Professional Documents
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ANNUAL
YEAR OF
THE
SPIDER
THE AMAZING SPIDER-MAN
As the legendary comics hero
celebrates his 50th anniversary,
a brand new film restarts
his big screen adventures.
PLUS
Prince Valiant
Love & Rockets
WonderCon
Comic-Con
APE
I O N !
DIT
Emma Stone and
Andrew Garfield in
I N E E
ONL
The Amazing Spider-Man
COMICS. CONS.
SWINDLERS
House Of Lies
GRIFTERS
Shameless
AND EVERYTHING
LOVERS ENEMIES MONSTERS DANGER JUNKIES
Californication Homeland Dexter ® Weeds
IN BETWEEN.
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COMIC-CON ANNUAL 2012
EDITOR/DESIGNER
IN THIS ISSUE
Gary Sassaman 08 COVER STORY: YEAR OF THE SPIDER
CONTRIBUTING EDITORS Spider-Man turns 50 with a brand new movie, The Amazing Spider-Man.
Fae Desmond, Jackie Estrada
CONTRIBUTING WRITERS
14 WONDERCON 2012
Blake Bell, Charles Brownstein, The show moves to Anaheim: here’s what to look for, including special guests and more!
Martin Jaquish, Brian M. Kane,
Gary Sassaman, Tom Spurgeon 20 COMIC-CON 2011 PHOTO ALBUM
A look back at the big event of the year.
SPECIAL THANKS
John Cornett, Jason Geffen, Gary Gianni, 32 SPIDER-MAN @ 50
Mick Mayhew, Laureen Minich, Eric Reynolds,
Stan Lee, Steve Ditko, and the Romitas: 1962 and the birth of Spider-Man and the Marvel heroes.
Mark Schultz, Douglas Lathrop
38 LOVE & ROCKETS @ 30
FOLLOW US ON Los Bros. Hernandez’s seminal alternative comics title changed the industry when it launched in 1982.
TWITTER
42 PRINCE VALIANT @ 75
www.twitter.com/comic_con Hal Foster’s incredible creation has stood the test of time. Plus Gianni and Schultz’s current version.
www.twitter.com/wondercon
www.twitter.com/apexpo 48 COMIC-CON INTERNATIONAL 2012
Early info on this year’s big event, including guests, Eisner Award judges, the Masquerade and more!
LIKE US ON 68 WILL EISNER SPIRIT OF COMICS RETAILER AWARD
FACEBOOK An interview with Tel Aviv’s Comics and Vegetables, the 2011 Award recipient.
www.facebook.com/comiccon 72 APE: THE ALTERNATIVE PRESS EXPO
www.facebook.com/wondercon Coverage of the 2011 show and a sneak peek at 2012’s event.
www.facebook.com/apexpo
COMIC-CON ANNUAL is published by
Comic-Con International: San Diego.
PLUS
All material, unless otherwise noted, is
04 SPLASH PAGE
© 2012 San Diego Comic Convention and
may not be reproduced without permission. 64 COSTUMERS’ CORNER
The views and opinions expressed in the fea-
66 VOLUNTEER SPOTLIGHT
ture articles and guest biographies appearing
in this publication are those of the authors
and do no not necessarily reflect those of 80 THE MOMENT
San Diego Comic Convention. Biographical
information is supplied by the guests.
Comic-Con International
P.O. Box 128458
San Diego, CA 92112-8458 SPECIAL ONLINE EDITION!
Click on the links in the purple boxes
www.comic-con.org for updated info on our website!
2 COMIC-CON ANNUAL 2012
80-PAGE GIANT!
COMIC-CON
INTERNATIONAL: SAN DIEGO
BOARD OF DIRECTORS
Back in the 1960s—a whole century ago—DC’s 80-Page Giant line of books prom- President/CFO: John Rogers
ised hours of reading pleasure. We hope we’re able to recapture that for you with VP/Administrator: Events: Robin Donlan
VP/Administrator: Operations: William Pittman
this second Comic-Con Annual, which tops 80 pages for the first time. Our feature
Treasurer/Chief Technology Officer: Mark Yturralde
articles include work by some of the finest writers on comics out there, as they help Secretary/Executive Assistant: Mary Sturhann
us celebrate the anniversaries of Prince Valiant, the Amazing Spider-Man, and Love Directors At-Large:
Frank Alison, Alan Campbell, Ned Cato Jr.,
& Rockets. We also give you a long look back at Comic-Con International 2011 with Craig Fellows, Eugene Henderson, Anastasia Hunter,
Lee Oeth, Chris Sturhann
a special photo album, as well as sneak peeks at the 2012 editions of WonderCon,
Comic-Con, and APE, the Alternative Press Expo. And speaking of WonderCon, Executive Director: Fae Desmond
Director of Marketing & Public Relations: David Glanzer
you won’t want to miss our first show in Anaheim, CA! One of the big panels at that Director of Print and Publications: Gary Sassaman
event will be an exclusive look at the new Amazing Spider-Man film, which is this Director of Programming: Eddie Ibrahim
issue’s cover feature, including interviews with star Emma Stone and director Marc Director of Talent Relations: Maija Gates
HR/Office Manager: Sue Lord
Webb. For updated information on all of our events, visit www.comic-con.org! Guest Relations: Janet Goggins
Exhibits: Director of Operations: Justin Dutta
Exhibits: Sales: Rod Mojica
Exhibits: Registration: Sam Wallace
See the feature article beginning on page 8. Assistants to the Executive Director:
Lisa Moreau, Tony Kim
Assistants to the Director of Marketing and PR:
Cover photo by Frank Ockenfels 3 Damien Cabaza, Karen Mayugba, Mike Stoltz
Assistants to the Director of Programming:
© 2012 Columbia Pictures Industries, Inc. Tommy Goldbach, Christopher Jansen
Spider-Man character ™ & © Marvel & Subs.
Assistant to the Director of Talent Relations:
Joey Plaskett
Exhibits Assistant: Alex Gentry
Office Staff: Patty Castillo, Cecy Cordero,
Ruben Mendez, Glenda Lynn Vanetti, Julia Wallsall
EVENTS:
Anime: John Davenport, Josh Ritter
At-Show Newsletter: Chris Sturhann
Films: Steve Brown, Josh Glaser
Games: Ken Kendall
Masquerade: Martin Jaquish
Technical Services: Tristan Gates
EXHIBITS:
Artists’ Alley: Clydene Nee
Art Show: LaFrance Bragg
Autograph Area: Katherine Morrison
Exhibit Floor Managers: Taerie Bryant, Michelle Hylton,
Andy Manzi, Brian Turpin
OPERATIONS:
MISSION STATEMENT Archivist: Eugene Henderson
Comic-Con International: San Diego is a nonprofit educational corporation Deaf and Disabled Services: William Curtis
dedicated to creating awareness of, and appreciation for, comics and Hospitality Suite: Mikee Ritter
related popular art forms, primarily through the presentation of conventions Information: Bruce Frankle
and events that celebrate the historic and ongoing contribution of comics Logistics: Dan Davis
to art and culture. Materials Chief/Blood Drive: Craig Fellows
Registration: Frank Alison, John Smith
Volunteers: Sue Lord, Jennifer Maturo, Marc Wilson
SplashPage NEWS & NOTES FROM THE WONDERFUL WORLD OF COMIC-CON INTERNATIONAL
A Cast of Thousands
BY MARK EVANIER
Someone once referred to June Foray as “The female Mel Blanc.” Which caused animation direc-
tor Chuck Jones to famously remark, “June Foray is not the female Mel Blanc. Mel Blanc is the
male June Foray.” But of course. Both of them spent decades upon decades providing voices not
just for animated cartoons but also for radio shows, commercials, dubbing sessions . . . anywhere
you could be heard and not seen.
Those who think they know most of what June has done are wrong. Even June doesn’t know
most of what June has done. Year after year, her life involved going from one recording studio to
June with her co-authors, Mark Evanier (l) and the late Earl Kress.
another, living from microphone to microphone. In a given day, she might record two commercials
here, a couple of cartoons there, the voice of a talking doll at her next stop, and then finish the day by replacing the dialogue for an on-camera actor who
looked but didn’t sound right.
She started (mumble mumble) years ago and has been doing it long enough to grow gracefully into the role of Granny, the owner of a very famous
Tweety Bird. But she can also still sound like a 10-year-old boy or even a flying squirrel who probably isn’t much older than that.
I was a fan of June’s before I had any idea who she was. As a kid, I loved old Warner Brothers cartoons and new Jay Ward cartoons and any sort of
Stan Freberg record . . . and as I eventually learned, June was in all of them. But then June was in just about everything.
