2006. First Name
ONLY ONE MEMBERSHIP PER FORM PLEASE. THIS FORM MAY BE COPIED.
2006 Badge # Check # Total Amount $
Payment Type Please make checks and money orders payable to COMIC-CON INTERNATIONAL.
Country Code (if not USA)
Check or Money Order
Country (if not USA)
Credit Card Number
Expiration Date (mm/yyyy)
Do not write below this line - Office use only
ROOM SERVICE Places to Stay for Comic-Con 2006 Here are some brief descriptions of hotels for ComicCon International: San Diego 2006. All of these locations are on the convention shuttle route and oﬀer special rates through the Comic-Con Travel and Housing desk. Manchester Grand Hyatt Comic-Con headquarters First-rate luxury hotel with outdoor pool, tennis courts, health club, and spa. Hosts ComicCon hospitality suite, ﬁlms, and gaming. Westin Horton Plaza Full-service deluxe hotel with spa and outdoor pool. Next door to the exciting Horton Plaza shopping and entertainment complex. Wyndham Emerald Plaza Ultra-modern deluxe hotel with lap pool and ﬁtness club. Hilton Gaslamp Quarter Located in the heart of the historic Gaslamp District in Downtown San Diego. Features an outdoor pool and ﬁtness room, and is within walking distance to shopping, restaurants, and the Convention Center. Omni San Diego Located directly across the street from the San Diego Convention Center. Guestrooms are decorated in elegant contemporary style and oﬀer spectacular views. Hotel has an outdoor pool and ﬁtness room. Radisson Hotel Harborview Newly renovated moderately priced hotel with a heated pool. Most rooms have balconies and coffeemakers. Embassy Suites San Diego Bay Full-service, all-suite property with indoor pool and made-to-order breakfast daily. Holiday Inn on the Bay Full-service moderately priced hotel located on San Diego Bay with an outdoor pool and health club.
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Marriott Hotel & Marina First-rate luxury hotel with a lagoon-style outdoor pool and tennis courts. Bristol Hotel Moderately priced hotel with a ﬁtness room. Located across the street from Horton Plaza shopping complex. Best Western Bayside Inn This moderate hotel oﬀers complimentary continental breakfast and has an outdoor heated pool. Sheraton Suites Deluxe all-suite property featuring 264 suites, business center, health club with heated indoor pool and upscale lobby bar and restaurant. Horton Grand A full-service Victorian-era hotel in the heart of the Gaslamp District. W San Diego A unique deluxe hotel located downtown within walking distance of the Gaslamp Quarter, Little Italy, the Convention Center and the Bay. The hotel oﬀers 24-hour gourmet room service, an outdoor pool, a ﬁtness center and a spa. Westgate Luxury hotel with elegant 18th-century French decor. Located across the street from Horton Plaza shopping and entertainment complex. Hotels at Comic-Con International are always hot commodities, and some book up early. That said, inventory is constantly monitored for availability and updated frequently, so check out www.comic-con. org, or call the Comic-Con Travel and Housing desk at 877-55-COMIC. Outside the U.S. please call 212532-1660. The reservation deadline for Comic-Con special member rates is June 8, 2006.
The Comic-Con Travel Desk opens for reservations on February 15 at 9:00 a.m. PST.
HOTEL AT-A-GLANCE CHART Hotel
Shuttle 1 bed/1 person 1 bed/2 people 2 beds/2 people 2 beds/3 people 2 beds/4 people Parking Per Day sgl rate
(Subject to Change)
HOTELS WITH CCI SHUTTLE SERVICE Best Western Bayside Inn
Holiday Inn on the Bay
$18 self/$22 valet
Manchester Grand Hyatt
$18 self/$24 valet
Marriott Hotel and Marina
$18 self/$24 valet
Omni San Diego
Radisson Harbor View
$20 self/$23 valet
W San Diego
Westin Horton Plaza
$160 before 4/20/06 / $176 after 4/20/06
$160 before 4/20/06 / $176 after 4/20/06
$170 before 4/20/06 / $186 after 4/20/06
$190 before 4/20/06 / $206 after 4/20/06
$210 before 4/20/06 / $226 after 4/20/06
Wyndham Emerald Plaza
$20 self/$23 valet
Marriott Mission Valley
$12 self/$17 valet
Sheraton SD Hotel & Marina
$16 self/$22 valet
HOTELS WITHOUT CCI SHUTTLE SERVICE
ALL HOTELS HAVE LIMITED AVAILABILITY; PLEASE CALL THE COMIC-CON TRAVEL DESK FOR MORE INFORMATION .
Note: While most hotels on the list are on shuttle routes, hotels added in the future may not be. Please check with the Travel Desk. Hotel rates for hotels with shuttle routes include a $5 per night reimbursement to Comic-Con to help defray shuttle costs. Hotels not serviced by shuttle routes do not charge shuttle fees. San Diego city blocks are small compared to other cities and take 2-3 minutes to walk. Important Information (Please read carefully) All reservations require an advanced deposit equal to one nightâ€™s room and tax. Deposits can be made by credit card, check, or money order. The hotels will process advance credit card deposits on June 8, 2006. *Deposits are nonrefundable beginning June 8, 2006. Reservations made after June 8, 2006 will require the deposit at the time of booking. The deposit is nonrefundable. The Comic-Con Travel Desk opens for reservations on February 15 at 9:00 a.m. PST. To Make Reservations Make reservations online at www.comic-con.org or by phone at 1-877-55-COMIC (1-877-552-6642) or 212532-1660, M-F 9:00 a.m.-7:00 p.m. EST. Please do not call or fax prior to February 15, 9:00 a.m. PST. To make changes/cancellations: Call the Comic-Con Travel Desk at 1-877-55-COMIC. Changes must be received 14 days prior to arrival; changes are on a request basis and are subject to availability/discretion of the hotel. Responsibility and liability: Comic-Con International and/or its agents act only in the capacity as agents for customers in all matters pertaining to hotel accommodations and transportation whether by railroad, motor car, airplane or any other means, and as such are not responsible for any damage, expense, or inconvenience caused by train or plane arrivals or departures, or by any change of schedule or condition from any loss, injury, or damage to any person or property from any cause whatsoever. Baggage handling throughout the program is entirely at the ownerâ€™s risk. The customer agrees that show management and/or its agents shall not be held responsible in the event of any error or omission in any promotional material.
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SAN DIEGO JULY 20-23, 2006
E-mail address First Name
Company Name Address City Phone
Reservation Guarantee: All Comic-Con reservations will require an advance deposit equal to one room night and tax. Deposits can be made by credit card, check, or money order. The hotels will process the advance credit card deposits on June 8, 2006. The deposit is nonrefundable beginning on June 8, 2006. Reservations made after June 8,2006 will require the deposit at the time of booking and are nonrefundable at that point. If paying by check, please call the Travel Desk for reservations and deposit instructions.
Comic-Con International PO Box 128458 San Diego, CA 92112-8458 www.comic-con.org
Comic-Con International Update #1 • 2006
NONPROFIT ORGANIZATION US POSTAGE PAID COMIC-CON INTERNATIONAL
Published on Nov 4, 2009
2006's #1 edition of Update (now Comic-Con Magazine), your source for information on the comics and pop-culture events Comic-Con Internatio...