Tag: Comic Con

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Possibly jumping the gun, but last night I reserved a backup hotel for next year’s Comic-Con. Although considering that most of the big-name hotels right by the convention center are already booked (though I’m sure they’ve set aside blocks for the convention already) or want incredible amounts of money per night, perhaps it’s not that crazy an idea.

The price and distance are just good enough that I’d be willing to skip the insane reservation crunch when the convention block goes on sale next year, though I’ll probably give it a shot to see if I can get something closer.

Meanwhile, we’re seriously considering hitting WonderCon again next year, which will also give us another excuse to visit people up in the Bay Area. (Not that we should need an excuse, but it seems like we do.)

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As Comic-Con International strains at the boundaries of the San Diego Convention Center, it’s begun spilling over into the city. Go back 4-5 years, and the most you would see would be the occasional street light banner or bus stop advertisement. Now, there are people handing out flyers as far out as the trolley stops, and walking around the Gaslamp in ridiculous mascot costumes (the sandwiches a few years ago, the donuts this year). There are displays near the trolley stops. There are buses wrapped with full advertisements for movies and TV shows, shuttle vans labeled U.S.S. Enterprise — there was even an ice cream truck parked for several days on 5th street with a Eureka ad on the side (and probably something inside it, but I was always on the other side of the street when I saw it).

It’s mainly the TV and film studios (except for the flyers), and it ties into something that author Robert J. Sawyer mentioned at his spotlight panel: Convention-goers are nexuses (well, nexi). We’re the people who are so into movies, TV, games, comics, etc. that we’ll put in the effort, time and expense to go to this kind of event, and we’re likely to talk about it. They’re counting on us going back to our offices or dorm rooms, hanging out with friends, blogging, posting on Twitter, or otherwise telling everyone we know about how cool this and that new movie is going to be.

In short: It’s an advertising blitz designed to kick off word-of-mouth hype, aimed at the crowd that’s both most primed to receive it and most likely to spread it.

With the massive convention floor and unbelievable crowds, they’re doing everything they can to stand out. So we get the viral marketing, like the ads for TruBlood, the Humans-Only Restrooms signs, the army of people in Quarantine outfits, the Neighborhood Watch–style sign for The Spirit. We get the swag. We get the celebrity appearances. We get displays of terra-cotta warriors to advertise The Mummy and replicas of the Owlship from Watchmen.

All that brings in more people, which of course makes the event more attractive to the studios, so they put in more effort, which brings in more people, and they start promoting movies that have nothing to do with comics, sci-fi, fantasy or horror, the genres that used to be the main focus for the con. (I remember thinking that Harold and Kumar Go to White Castle was an odd choice to promote at Comic-Con. This year, the sequel blended right in.)

The con seems to have reached an upper limit in terms of the number of people it can handle at the current venue, which is contracted through 2012. I wonder whether Hollywood will demand bigger crowds — which would probably be best handled by spilling into neighboring hotels — or be satisfied with the numbers it’s got.

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Saturday night we met up with my parents after the con for dinner. On the way to the restaurant, Chopahn — very good Afghan food, another one we’d definitely recommend — a mob of people made up as zombies came shambling up the street. We decided to hang back and wait for them to pass.

Sunday morning we got up early so we could check out of the hotel and move the car. (We left most of our luggage stored at the hotel, but they wanted all the cars out of their valet lot by noon to make room for a new round of guests.) I was amazed that we managed to get a space in a lot literally right across the train tracks from the convention center. Of course, it was around 7:00 AM, and the con didn’t open until 9:30. Neither of us needed to get in immediately today, and standing in line for 2½ hours didn’t seem appealing, so we tried to find something else to do.

We went back to Cafe 222 for breakfast (it seems appropriate that we did it twice), then wandered the Gaslamp district a bit — which is a little creepy at that hour, when very little is open aside from coffee places and restaurants that serve breakfast, and few people are out and about aside from people working at deliveries, taking out trash, etc. and homeless people. Once the William Heath Davis House opened, we went into the museum and took a self-guided tour.

Back to the convention, we both spent the morning combing the floor. I focused on the artists’ area, and ended up getting another sketch, this one of Iris West II by Freddie Williams II. Eventually I made my way to the second DC Nation panel, dashed off a blog post, and discovered that my writeup of the Comic Book Tattoo panel and signing had hit Undented and at least half a dozen other blogs and forums. The 24 hours from 5pm Saturday to 5pm Sunday (midnight to midnight in UTC) had the highest traffic this blog has seen since I installed WP-Stats, something like a year and a half ago.

Katie hit the Cartoon Voice acting panel, during which room staff moved her purse without telling her. She stood up at the end of the panel and it was gone. We spent the next hour and a half talking to event staff (run by a different organization, so they didn’t actually talk to each other), filing a missing property report, reporting her credit card lost, and looking for the purse itself, until I went back into the room and checked with the tech table — and there it was.

We had just enough time to make it to the sing-along screening of the Buffy the Vampire Slayer musical episode, “Once More With Feeling.” It was different from last year, since it was a much bigger room and the sound was turned up too high to really hear the audience sing, but still a lot of fun.

Afterward, we wrapped up the weekend with ice cream at the Ghirardelli shop. Then we picked up the car and the luggage, and started the long drive home.

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Some years I find myself spending most of my time at Comic-Con attending panels. Some years it’s looking for books. Sometimes I end up mostly looking for people with interesting costumes. This year, the theme seems to have been collecting sketches and autographs, and in fact, I spent just about all of Saturday on one event.

Sketches:

Autographs (Kelson):

  • Phil & Kaja Folio on complete set of Girl Genius volumes 1-7. (I’d gotten Phil’s signatures on volumes 1-6 in bits and pieces over the last few years, but Kaja was never at the booth when I had the books. So I made an effort to catch up.)
  • Phil Foglio on the edition of Myth-Chief for which he did the cover.
  • R.K. Milholland on Super Stupor.
  • Colleen Doran on A Distant Soil vol.1, Orbiter, Reign of the Zodiac #1 and Comic Book Tattoo. (I went to her table 3 times over the course of the con.)
  • Sergio Aragonés on “Day of the Dead” (because I forgot to bring something for him to sign, and I looked for stuff at his booth that I hadn’t seen before)
  • Tori Amos on Comic Book Tattoo (see the full story)
  • Rantz Hoseley, Hope Larson, and (I think) Jason Levesque on Comic Book Tattoo (they were all at the table when I picked up the book)
  • Rantz Hoseley and two people whose names I can’t make out on a poster-sized print of the Comic Book Tattoo cover.

Autographs (Katie):

  • Naomi Novik on the new Temeraire novel, Victory of Eagles.
  • Keith Knight on The K Chronicles and Red, White, Black and Blue.

I ended up not spending much time looking for comics, because of the whole low-grade Golden-Age problem. But I did pick up a couple of new items — like the Tori book, and the new Halo and Sprocket, and such. I was looking in the fantasy art area this morning, and there was actually a painting of Red Sonja that I really liked (she was wearing practical clothes — leather armor, not the usual chainmail bikini), but couldn’t think what I’d do with a print, and it seemed kind of weird to pick up a print of a specific character whom I didn’t normally follow.