I think I was asked to write this piece because for the last few years, I’ve occasionally had the stunning (to me) experience of “directing” June in voice
sessions, mainly for The Garfield Show. I put that word in quotes because you don’t really direct June Foray. You hire her . . . and once you’ve done that,
you’ve done the hard part. Then you point her to the proper microphone and you give her a script and tell her which parts she’ll play. She can play anyone
or anything with a voice higher than Thurl Ravenscroft’s.
You book her, then you get the heck outta the way. Don’t even think of telling her how to read a line. She’s June Foray, after all. If you want her to do
it again . . . well, that probably won’t be necessary but she’s professional enough that she’ll do it again even though it was perfect the first time. She’ll do
it to humor you so you can pretend you’re really directing her.
But you can’t. Because she’s June Foray.
She is such a treasure that to give her the Comic-Con Icon award is to state the obvious. Even leaving aside all she’s done to promote animation (found-
ing ASIFA), promote short films (serving on the Academy board), and make so many childhoods so much better, she deserves this award like no one has
deserved any award. Because she isn’t just an actress. She’s a cast of thousands, and we love every one of them.
4 COMIC-CON ANNUAL 2012 Foray Icon Award photo by Mark Davis/PictureGroup; Evanier-Foray-Kress photo by Chuk Gawlik
Splash
COVER STORY: Frank Quitely and Jim Lee Page
Over the past few years, Comic-Con has been commissioning all new art for the covers to its Souvenir and
Program Books. Below is artist Frank Quitely’s original pencils (left) and inks and colors for the 25th Anniver-
sary WonderCon Program Book, published in April 2011.
For the Comic-Con International 2011 Souvenir Book, DC co-publisher Jim Lee contributed his first-ever cover, featuring a sneak peek
at the New 52 version of the Justice League. The cover—inked by Scott Williams (right) and colored by Alex Sinclair (inset below)
was so popular it was used for the third printing of the first issue of the new Justice League comic book.
See page 74 for Shannon Wheeler’s APE cover story!
HISTORY LESSON:
THE COMIC-CON 40th ANNIVERSARY BOOK
Comic-Con International: San Diego celebrates its 43rd year in 2012, as the longest continually running comics and popular arts
convention in the country. Over the past four decades, the show has grown to be a pop culture phenomenon. Since 1970, the San
Diego Comic-Con has been a must-attend event for comics fans all over the world.
The incredibly rich history of the convention is celebrated in Comic-Con: 40 Years of Artists, Writers, Fans, and Friends, a
beautiful hardcover coffeetable book. Published by Comic-Con, in conjunction with Chronicle Books—one of the leading publish-
ers of art, photography, and pop culture books in the world—this beautiful 208-page history features an amazing assortment of
exclusive art and photos, many of which have never been seen outside of the Comic-Con archives. Topped off by a wraparound
cover by cartoonist Sergio Aragonés and with an introduction by dean of science fiction writers and long-time Comic-Con guest Ray
Bradbury, this book is a veritable time capsule of Comic-Con—and comics!—history.
You can purchase your own copy by visiting shop.comic-con.org. The price is $40, but when you buy it directly from Comic-
Con, we pay your postage and sales tax. Visit the website for complete details, and order your copy today!
TM
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on THE
android dEvicEs,
KindLE FirE
and onLinE
doWnload the
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NOW!
YEAR OF
THE
SPIDER
The Amazing Spider-Man celebrates his 50th anniversary in comics this year. That half-century has been highlighted
with a long list of incredible adventures, in comics, animation, television, video games, and especially movies. Most
appropriately, Columbia Pictures chose this year to introduce their entirely new take on the Webslinger. After a trilogy
of immensely popular films by director Sam Raimi, the Spidey saga restarts under director Marc Webb and starring
Andrew Garfield as Peter Parker, Emma Stone as Gwen Stacy, and Rhys Ifan as Dr. Curt Connors, aka The Lizard. Comic-
Con Annual talked to Webb and Stone about the new film and what it means to bring a new look and feel to a legend.
8 COMIC-CON ANNUAL 2012 Photos © 2012 Columbia Pictures Industries, Inc.; all Marvel Characters including the Spider-Man character ™ & © Marvel & Subs.
Marc
Webb
Director Marc Webb’s first film was the critically ac-
claimed 500 Days of Summer, a quirky indy romance
starring Joseph Gordon Levitt and Zooey Deschan-
nel. A giant action film based on one of the world’s
most popular comic book characters may seem an
odd choice for a second film, but as you’ll see from
this exclusive interview, the aptly named Webb is more
than up for the daunting task of introducing a totally
new version of Spider-Man with a lot of action, a little Marc Webb on the set of The Amazing Spider-Man.
romance, and the story of a boy becoming a man.
Your first film was 500 Days of Summer, which is grounding is to really think about how this kid would We’ve seen Mary Jane. I also think that Gwen Stacy
very different from The Amazing Spider-Man. grow up given the circumstances that he was assigned is a young scientifically minded woman who’s super
What made you tackle a project that’s so different? as a very young kid. And that story about his parents smart, maybe even a little bit smarter than Peter at
Marc Webb: There are parts of it that are obviously and their absence plays a much bigger role in this film times. I like that dynamic, that there was a rivalry
very different . . . the action parts of it and the scope than we’ve seen. between the two of them in some way. And I think
of it is certainly quite large. But at the end of the day Emma and Andrew’s chemistry really describes that
the character journey isn’t that far off. [They’re both] You came out with a new poster in December that in a fun, very intimate way.
about young men learning how to grow up despite said “the untold story” on it. Is that the untold story
adversity in a sense. But I think what drew me to you’re looking to tell? Was there a moment when you tested them when
this was it was a story about a kid who grows up That’s part of the untold story certainly. It’s really you just said, “This is it . . .”?
without a father. My first impulse when I had been important for us to be able to communicate that this Yeah we did screen tests and Emma just showed up
talking about doing the movie with Marvel and with isn’t a remake of Sam Raimi’s movie. There’s new and it was all over. Andrew’s a pretty intense guy, but
Columbia was there was a missing piece. There’s this territory, there’s a new villain, it’s a different Peter she had him in stitches between takes. She had him
opportunity there to explore the emotional residue Parker. just cracking up, and I would watch them in between
of what it means to be an orphan. If your parents are takes. They didn’t know each other and she’s just so
taken away from you when you are 6, 7 years old, When you look at the original comics, do you look at comfortable and so confident. You needed that energy
that’s going to leave a mark on who you are, and that that as the Holy Grail or as a jumping off point? because Andrew is a very dominating presence and
was very compelling to me. I thought it was really Jumping off point. I mean there are certain truths and she just went toe to toe with him, which is exactly the
interesting. It’s not something that you’d really seen there’s certain iconography that you just can’t under- dynamic we needed.
explored very much cinematically with Spider-Man mine, and I have to be loyal to parts of the cannon.
or with Peter Parker. And there are also wonderful, wonderful stories and Looking at the trailers and the poster, this film
His parents are spies and there are different sto- characters that emanate from that. The Gwen Stacy seems to have a bit of a darker tone to it, yet Spidey
ries that come up here and there [in the comics]. But saga is something that I think is just really incredible has always been a wisecracking, fun kind of super-
to me it’s not necessarily about rendering the comic, storytelling. That’s something that we were curious hero. Are you able to maintain that humor in your
it’s about being loyal to a character and really think- about exploring in a very specific way. But there are film?
ing about how that character would behave in the real certainly things from the Ultimate Spider-Man series There’s this trickster quality we were very keen on
world. You have to take him off the page and insert that were really inspiring too, like Mark Bagley’s art. exploring, with that humor and that fun and that
him into a universe that feels real and tactile and rec- I really love the way Spider-Man’s body moves: it’s wisecracking stuff. We wanted to keep that alive, but
ognizable and that’s a real trick. That’s a challenge of more alive, more gymnastic, with a velocity to the we wanted it to be realistic. We wanted that humor to
any adaptation and in particular with comics, which way the character moves in the later comics. And the come from a real place. My aim was to create a world
can be very heightened. But what makes Spider-Man world that we live in is different than it was when where you could feel all those emotions. There are
and Peter Parker so specifically interesting is that he’s Spider-Man was first invented and I wanted to be certainly darker, more intense feelings in this movie.
