This past weekend, I finally had my Comic Con cherry popped. I visited SDCC 2014 Thursday through Saturday, learning a little bit more each day.
What did I think? Total chaos. Actually, Thursday wasn't too bad, but the crowds grew exponentially with each passing day. By the time Saturday came around, you could barely move through the San Diego Convention Center without your genitals pressed against the person in front of you.
Would I do it again? Meh. I think a lot would have to change for me to muster up the enthusiasm to return.
First and most important: the fairness of admission to the panels. I didn't grasp the lengths that people go to to get into these panels until I started reading about people's experiences online a week before the Con. They will literally camp out overnight to see a show the following evening; that's almost 24 hours of waiting. That's worse than Black Friday. That's
when my mind starting thinking how awful my trip would be and when my
heart was no longer into it. Nevertheless, I went because I had already
invested so much money into the visit. The tickets themselves were
reasonable (approximately $40 per day), but it was the airfare and hotel
that really took a chunk out of my wallet.
From my understanding, previously, just one person from a group had to stand in line for the very popular "Hall H," and then others could come and basically cut the line. I guess this year, they tried something different. Everyone in the group had to be there to initially line up (outdoors) for Hall H, they'd receive a wristband to show that they were in line, and then they could leave and go do whatever while, in shifts, one person held their place in line. It's pretty much the same thing, but I guess it eliminates too many people cutting in line. However, what about us solo travelers? I understand that there is limited capacity in the rooms, but there needs to be some fairness so that everyone has an opportunity to experience more at Comic Con. They also don't clear the rooms after each panel, so many people will just stay in that room for hours on end, taking up a seat. So one person gets to see everything; another doesn't get to see anything. In my opinion, to make Comic Con more of an enjoyable, fair experience, there would be a lottery where people can sign up in advance for panels they'd like to see. Then, like the ticket-buying system, you'd then be randomly chosen to attend events/panels you'd like to see. Rooms would also be cleared after each panel to make way for the next group of ticketholders. I know the diehard campers wouldn't like this, but what's wrong with everyone having an enjoyable experience?
Another negative feature is the exclusive merchandise that's only available at SDCC. I have to somewhat agree with Mile High Comics' point of view on this matter. After my first attempt at buying something I spotted and really liked (a Hallmark Keepsake Ornament of The Empire Strikes Back Wampa), I began to see this aspect of Comic Con in a whole new light as well. There are only so many items available for sale per day. Once they're gone, they're gone until the next day. I get that, but there should also be enough for anyone who took the time and expense to travel to Comic Con. However, there are even more catches than just a limited daily supply. You have to be one of the first in line, first thing in the morning. Many times, that involves just getting a ticket to return later in the day to stand in another line to purchase whatever may be available/left at that time. And, most of the time, people are buying merchandise in multiples. Why? Just to resell on eBay. I saw people loaded up with bag upon bag filled with Hasbro toys. And you know they weren't buying them as Christmas gifts. They were stocking up to resell them. So people who actually may want ONE of something for their own personal collection are screwed over by greedy vultures just there to turn a profit. I collect Hallmark Keepsake Ornaments. I have a lot of Star Wars ones. The Wampa would have been a nice addition to my Christmas tree. So on Saturday morning, I was there when the doors to the Convention Center opened. I went straight to the Hallmark booth and found the line...already capped. Seriously? If getting there when they first open isn't early enough, when is?
The booths/exhibits around the Exhibit Hall were all about the same. If you wanted to experience whatever they were offering, you had to have a ticket, which you received at some undisclosed time/location. If you wanted an autograph or photo of some celebrity, you had to have a ticket (and, yes, they were always already sold out or at capacity). Maybe it's just my naivety and inexperience, but if I'm not given the resources/information, how am I supposed to know what protocol to follow?
I also learned that if you're not networking through social media during your ENTIRE visit, then you're also screwed. Apparently, instead of walking around and enjoying being "in the moment," you need to have your face buried in your phone, facebooking and twatting. That's where you learn of surprise appearances, pop-up sales, secret passwords, blah, blah, blah... That's also where you get to see and learn about everything that you missed because you were excluded.
I did have some enjoyable moments, though. I actually did get into the TV Land panel on the first day to see Betty White (and William Shatner and Donald Faison) up on stage. I was excited about that. Of course, that was over at the Hilton, where things seemed to be easier to get into. I also got to see some current DC Comics writers and artists (e.g., Geoff Johns, Charles Soule, Nicola Scott) in a panel I was surprised at how easy it was to get into (I think something else much more popular was going on at the time). I stood in line for about an hour to get into the Big Bang Theory writers panel and barely got into the back of a room so big that surprise guest, Wil Wheaton, was about the size of an ant. And, lastly, after another hour-long winding line, I got the very last seat in a panel for Berkeley Breathed (Bloom County comic strip). Of course, that one was next to the largest possible man who was wide enough to take up three seats total.
Walking around the exhibit hall, I got to see many of the artists whose work I'm familiar with and admire, and spotted random celebrities doing autograph signings and taking photos. Of course, these (1) required tickets or (2) cost about $50 per autograph/photo. But it was still fun just to see them and grab a candid photo. I also spotted Ian Zierling (Beverly Hills 90210, Sharknado) while I was having lunch in the Gaslamp Quarter, outside the Convention Center. I overheard someone say Tara Reid was there, too, but I never saw her. To be fair, I didn't check the floor.
Surprisingly, people weren't as decked out in costumes as I thought/heard they'd be. Granted, there were many, but it wasn't the majority, so *not* dressing up didn't make me feel like I stood out. I enjoyed walking around the main Exhibit Hall, seeing the costumes and tables, even if I didn't/couldn't participate in all of them.