an intensely relatable character, more so than I would loyal to a contemporary feeling. Besides, with Sam I There is betrayal, there is tragedy, but there’s also
say about 99 percent of superheroes. Peter Parker think they sort of did that before. So I wanted to make humor and romance. So it’s a very complex bouquet
has the same problems that we do and comes from it a little less stylized and a little bit more realistic. of emotions, but what you have to tread on is what
a working class family. He’s very relatable and so to feels authentic and what feels real, and you have to
extend that into the cinema just seems sort of natural. Why did you feel Gwen Stacy was the way to go as earn those different emotions. There are moments
We wanted to keep it more grounded, and part of that opposed to Mary Jane? of furiousness and gravity, absolutely. But are there
moments of humor and levity and whimsy? Abso- right way so it felt like a legitimate, strange, spider-like well. I think she’s a real strong woman, she’s a strong
lutely. Andrew was really great. He used this term to creature underneath this suit. character and she puts a lot of herself in that. The other
describe Peter Parker in Spider-Man and Spider-Man thing she can do is she represents the funny in the
in particular: he’s a trickster. He was like “How would When you were shooting on Riverside Drive in New movie. She brings so much humor and wit. There’s a
Spider-Man web this guy? He’d give him a wedgy York, how do you deal with all these people who are quick scene about halfway through the movie with her
or he’d do some awful graffiti.” There’s a punk rock trying their best to capture video and photos and put and Dennis Leary where she was improvising some
quality to Peter Parker that’s really irreverent and fun it on the Internet? Does that kind of thing drive you things and every time we screen the movie, even at
and that’s something that Andrew embodies in a way crazy? this early stage, it brings the house down. She deliv-
that we haven’t seen before. Certainly the materials It does. It does because they’re shooting it from the ers and she’s unashamed. Dennis is a highly trained,
that have come out have a darker sentiment or there’s a wrong angle and we spend a lot of time lighting things incredibly successful comedian and she went toe to
darker projection, but we’re very keen on staying loyal for our camera, not for the other people’s cameras and toe with him. She was incredible. She can hold her
to the humor of Spider-Man. that’s frustrating. But at the same time there’s enthu- own with anybody. I met Judd Apatow not long after
siasm and interest. I would be that guy with a camera we started shooting and we were talking about how
It seems the way Spider-Man is, his powers and the waiting outside. I would do that. If I weren’t making amazing Emma was, and you know we all think that
way he moves, would really lend itself to 3D. movies, I’d be a fan and I understand that. I think it’s she’s one of the great comediennes. Lucille Ball is her
When we first talked about it, it was in the heyday of the world in which we live now and you can’t control hero and you can really see that, but she also delivers a
3D and there was a lot of craziness about it, but it was the conversation, you can just be a part of it. What really authentic, emotional performance. There’s some
never forced upon us. I thought if there’s ever a movie bums me out is that I want to maintain some element scenes in the movie between her and Andrew that are
that should be in 3D, it’s Spider-Man for crying out of mystery, but you also have to engage people, espe- just beautiful and very moving, that are romantic but
loud. And watching it in 3D, particularly in IMAX, cially given the fact that we’re starting a new chapter aren’t about humor. They’re about connection and loss.
even the early stuff I’ve seen, it’s fantastic. You get a of Spider-Man. People need to understand that we’re She can stir you up.
visceral feeling that you don’t get any other way when defining it in a new and different way and we have to
you have good 3D. We shot this all in stereo so it was spend time articulating that. You don’t want people just Finally the villain, Rhys Ifans as Dr. Curt Connors.
native 3D. Nothing has been converted. And when inventing or assuming the story is one thing when it’s The Welshman. He’s fantastic. He brings a surly
you get that scope, the movie gradually expands. It really something quite different. And it’s frustrating sophistication. Curt Connors is a friend of Peter Parker.
starts off in a very intimate, small way and gradually when you can’t control the mystery as much as you He is an ally who evolves into an adversary, but Peter
expands to take advantage of that sensation. So do you would like to. always cares deeply for Dr. Connors. Rhys has two
have to see it in 3D? No, you’ll still get the thrill of it. sides to his personality. He has a wonderful kindness
But those point-of-view sequences, those came very Let’s talk about your three lead actors and what each and warmth, and he has this surly rock ’n’ roll part of
directly from a philosophy about putting the audience of them brought to their roles, starting with Andrew his personality and you really sense both of those in
in Spider-Man’s shoes. We wanted them to feel what Garfield as Peter Parker, the Amazing Spider-Man. this movie.
he feels, and that’s where those sequences came from. Andrew’s passion for the Spider-Man character is pres-
ent in every frame of the movie. He cares really deeply All the Spider-Man films have kind of had a bit of an
You’ve been quoted as saying that you wanted to do and was so committed. And I think if any Spider-Man origin story at Comic-Con. What was it like for you
less CGI in this film and more real stunts. fan saw him on a day-to-day basis, they would deeply stepping on the Hall H stage for the first time?
We really made an effort to shoot everything practi- respect what he’s brought to this and how much he We were all a bit nervous because we feel a real
cally. In the second half of the movie we expanded and cared. It’s just undeniable and I really admire that and obligation to the fans and we had a lot to prove. I think
started using CG just because there are things that hu- how much he’s given to the character and to the movie. after we showed the footage you could feel the audi-
man beings can’t do, like swinging through the streets [His speech in Hall H at Comic-Con] is a perfect ence connecting and laughing at the right times and
off of a 60-story skyscraper. But I wanted there to be example of why Andrew was the right guy. It’s about being interested and surprised at the right times. It felt
a grounded quality to the fights and to some of the a loyalty to this thing that really moved him when he really good. There were a lot of blog posts afterwards
swinging, so we built up to that while doing stuff, prac- was young. He was a skinny kid that felt physically that were really like, “Oh . . . now we get it.” It’s a big
ticing. We shot a whole sequence underneath Riverside insecure. He wasn’t a big kid, and everybody else was intimidating environment, but Comic-Con is the
Drive in New York where we had a series of traveling bigger than him and stronger than him and faster than heart of those hardcore fans, and it was really, really
rigs, which are wire rigs that were designed by Andy him. That stuck with him and I think that helped define important for us to have a presence there. We all came
Armstrong, our stunt coordinator. Nothing of that scale his work ethic in a way. He read a lot of Spider-Man out of it feeling really, really good. I took a train back
had been done before where you could actually get a when he was a kid and I think that got under his skin home and everybody was glowing. It was a really great
stunt man or at times Andrew to swing back and forth and you could feel that. He wrote that speech, you experience and a great environment.
as Spider-Man would swing. It’s an incredible feat of know. [See page 12 for Andrew’s Hall H introduction.]
engineering that’s never been successfully attempted And the e-mails I got from him very early on in the What was the one thing you didn’t see coming in
before and you really feel it. process were filled with a deep expression of love for making this film?
the character. It’s pretty moving. It’s pretty cool and he I don’t know if there was one thing. I think what I
You mentioned at one point that Andrew could have a really owned it and that I admire. That’s really what he started to notice was how many kids you see running
second career as a stunt man. brought to the table, that intense commitment. around in Spider-Man outfits—not just on Hallow-
He’s very, very good physically and was really focused een—and how meaningful it is to people. How people
on how Peter inside the Spider-Man suit moved. He Emma Stone as Gwen Stacy. really actually care and how protective they are of
was always very focused on trying to create a spider- Humor and beauty. What I love about Emma is that Spider-Man. I find it moving and inspiring. That was a
like Spider-Man. He wanted to invent the character every guy falls in love with her, but with every woman surprise: the scope of his impact across the world and
that possessed the body of Spider-Man. We would do on the set, she’s like their best friend. She is so cool. not just in America. It’s like you go all over the place
dozens of takes just to get an elbow move right, just to But what I like about her too is that she’s new and and Spider-Man is everywhere.
get the head turn and the shoulders crooked in just the she’s not cynical and she really represents women very
Emma Stone is coming off—by her own estimation— terms of becoming part of it and the
her best year yet. The young actress had roles in the way the material was adapted. But
critically acclaimed films The Help and Crazy Stupid I’m so excited to be part of a movie
Love and a cameo in Friends with Benefits. She with a built-in fan base in that way.
returned to Saturday Night Live to host for a second You go to Comic-Con and there’s
time and managed to pull off one of the best shows so much passion in one room. Ev-
of the season. But a good part of her year was spent erybody’s so passionate about these
hanging out with Spider-Man, both on the set and at characters and how they’ve affected
Comic-Con. We talked to Emma right before Christmas their own lives. It’s a really cool thing
about her role as Gwen Stacy, her love of Comic-Con, as an actor to know that you’re part
and the possibility of an action figure looming in her of something that’s so much bigger
not-so-distant future. than you. You’re not creating it from
the ground up, you’re trying to fill the
When everyone heard that you were first going to be a shoes of someone that’s been around
part of The Amazing Spider-Man, they automatically a lot longer than you. It’s really excit-
assumed you were going to be Mary Jane Watson. ing. I love that aspect of it.
What appealed to you about appearing in a big
superhero franchise movie and taking on an iconic Why do you think the producers and
character such as Gwen Stacy? writers went with Gwen instead of
Emma Stone: When I auditioned for it, I didn’t get Mary Jane?
the full script, I only got scenes between Gwen and Well, Gwen’s story happened before
Peter and I screen-tested with Andrew. I heard about Mary Jane’s, and I think that coming
Spider-Man and I didn’t think that was something I back to their roots, it was interesting
would want to be a part of. I just thought that probably to explore the woman who came
isn’t right for me. Then I had the scenes and I realized before Mary Jane. I think she’s such
that this was a really interesting fantastic relation- a definitive part of Peter Parker’s re-
ship between two people and that I was being really lationship with Mary Jane ultimately,
close-minded. I liked all the Spider-Man movies and who is literally the polar opposite in
I’ve liked so many superhero movies that I don’t know personality of Gwen Stacy. I think
why I had that kind of mentality about it. Then I went just building that into Peter’s life and seeing that story I think that a big part of the heart of this story is
in and auditioned with Andrew and started learning from the very beginning was really interesting. And romance, but there’s also the story of an orphan boy
more about Gwen Stacy and her history and just fell of course Gwen’s story is so beautiful and important who’s searching for his father and searching for his
in love with the character and with the fans, too. I to the story of Spider-Man that I think they wanted to place in the world. I think that’s a big element in this
started reading forums and getting involved more in come from that angle at this time. movie from the very beginning, him feeling instantly
the comic book universe and it just became something like an outcast because he was left as a child. He still
I really wanted to be a part of, just because of all those Director Marc Webb’s first film was 500 Days of was put into a different set of arms [with Uncle Ben
elements. Summer, which is more of a bittersweet romance. and Aunt May] and he’s cognizant of that and you
What do you feel he brought to Spider-Man with can see that in the movie. But it’s not like it happened
You went from playing a literary character in The that kind of background? when he couldn’t remember it. I think that’s a pretty
Help who was in a much beloved book with its own I think that a huge part of what he brought to Spider- major element, too . . . coming to terms with who you
kind of following, to a comic book character who’s Man was the true core of the relationship, and how are and what you’re responsible for, even if people
iconic and has this rabid following. Was there a big even though this is a boy that’s been bitten by a spider walked away from you.
difference for you between those characters and how and given super powers, he is a very human teenage
they’re treated by their fans? boy that just happens to be under these circumstances. What was it like working with Andrew Garfield?
Well of course the characters themselves are incredibly He’s lost his uncle and he’s falling in love for the first I think his deep love and appreciation for Spider-Man
different and there seems to be a different fan base be- time and he’s going through some incredibly human were pretty apparent throughout the entire process of
tween Spider-Man fans and fans of The Help. There are experiences while not quite being human himself any- the movie. I think it’s really awesome to have such
conventions for Spider-Man fans and there aren’t for more. And I think that Marc’s vision was just that it’s a huge Spider-Man fan play Spider-Man because he
The Help fans, although I would love to see a conven- a very huge world that we’re operating in but the story was so protective of all the elements of Peter Parker’s
tion of The Help fans. It could be like the Big Lebowski itself is in a room between people. There are elements nature. It’s a really nice thing to watch someone who’s
Fest. But they’re two totally different worlds to me even of Spider-Man all throughout that; big sequences and read all the comics and dreamt of being this person
though they both had such a rabid following. There’s a scenes with action and violence, but I think Marc since he was four years old bring that dream to frui-
difference just in terms of bringing the material to life. really cared so much about the heart of the story and tion. I think he’s such an excellent actor and such a
There are different incarnations of Gwen Stacy and of the humanity in his relationships. great person that I feel so proud of him and what he
Peter Parker throughout comic book history, all these did in the movie.
different storylines to pull from depending on what When the comic was first created back in the 1960s,
kind of script you’re going to patch together. With The one of the things that separated it from other comics What did you think when he stepped up to the mic at
Help, it was such a distinct story that kind of needed to was the kind of soap opera elements of it. Do you Comic-Con and revealed his own Spider-Man story
be matched line for line in a way. It felt different just in think the heart of this movie is a romance story? and his history with the character?
I think we all were biting our nails for that moment bigger than us in that way. It felt like a human story. I in love with—Gwen and Peter’s love story—and
because we knew like maybe an hour before that he like that. That surprised me because I thought it was was so protective of, she had such beautiful ideas for
was going to do that because they had to bring him out going to feel so daunting every day, with wires and it. I was very affected just in terms of playing that
early through a different way. It was really last minute, harnesses and green screens and it was a pleasant character by Laura.
and he was like, “This is what I’m doing, by the way,” surprise.
and it was so heartfelt, so honest, and couldn’t be more We’ve read a number of times that “Comic-Con is
indicative of the way he played the character. It was So how do you feel about the possibility of having your favorite place on the planet.” Why is that?
just all heart and I thought it was fantastic. I loved it. your own action figure? Because it’s concentrated, it’s like 100% passion in
Is that going to happen?! If any kids get an action one venue. It’s fantastic. I love that everybody’s there
What did you think of the costume that he wore on figure of me and act like I did with action figures then for different reasons and then they’re in the halls
that day? it’s going to be a highly inappropriate situation. for the same reason and then they’re kind of milling
I think it was from Target. It was pretty great. Yeah, about and everybody’s into the same kind of thing.
he could have walked around Comic-Con in it. That’s the next question: would you keep it in the How rare is it to go to a place where everybody is
package or would you take it out? into the same thing? There’s just such a positive feel-
A number of actors and directors have come to I would take it out. Always take it out! ing there and there’s so much excitement and every-
Comic-Con in disguise so they can walk the floor. body’s so intelligent about why they’re there. They’re
Do you have any ambitions to do that or have you At Comic-Con you wore a button that read “What there because they care about something, and that is
done that? would Laura do,” in reference to producer Laura I think the greatest quality in human beings. The fact
I would love to do that. I was going to be a Storm- Ziskin, who passed away last summer. What kind of that it’s a bunch of people in one place that are that
trooper last year, but we had to leave right after the influence was she on this film and you in particular? way is really exciting to me every time.
panel to fly back to L.A. so I didn’t get to do it, but Oh God, a huge one. I can only speak for myself but
hopefully next year. Well, now I can’t be a Storm- she was a huge influence on me. I named my dog One last question: if you could host Saturday Night
trooper, but I’ll pick something else. after her husband [screenwriter Alvin Sargent]. She Live every week would you?
sat with me and would talk to me about how she Yes, in a heartbeat. In a heartbeat!
What was the one thing that surprised you the most met Alvin, and the feelings that she had when she
about making this film? met him and how she felt that they mirrored certain Look for the special Amazing Spider-Man panel at
It was Marc’s approach . . . at the end of the day elements of Gwen and Peter. So I couldn’t play Gwen WonderCon in Anaheim! See page 14 for more de-
you’re sitting on the floor looking into the eyes of without thinking of Laura. And when she was on set, tails about the event and bookmark www.comic-con.
another actor and it’s just like real life. I feel the we were lucky. Every day that I was there she was org/wc. The Amazing Spider-Man is in theaters
heart of it really remained, and it didn’t ever feel there at some point. But that love story she was so July 3, 2012.
Hey, everybody. Can I say one thing? I think this might be the most incredible day of my life, and I’ve
always wanted to be at Comic-Con in Hall H at Spider-Man with all of you guys, it’s always been a
dream of mine. So thanks for having me. You have no idea how much this means to me. I’ve always
wanted to come here as a fan, and this is my first time so here I am as a fan. I just want to say a couple
of things. [He removes his mask to reveal . . . ]
I’m Andrew Garfield and I’m here introducing this panel, The Amazing Spider-Man panel. Stan
Lee says that the reason why Spidey is so popular is because all of us can relate to him, and I agree.
I needed Spidey in my life when I was a kid, and he gave me hope. In every comic I read he was liv-
ing out mine and every skinny boy’s fantasy of being stronger, of being free of the body I was born
into and [having] that swinging sensation of flight. And upon receiving his power—unlike most who’ve
become corrupted—he used it for good, and I think we all wish that we had the courage to stick up for
ourselves more, to stick up for a loved one more or even a stranger you see being mistreated. Peter
Parker has inspired me to feel stronger. He made me, Andrew, braver. He reassured me that by doing
the right thing it’s worth it, it’s worth the struggle, it’s worth the pain, it’s worth even the tears, the
bruises and the blood and I wouldn’t be able to stand here in front of you guys right now without feel-
ing that Spider-Man was here with me with his reassuring hand on my shoulder making sure I don’t fall
over and concuss myself. He has inspired countless people: girls, boys, men, women—all of us—and he
has saved lives and he’s saved my life, and I owe Webhead a lot and I owe Stan the Man a lot and
I’m humbled to be here—like you do not know—to share the work that we’ve done with all of you. This
is my first Comic-Con. This is definitely the coolest moment of my life and thank you for being here and
sharing it with me.