Not surprisingly, I didn't go to any of the invitation-only nighttime Hollywood parties, so my evenings were spent unwinding in my hotel with a beautiful marina view. By that point anyway, I had already had enough of the favoritism, elitist attitudes, and special privileges. I didn't want to stand in any more lines to only be disappointed once again. I left by Saturday afternoon, just to get away from everything. Fortunately, I had beautiful San Diego waiting for me and enjoyed the sunshine, fresh air, bay breeze, and, finally, dinner in Little Italy.
So, like I said at the beginning, a lot would have to change for me to spend my money on another Comic Con, equal opportunities above all. As it stands, you don't experience Comic Con, you fight a losing battle. You tread water, just trying not to drown. I'm glad I went, but I was also happy when it was over.
I just finished reading a few of Marvel's new #1 comics, specifically Fantastic Four #1, Ms. Marvel #1, and She-Hulk #1.
Ms. Marvel and She-Hulk were both sensationally crafted stories, which is too rare from DC and Marvel NOWadays. What made these two first issues so great was that they were both character-driven. They didn't rely on fighting villains and battle sequences. They gave the reader insight into the main characters as actual characters, people who just happen to be (or will become) superheroes. Ms. Marvel tells the story of Kamala Khan, a teenage Pakistani-American. She lives in a house where her parents have old-fashioned values. Because she's somewhat of a nerd, a good kid, and physically and religiously different from others at school, she's not popular. She does have her friends, though, and we're introduced to them as well. She reminded me a lot of a female teenage Peter Parker when he was new at being Spider-Man. The entire issue served as an introduction to Kamala the person. Only at the end of the issue do events begin that will (we assume) lead to her becoming the new Ms. Marvel. The artwork seemed well-suited for this particular comic, too. It reminded me of an independent comic.
Because of the cover, I wasn't sure if the new adjective-less She-Hulk comic was going to "break the fourth wall" like John Byrne's Sensational She-Hulk did back in the 80s. The nostalgic part of me was hoping it would, but the sensible part of me thought it might seem redundant and not be pulled off as successfully. Spoiler alert: it doesn't. The first issue is about Jennifer Walters, Esq., who just happens to be big and green. The writer, Charles Soule, focused first on Jen as a person, not as a superhero. We see her in her everyday life as a lawyer, doing some heroic things on the side, including a visit to Tony Stark (aka Iron Man), but it's not the main focus of the book. It was an interesting story about Jen acting as an attorney for a woman in need, as well as figuring out her own future. I'm not as crazy about the artwork for She-Hulk as I am for Ms. Marvel, though. It seems almost too basic and cartoon-like, and doesn't portray Jen as the beautiful (but green) woman she is. I think I'll get used to it, though, and appreciate it for what it is.
Both Ms. Marvel #1 and She-Hulk #1 were steps in the right direction content-wise, and they've quickly jumped to the top of my must-read list on a monthly basis. I'm already looking forward to (and can't wait to read) the second issues of each.
Sadly, as expected, Fantastic Four #1 was pretty humdrum. I think it's about time they lose the "World's Greatest Comic Magazine" title until they've really earned it again. And what was up with those new red costumes? There was no explanation given to the reader. And why in the roster did they list "Susan Storm" instead of Susan Richards? She hasn't used "Storm" as her singular last name since she married Reed in the 1960s. Other than marketing purposes and sales, I'm not sure what constituted another #1 issue of the Fantastic Four after they just had one last year. The only interesting turn of events that happened was that Ben went back to Alicia and told her he wanted to see her again. Where's the banter between Ben and Johnny? Where's Johnny, the ladies man? I'm really trying to love the Fantastic Four comic again like I did in the 1980s, but every resurrection since I started reading them again in 2008 doesn't measure up. The story and dialogue are average at best. Should we begin looking for a new #1 in 2015?
I'm not quite sure why it was necessary to have a new book featuring Superman and Wonder Woman called Superman/Wonder Woman. They could have easily just made guest appearances in each other's solo books. Regardless, I bought the first issue because Wonder Woman is one of my favorite characters (even though I haven't loved her solo book since George Perez' take on it), and I was curious about the romance between the two superheroes.
First, I wish they could have come up with a better title. Really? That's the best they could do? Not even Superman and Wonder Woman. No. It's Superman/Wonder Woman. Equally dumb as Batman/Superman, Superman/Batman, or whatever the fuck the title is now.
Now, onto the story. Superman/Wonder Woman #1 had a decent plot and artwork to it. In fact, it was probably even better than both heroes' individual monthly series. That's not saying a whole heck of a lot, though, because their monthly series are both pretty...average. I don't look at my monthly stack of comics and say, "Oooh...let me read Superman or Wonder Woman first!" No, typically, they'll each sit around for a few months building up, and then I'll finally read those back-to-back issues in one sitting.
What I liked best about the new series so far is that we get to see Clark and Diana without their costumes as they attempt to go on a date, even though it's quickly interrupted by an emergency (Isn't that always the case?). While I enjoy the attempt at some character development outside the realm of superherodom, I don't think this first issue offered enough. I don't really feel the attraction between the two. Just why are these two attracted to each other? Other than probably physically? Or maybe that's just it. They'll get it out of their systems and then move on. It's obvious (even in this issue) that their personalities are very different (thanks to the new versions of these iconic heroes in the New 52!), so I'm not sure what they really share in common personality-wise.
Is this comic worth the $3.99 price tag? Not yet. The story itself was pretty short with large panels of art, so not much happened. DC needs to offer more to keep me as a reader on this title. I already dropped Action Comics, Detective Comics, and Batman/Superman/Superman/Batman because the quality of the stories didn't measure up to the $3.99 price tag. Why pay $3.99 when I can get comics for $2.99 with the same characters?