ONSITE:
3-Day Badge:
• Adult $50
• Junior/Senior $25
WonderCon’s Showtime will be Saturday, March 17, at 8:30 pm at the Anaheim Convention Center. Only a WonderCon
single-day Saturday badge or a 3-day badge is needed to participate or attend (while seating is available).
Headquarters Hotel:
Doors will open for audience seating at 8:00, and the event will run approximately two hours. Costumes must
not have been purchased or otherwise commercially obtained; they must be of original construction or show
significant modification of pre-existing materials. All genres are welcome, as are all levels of experience,
The Hilton Anaheim from the novice to the seasoned convention costumer.
Complete information, detailed rules, and an advance entry form are available at www.comic-con.org/wc/
WonderCon is proud to announce that Travel wc_masq.shtml, or you can write the Masquerade Coordinator in care of the address listed on page 2 of this
Planners will be handling all WonderCon hotel publication to get a copy via mail. A limited number of contestant slots are available, so interested costum-
reservations for 2012. ers should obtain the rules and sign up for a reserved spot now. The deadline for advance entry is March 2,
2012. Last-minute entries will also be accepted until 1:00 pm on the Saturday of the convention, unless all the
The beautiful Hilton Anaheim will be the
contestant slots fill up before then.
headquarters hotel for WonderCon. Located
Impressive WonderCon trophies will be awarded by a panel of guest judges in categories to include Best in
adjacent to the Anaheim Convention Center,
Show, Judges’ Choice, Best Re-Creation, Best Original Design, Best Workmanship, and Best Presentation. In
the Hilton is a short walk to Downtown Dis- addition to these trophies, a number of companies and organizations will present their own awards. Visit the
ney and Disneyland and not far from other website page listed above for complete information.
dining and shopping attractions in Anaheim.
The Hilton has restaurants, a food court, and
a Starbucks located on site as well as their Mix
Restaurant and Lounge. The lounge is located
in the center of their spectacular lobby and is
open until 1:30 AM every night. The Hilton is
approximately 14 miles from John Wayne Air-
port and the Long Beach Airport.
The Hilton Anaheim will be the home for
special WonderCon nighttime events, including
games and the Hospitality Suite, where you
can grab snacks and meet and greet some of
your fellow attendees.
The hotel offers an incredible WonderCon
room rate of just $129/night for up to four
people in the room. You can get complete de-
tails—and reserve a room at this special rate—
by visiting www.comic-con.org/wc/wc_hotel.
shtml. Reserve your room today to be a part
of all the action and fun at WonderCon 2012!
Contestants from the WonderCon 2011 Masquerade.
HILL
POWELL LAY
STAPLES
NAUCK RAMOS
SOOK WHEATON
Lee photo by Victor Ha; Snyder photo by Kevin Green; Waid photo by Lori Matsumoto; Wheaton photo by Atom Moore WWW.COMIC-CON.ORG 17
WonderCon
2012
and J. Scott Campbell, and published the which won both the Eisner and Harvey Who fanzines of his own. He landed work America. A well-known comics historian,
creator-owned series Crimson and Out Awards for Best New Series of 2010. He as a lettering artist on the latter issues of Waid looks to the future—and the past—
There. In 2005, he released the creator- also wrote an acclaimed run of Detective Dez Skinn’s Warrior, Detective Comics, with his upcoming line of digital comics.
owned Revelations through Dark Horse. At Comics before launching the new Batman and Batman: The Killing Joke. Starkings
Marvel, Ramos has worked on Peter Park- and Swamp Thing titles as part of DC’s became group editor of the Boys’ Adven- WIL WHEATON
er, Spectacular Spider-Man, Wolverine, New 52 line. ture titles at Marvel UK, where he broke (actor/author, Star Trek: The Next Genera-
New X-Men, X-Men, and Runaways. His in Bryan Hitch, Doug Braithwaite, Dan tion, The Big Bang Theory)
most recent work includes the “Big Time” RYAN SOOK Abnett, Liam Sharp, and Andy Lanning. In Wil Wheaton’s successful acting career be-
and “Spider Island” story arcs in Amazing (artist, The Spectre; cover artist, Justice the U.S., Starkings created the Comicraft gan in 1986 with acclaimed roles in Stand
Spider-Man and the creator-owned Fairy League Dark, DCU Presents) studio, whose fonts are now the mainstay By Me and Toy Soldiers. In his teen years,
Quest Book 1. Ryan Sook has been working in comics for of the lettering industry. But it was always he played wunderkind Wesley Crusher on
the last 15 years as a penciler, inker, and his intention to create and publish his own Star Trek: The Next Generation. Currently,
BOB SCHRECK comic. Image Comics’ sleeper hit El- he plays Evil Wil Wheaton on The Big
cover artist. His work includes The Spec-
(editor-in-chief, Legendary Comics) ephantmen is that comic.
tre with J. M. DeMatties, B.P.R.D. Hollow Bang Theory, notorious hacker Cha0s on
Bob Schreck is the editor-in-chief at Leg-
Earth with Mike Mignola, Arkham Asy- Leverage, Doctor Isaac Parrish on Eureka,
endary Comics, which recently entered the
lum: Living Hell with Dan Slott, X-Factor J. MICHAEL STRACZYNSKI and Axis of Anarchy leader Fawkes on The
marketplace with the successful release of
with Peter David, Seven Soldiers: Zatanna (writer, Superman: Earth One) Guild. But Wil is much more than just an
Frank Miller’s Holy Terror graphic novel.
and The Return of Bruce Wayne with Grant Winner of the Inkpot, Eisner, Hugo, Sat- actor; he’s an author, blogger, voice actor,
He is currently developing many other
Morrison, and Wednesday Comics: Ka- urn, and Ray Bradbury Awards, J. Michael widely followed original Twitter user, and
new projects for Legendary, including The
mandi with Dave Gibbons. Currently Ryan Straczynski wrote 2010’s wildly popular a champion of geek culture. Wil currently
Tower Chronicles, written by Matt Wagner
is the cover artist for two titles in DC’s Superman: Earth One graphic novel, with splits his time between acting and writing.
and illustrated by Simon Bisley. Schreck is
New 52 line, Justice League Dark and volume 2 due out in 2012. His current
a 30-year veteran of the comic book and
DCU Presents. film credits include the story for the first
entertainment industry. He worked for MARV WOLFMAN
Thor movie (he also wrote the comic),
Marvel Comics and Comico: The Comic (writer/editor, New Teen Titans,
FIONA STAPLES the screenplay for Underworld: Awaken-
Tomb of Dracula)
Company in the 1980s, worked for Dark
(artist, Mystery Society, SAGA) ing (released in January), and several new
Horse Comics during the early 1990s, and Marv Wolfman has created more char-
Fiona Staples is a Canadian artist known for movie projects, including Shattered Union
then started Oni Press in 1997 with busi- acters that have gone on to television,
her covers, which earned her a Joe Shuster and Vanishing Point, both for Bruck-
ness partner Joe Nozemack. In this century, animation, movies, and toys than any other
award in 2011, and her interior artwork. heimer/Disney.
he spent nearly 10 years at DC Comics, comics creator since Stan Lee. Marv is
She’s dabbled in everything from horror the writer/creator of Blade, the Vampire
where he was in charge of the company’s
to superheroes, illustrating series such as MARK WAID Hunter and creator of Bullseye, the prime
Batman franchise and worked under DC’s
Mystery Society and the Eisner-nominated (writer/editor, Kingdom Come, villain in the 2003 Daredevil movie, and
Vertigo banner.
North 40, and doing covers for Superman/ Irredeemable, Daredevil) he was the writer/creator of the New Teen
SCOTT SNYDER Batman, DV8, and T.H.U.N.D.E.R. Agents. Comics professional Mark Waid has, at Titans, a runaway hit show on the Cartoon
(writer, Batman, American Vampire, She’s currently working on the fantasy epic one time or another over the past 25 years, Network. Marv also writes video games
Swamp Thing) SAGA with Brian K. Vaughan, due out in held pretty much every job the industry for many companies, including Warners,
Scott Snyder started his writing career with 2012 from Image. has to offer, from publisher to PR flack Sony, Disney, and others. His adaptation
a collection of his short stories, Voodoo to editor to colorist. He is best known, of Superman Returns won the industry’s
Heart, which was hailed as a “Hot De- RICHARD STARKINGS however, as a writer, creator of the Eisner “Scribe” award, and his nonfiction book
but” by Kirkus Reviews in 2006. He soon (writer/letterer/designer, Elephantmen) Award–winning Kingdom Come graphic Homeland, The Illustrated History of The
turned his attention to comics, with early Eisner Award winner Richard Stark- novel with artist Alex Ross, and over 1,200 State of Israel won the National Jewish
work for Marvel (Iron Man: Noir), and his ings started out as a cartoonist and self- comics besides, including long runs on The Book Award among others.
co-creation of the Vertigo title American publisher in the UK. He contributed gag Flash, Fantastic Four, Captain America,
Vampire, with artist Rafael Albuquerque, strips to Tardis and published four Doctor Irredeemable, Ruse, and Justice League of
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PHOTO ALBUM
my neighbor tortoro won two axe cop creators ethan nicolle and his brother malachai at
anime company awards at the their panel ... malachai is the youngest special guest to
masquerade. ever appear at comic-con! that’s one powerful family!
OPPOSITE PAGE: (clockwise, starting in upper left): Raina Telgemeier accepts her Eisner Award for Best Publication for Teens for her graphic novel, Smile; one of MAD’s
maddest writers, Dick DeBartolo with his Inkpot Award; Star Trek’s original Captain Kirk, William Shatner, at the panel for his new documentary The Captains; Jeff
p
Smith celebrating the 20th anniversary of his award winning comic series, Bone; when genre icons meet: Hello Kitty Slave Leia; just a fraction of the giant Exhibit Hall;
fantasy author Sherrilyn Kenyon at her Spotlight panel; actor Henry Cavill backstage after The Immortals panel; Joss Whedon talking about his Dark Horse comics
series, Buffy the Vampire Slayer and Angel; and just one of thousands of attendees who paused to take that perfect photo.
WWW.COMIC-CON.ORG 21
the winners of the 2011 Comic-Con international independent the walking dead’s robert kirkman, interviewed by
film festival. g4’s blair butler at the image comics booth.
rick baker signs for his fans. special guest jo chen. games were everywhere . . . as were comic books!
amazing spider-man’s andrew garfield writer joe hill introduced the legendary artist tony dezuniga with his
and emma stone. locke & key TV pilot. newly minted inkpot award.
Best thing about Comic-Con? Brandon: I like being able to see all the detailed toys and all the
displays. Being able to see the panels and previews and stuff, that’s a really cool experience, too.
NAMES: Brandon, Nathan, and Katie Katie: For me it’s been the community of Comic-Con. I’ve been going on Comic-Con’s Facebook
page a lot. If I have any questions everyone’s been really, really cool about answering them.
FROM: This place called “San Diego,”
I haven’t been able to kind of wrap my head around all of [Comic-Con]. But it’s been a really
evidently in California
positive experience. Everyone’s been very nice and supportive and just works with you, real
NUMBER OF YEARS AT COMIC-CON: Newbies helpful, so that part’s been awesome which makes me want to come back.
all, including a 16- and an 11-year old (not
Happy ending? The Hometown Newbies got tickets for 2012!
pictured)
gabriel ba and fabio moon won the eisner chuck’s yvonne strahovski greets the
for best limited series, daytripper. fans in ballroom 20.
Looking north through the giant the groo crew (l to r): mark evanier, sergio aragones, tom luth, and stan sakai
exhibit hall. at the annual “sergio and mark show” panel.
What did you buy? I’ve already got my official Comic-Con T-shirts, but there’s always an opportu-
nity to find something that’s just like “Oh, my gosh . . . I can’t believe they’ve got that, I’ve got to
have it!” You never know what you’re going to run into, that’s the best part.
Favorite comics? I I follow several of Marvel’s Ultimate titles. I’m always on the lookout for a good
Vertigo or Dark Horse title. There’s always a good graphic novel that’s coming out, and that tends
to be what I look for these days.
NAMES: Brian
Best thing about Comic-Con: It’s got to be the collective “geekdom,” for lack of a better term.
FROM: Garden Grove, CA There’s no place, no time, no event on the planet where for an entire weekend you’re going to
find this many people [together] with so many common interests. For four days you can just come
NUMBER OF YEARS AT COMIC-CON: Second
here and geek out to your hearts content. It’s really impressive and you can just really let your in-
time, first time as a “full four-day attendee”
ner geek out. No matter what your genre is, you can come here and this town is yours for just that
purpose, and that’s just a great, wide-open, let your hair down kind of feeling.
WWW.COMIC-CON.ORG 25
lee meriwether was one of dan vado and his slg lucasfilms’s former dir. of fan
author christopher moore at
the popular stars in publishing celebrated relations, steve sansweet,
his spotlight panel.
the autograph area. their 25th year in comics. accepting his inkpot award.
stars eve myles and john barrowman stan lee and morgan spurlock signed this giant transformers statue at the
presented the new torchwood: the comic-con documentary movie book at hasbro booth became a favorite spot
miracle day series. the sideshow collectibles booth. in the exhibit hall to take a photo.
Katherine: The crowd control is getting better. Although the crowds—even at their busiest—are a
very chill crowd. These are good people to come and experience this with.
John: And it doesn’t matter who’s standing behind you . . . there’s something you can strike up
a conversation about. I’ve been introduced to so many things just talking to people because we
have one thing in common and then they’ll say, “Oh, well . . . I love this other thing.”
Favorite comics: John: I really love indie comics. It’s fun reading creators who just have their
NAMES: John and Katherine own stories to tell. They write, they draw, some of them do their own publishing. I love what
indie creators will do because they can do anything, they answer to no one. [Comic-Con] is a
FROM: Oak Park, CA (north of Los Angeles) place where they can really thrive and kind of band together. You walk down a whole line of
comic creators and you go there for one, but then you end up getting hooked on the work of
NUMBER OF YEARS AT COMIC-CON:
the guy in the booth right next door because those creators have been talking the whole time.
John since 2002 (give or take a year or
two); Katherine is here for the third time Best thing about Comic-Con: John: The minute we walk into the Exhibit Hall the first thing we say
is we are among our people. Katherine: It’s good to be home.
syndicated cartoonist designer/cartoonist seymour michael c. hall of dexter on pee wee herman backstage
mell lazarus. chwast with his inkpot. the showtime panel. in hall h.
WWW.COMIC-CON.ORG 29
artist bill maus in the big bang theory cast takes a bow after their panel before a packed house
artists’ alley. in ballroom 20.
PHOTO CREDITS:
PAGE 20: (Clockwise from upper left): Tony Amat, Austin Gorum, Austin Gorum, Johnakin Randolph, Chuk Gawlik, Kevin Green, Tom Gurnee,
Oscar Benjamin, Eric Oleas (center): Allan Barsody. PAGE 21: (1st row, L to R): Sergio Palacios, Oscar Benjamin. (2nd row): Tony Amat, Kevin
Green, Kevin Green. (3rd row): Eric Olaes, Chuk Gawlik, Scotty Oson. (4th row): Johnakin Randolph, Rudy Manahan, Kevin Green.
PAGE 22: (1st row, L to R): Barry Brown, Kevin Green. (2nd row): Johnakin Randolph, Tom Gurnee,
Kevin Green, Kevin Green. (3rd row): Albert L. Ortega, Tina Gill, Oscar Benjamin. even batman has
PAGE 24: (1st row, L to R): Austin Gorum. (2nd row): Albert L. Ortega, Oscar Benjamin, Barry Brown, to consult the
Albert L. Ortega. (3rd row): Kevin Green, Tony Amat, Albert L. Ortega. (4th row): Chuck eventS Guide once
in a while.
Gawlik. PAGE 25: (1st row, L to R): Eric Olaes, Rudy Manahan, Oscar Benjamin, Oscar Benjamin.
(2nd row): Albert L. Ortega, Barry Brown, Austin Gorum. (3rd row): Kevin Green.
PAGE 26: (1st row, L to R): Eric Olaes, Fritz Harmon, Barry Brown, Chuck Gawlik. (2nd row): Albert L.
Ortega, Tony Amat. (3rd row): Oscar Benjamin, Kevin Green, Albert L. Ortega. (4th row): Aaron
Turkeltaub. PAGE 28: (1st row, L to R): Kevin Green, Kevin Green. (2nd row): Tony Amat, Barry Brown,
Eric Olaes. (3rd row): Kevin Green, Barry Brown, Patrick Yeung, Chuk Gawlik.
PAGE 29: (1st row, L to R): Brian Wong, Rudy Manahan. (2nd row): Sergio Palacios, Oscar Benjamin,
Oscar Benjamin, Albert L. Ortega. (3rd row): Kevin Green, Kevin Green, Johnakin Randolph. (4th row):
Brian Wong. THIS PAGE: (1st row, L to R): Chuk Gawlik, Albert L. Ortega. (2nd row): Austin Gorum, Allan
Barsody, Patrick Cristobal. (Batman): Sergio Palacios.
INTERVIEWS AND ACCOMPANYING PHOTOS ON PAGES 22, 25 and 28: Douglas Lathrop.
Over the past 50 years, no new American comic book charac- him) and three of the legion of memorable artists who illustrated
ter has captured the hearts and minds of fans like the Amazing his exploits: Steve Ditko, Spider-Man’s co-creator and artist for
Spider-Man. Launched in Marvel Comics’ final issue of Amaz- his first 38 issues (plus Amazing Fantasy #15 and two Annuals);
ing Fantasy—a series that had already gone through its third John Romita Sr., who had the unenviable task of replacing Ditko
title change in its 15-issue run—Spidey’s first appearance almost on the book but actually took the character to even greater
seemed like an afterthought, a shoe-horning of a superhero into success; and Romita Senior’s greatest creation: John Romita Jr.,
a dying fantasy book. But over the years Peter Parker and his who put his own indelible stamp on the character. These three
brightly colored alter ego became Marvel’s most popular char- artists, along with Stan, are key to the success of Spider-Man
acter, spawning a slew of spin-off titles, all kinds of merchandise, over the past half-century. Blake Bell (Strange and Stranger:
television cartoons, and a series of some of the most popular The World of Steve Ditko) looks at the Ditko mystique and his
superhero movies ever made. A new one—aptly titled The Amaz- lasting effect on the character; Tom Spurgeon (The Romita Leg-
ing Spider-Man in this 50th anniversary year of the character—is acy) chronicles the tale of father and son artists whose Spidey
due out on July 3 (see the cover story on page 8). art is among the best ever produced; and we start with a look
But the celebration of any comic book character’s anniver- at Stan Lee’s career and that memorable year of 1962, when
sary begins with the talented writers and artists who told his new superheroes came fast and furious from the writer/editor
stories. With Spidey that includes writer/co-creator Stan Lee and his small staff of co-creators and artists.
(along with the many talented scribes who took the reins after
WWW.COMIC-CON.ORG 33
just for kids anymore), and Stan went on the road
from campus to campus—eventually even appear-
THE AMAZING STEVE DITKO
ing at Carnegie Hall—to preach the comics gospel
according to Marvel. Beyond Stan’s marketing
BY BLAKE BELL
prowess, he and the artists created an incredible
collaborative environment. Working in the “Marvel
Method,” Stan provided his pencilers with a story
synopsis and let them work out the beats and action
through the 20- to 22-page stories, for which he
then provided dialogue. Most of the artists working
at Marvel with Stan at that time were never better.
Their collaborations with Stan brought out some
of their very best art, including Kirby and Ditko,
Heck, Dick Ayers, Gene Colan, Gil Kane, and John
Romita. Their work with Stan on that first decade of
Marvel Comics set a benchmark for superhero com-
ics that—for some readers—has never been topped.
While Stan is still “Chairman Emeritus” at
Marvel Comics, he has gone on to become one of
pop culture’s leading spokespersons. His cameo
appearances in all the Marvel movies have garnered
him a name recognition beyond the pages of the
comic book heroes he co-created, and he has ap-
peared on television in shows such as The Big Bang
Theory and Chuck, and has had two reality series,
Who Wants to Be a Superhero?, and Stan Lee’s
e.
, when he worked on Spider-Man and Dr. Strang
Superheroes. He has been a producer or executive Ditko in his studio in 1965, during his Marvel prime
producer on all the Marvel movies, TV shows, and
animated series. Now approaching 90, Stan remains
as vital and creative a force in and out of comics “Too bad someone like him can’t be an idol for teenagers to imitate.”—Amazing Spider-Man #33
as ever, developing new characters and concepts
with his own company, POW! Entertainment, and Steve Ditko is the co-creator and original artist of Ditko, born in Johnstown, Pennsylvania on
working with publishers such as Image Comics the Amazing Spider-Man. Co-creator Stan Lee is November 2, 1927, came to New York City in 1950
(Blood Red Dragon, with Yoshiki), BOOM! Studios immortalized in pop culture history as the strip’s with one goal in mind: to be a comic book artist.
(Soldier Zero, The Traveler, Starborn), Archie (Stan writer, but in fact, Ditko wrote the last 14 issues That made him unique from day one. First published
Lee’s Mighty 7), VIZ (Ultimo), and others, along of his 38-issue run, and plotted even more. No in 1953, Ditko settled in at Charlton Comics for the
with movie and TV projects. And Stan has his own doubt, Lee’s contributions to the success of the strip majority of the 1950s. Charlton paid a pittance but
star on the Hollywood Walk of Fame! (including, for each and every issue, scripting the offered Ditko something no one else could: the least
banter so fondly remembered as one of the strip’s editorial interference in the industry.
These early heroes Stan co-created with Kirby,
signature elements), and to the success of the Silver After a brief stint at Marvel in 1956, Ditko
Ditko, and Heck have all demonstrated incred-
Age of Marvel Comics, are many. Still, the drivers returned in late 1958. Years of collaborating on Twi-
ible staying power. Fifty years later, Spidey has
that made Spider-Man a truly unique book—in fact, light Zone–inspired stories cemented Ditko’s status
just survived “Spider-Island” in a recent storyline
a revolutionary comic book—can be attributed to as Lee’s favorite collaborator (evidenced by the all-
and his ongoing adventures continue under writer
Steve Ditko. Lee/Ditko anthology title Amazing Adult Fantasy).
Dan Slott and artists Humberto Ramos, Giuseppe Ditko’s idiosyncratic visuals, his empathetic When Jack Kirby, co-creator of The Fantastic Four,
Camuncoli, and Stefano Caselli, along with a new characterizations, and his sense of costume design handed in five pages of pencils for a concept
series, The Avenging Spider-Man by Zeb Wells and all pumped new life into a medium overrun by named “Spiderman” (no hyphen)—a teenager
Joe Madureira and the recently rebooted Ultimate mythical figures that stood like marble statues . . . with a magic ring that transformed him into an
Comics Spider-Man by Brian Michael Bendis and and had as much personality. Another aspect that adult hero—it didn’t match what Lee had in mind.
Sara Pichelli. The Incredible Hulk just relaunched made Ditko truly unique was his fight to maintain the He wanted something different than Kirby’s grand
with a new first issue by writer Jason Aaron and Spider-Man strip’s integrity, which made him the first flare. He wanted what only Ditko could produce.
artist Marc Silvestri. Both Thor and Iron Man are artist of his generation to control the narrative arc of What would make Spider-Man different from
currently under the watchful eyes of writer Matt a superhero strip. any strip prior was that when the main character
Fraction and artists Pasqual Ferry (Thor) and Sal- Also unique was Ditko’s decision in late 1965 to received his superpowers, his life became worse.
vador Larroca (Invincible Iron Man), besides being walk away from a multimillion-dollar franchise ap- Captain America went from a 98-pound weakling
part of the ongoing adventures of The Avengers. All proaching the peak of its popularity based primarily to an Adonis, beloved by a nation. Peter Parker
four characters are appearing in huge, big-budget on his influence. Often derided for his unwillingness went from bookworm to hated and misunderstood
movies this year: Spidey in Amazing Spider-Man, a to participate in comic book fandom’s cult of celeb- vigilante, dogged in his personal life by the specter
reboot of his big screen adventures; and Hulk, Thor, rity, often chastised for his rigid adherence to an of the costumed hero’s responsibilities.
and Iron Man in The Avengers. The Marvel Age of unpopular philosophical viewpoint, Ditko is the only What Stan Lee perhaps didn’t anticipate was the
artist in the history of comic books to consistently depth of thought that Ditko put into the narrative.
Comics that had its beginnings in 1962 has never
live by his personal and professional principles: “I Lee, in charge of Marvel’s editorial direction since
really ended, and those heroes created 50 years ago
never talk about myself. My work is me. I do my he was a teenager, had overseen the development
will seemingly go on forever.
best, and if I like it, I hope somebody else likes it, of the formula inherent in the superhero genre
too.” since the early 1940s. In Spider-Man, he thought
It was the biggest gamble in comics history. At Watson, the latter a supporting character for the on the stakes from how the characters physically
stake was the future of Marvel Comics. At its heart ages that Romita nailed into the consciousness of related to one another. Every page was potent.
was John Romita Sr. comics fans from her very first appearance. Nearly The John Romita Sr. run on Amazing Spider-Man
The year was 1966. The comic book company as beautiful in his own way as the women of Amaz- cinched its main character’s slow climb into the
owned by pulp magazine impresario Martin Good- ing Spider-Man was Romita’s Peter Parker. Like licensing and publishing major leagues and all but
man and operated by his cousin-by-marriage Stan many of the readers of the 1960s Marvel Comics, made certain Marvel’s eventual market dominance
Lee was in the midst of a startling creative and sales the Peter Parker character had settled into his own starting in the 1970s and for the majority of the
renaissance. Having gone by many names and now younger adulthood at some considerable distance years since. Romita Sr. proved that Marvel was
known as Marvel Comics, Goodman’s four-color from his uncertain high school years. Romita’s more than its initial, stellar lineup of creators and
funnybook line had begun to innovate in a field in Parker dressed more fashionably. He dated, and potent roster of characters. His rise showed that
which they had served as slavish imitators of the danced, and even for a time rode a motorcycle. Marvel Comics embodied an approach to story-
latest trends for the previous two decades. telling that could flourish under multiple devoted
The anchor of Marvel’s new superhero effort hands. Romita, who had come to Marvel quietly in
was Stan Lee and Jack Kirby’s awesome adventure 1965 and seemed destined for a series of assign-
comic Fantastic Four. But in many ways the heart ments providing pencil art on secondary characters
of Marvel Comics in 1966 was the title Amazing slightly out of the spotlight, had become Marvel
Spider-Man. Telling the story of a young super- Comics’s most valuable player in its most vital era.
hero who struggled with the burdens and respon- In the 1970s and 1980s, Romita became even
sibilities of his special abilities, Lee’s scripts were more crucial to Marvel’s growing success. He began
brought to astonishing life by industry veteran to share Spider-Man penciling duties and eventually
Steve Ditko, who soon also co-plotted the stories. moved off the title altogether (although not without
Ditko’s artwork was authentic and breathable; his story and art contributions to a defining storyline of
Peter Parker in equal measure suffered the palpable that era, featuring the death of the Gwen Stacy char-
miseries of his teenage years and enjoyed the thrills acter). Romita settled into a Marvel staff position,
and physical escape provided by his superhero providing guidance in the production of Marvel’s
identity. In a move so surprising that the shock and line and cementing the look and presentation of its
mystery of it hasn’t worn away 45 years later, Ditko characters for a wider audience. When Spider-Man
left Marvel and his unique place within its growing appeared as a balloon in the Macy’s parade, it was
talent roster. Spider-Man needed a new creative from a design by John Romita. When the character
hand, a new artistic voice. That job fell to relative- reached out to young readers through a pub-
ly new Marvel recruit John Romita Sr. lishing partnership with the Children’s Televi-
Romita came through in spectacular fashion. sion Workshop, it was John Romita’s art
After a few tentative issues on Amazing Spider- that captured those kids’ imaginations. When
Man where he later admitted he hewed too close- the wider audience represented by newspaper
ly to what Ditko had accomplished, Romita strips experienced Marvel in that time-honored
settled into one of the signature art and story way, it was through the pen of John Romita Sr.
runs in superhero comics history. There were indi- Posters, costume designs, record albums,
cations that Romita might make it work. In 1966, and a continuing array of comic book covers—
Romita was already an experienced superhero all of these things bore Romita’s touch as
comic book artist with a passion for costumed Marvel steamrolled into a publishing and
™ & © Marvel & Subs.
adventure material. He had come back to Marvel, a licensing phenomenon, first drawing the attention of
company he had departed from in the late 1950s, in Art by John Romita Sr. for the 1975 San Diego Hollywood through which the company may be best
part for a crack at doing material in the superhero Comic-Con Souvenir Book known today. In the years leading up to his retire-
genre. John Romita wasn’t about to let this chance ment, Romita progressed from the company’s most
pass him by, whether it was on a title like Daredevil Romita had in his time away from superhero valuable player to the avatar of its artistic lifeblood.
or under the much harsher spotlight provided by comic books learned to stage comics as well as any His is a remarkable legacy.
May Parker’s devoted nephew, Peter. comic book cartoonist had before or after. His pages The greatest contribution Romita may have
Romita’s late 1950s and early 1960s experi- were perfectly balanced, and in every scene the given Marvel Comics was, with wife Virginia, the
ence as a stalwart of industry leader DC Comics’ characters were placed in physical proximity to one talent and devotion of his son and namesake John
romance line helped immensely in this new gig. another in a way that was clear and attractive. As Romita, Jr.—a name sometimes shortened in Stan
The Romita Spider-Man was surrounded not just by was the case with the best directors on Broadway, Lee banter-speak to “JR JR.” The senior Romita’s
attractively drawn and well-designed bad guys but Romita’s scene work was impeccable. Whether move into production and special projects and away
by beautiful young women that became strong love Spider-Man faced a physical confrontation or Peter from monthly comic book making didn’t mean the
interests, characters like Gwen Stacy and Mary Jane Parker an emotional one, readers quickly picked up Marvel line was no longer graced with the Romita
Romita Sr. photo by Jackie Estrada; Romita Jr. photo by Daniel Sakow WWW.COMIC-CON.ORG 37
C O M I C - C O N 2 012 A N N I V E R S A R Y C E L E B R A T I O N
Life
Drawing
30th
ANNIVER
SARY
HOW LOVE & ROCKETS BROUGHT COMICS DOWN TO EARTH BY Charles Brownstein
In 1982 comics were in the process of becoming San Diego independent publisher Pacific Comics. Southern California called Love & Rockets.
something new. Creators and publishers were taking Over in England, newcomer Alan Moore began his Instigated by eldest brother Mario Hernandez
chances with more-sophisticated stories that appealed landmark stories Marvelman and V For Vendetta in as a showcase for his work and that of his younger
to the savvier clientele frequenting the growing comics the pages of Warrior magazine. Throughout these and siblings Gilbert and Jaime, Love & Rockets started
specialty store market. The result was a year of auspi- other events rocking the comics world, the underly- life as a self-published fanzine late in 1981. Gilbert
cious work. Frank Miller, well into his groundbreaking ing theme was that the medium was growing up. worked up the nerve to send a copy to The Comics
run on Daredevil, shocked fandom by killing off his Yet all of the comics making waves were still firmly Journal, hoping for a review in the firebrand maga-
signature character Elektra. Archie Goodwin and Al entrenched within traditionally understood escapist zine. Instead he received an offer from its editor Gary
Milgrom launched the Epic line at Marvel, creating a genres. Groth to publish the comic as an ongoing series. Love
home for creator-owned work by domestic and inter- It was another 1982 debut that would truly move & Rockets #1 hit comic store shelves in the summer
national creators in the Direct Market. Jack Kirby de- comics into the realm of unqualified adult fiction—a of 1982, marking the dual entry of Los Bros. Her-
buted Captain Victory, a creator-owned series through magazine-sized anthology by three brothers from nandez and Fantagraphics into the comics publishing
marketplace.
The early issues of Love & Rockets were informed
by a completely unchauvinistic history of comics.
As boys, the brothers had absorbed their mother’s
affection for the medium and were exposed to a wide
range of material, from the cartoony kids humor
of Dennis the Menace, Hot Stuff, and Archie to the
heroes and monsters of Marvel legends Jack Kirby
and Steve Ditko. In the late ’60s and early ’70s
Mario began bringing ZAP and other undergrounds
home, introducing the work of greats like R. Crumb
and Gilbert Shelton to their visual vocabulary. These
influences worked their way into each brother’s art
styles. Mario’s work paid homage to the heavy line
of underground masters Spain and Rand Holmes.
Gilbert mixed the monsters of Gil Kane with the
curvy heroines of Wally Wood and infused his stories
with an unapologetic sexuality. Jaime was the most
polished of the three, and his stories were immedi-
ately appealing for their extraordinarily charming
heroines who looked like they came from a planet
where Dan DeCarlo and Frank Frazetta jammed on
an adventure strip. Alongside each other, their com-
ics affirmed the visual diversity of the medium as a
powerful means of personal expression.
Just as important as the comics history on view in
the drawings is that they weren’t the only influences
Los Bros. brought into their comics. It was clear that
comics were an important aspect of their lives, but
they weren’t life itself. Jaime and Gilbert were both
steeped in the Los Angeles punk scene, and their
characters reflected the aspirations, attitudes, and to chart new ground, writing honestly of middle age The Hernandez Brothers sit comfortably within
fashions of the young people in that milieu. Even and the conflict between ageless self-conception and the modern graphic novel pantheon, but when they
more notable in the context of the time is that their the relentless force of time. first emerged, there was little precedent for their
stories were dominated by credible female protago- Gilbert is best known for the Heartbreak Soup work. They are unique not only for the substance of
nists who possessed a sexual dimension but were sequence of stories, a heady ensemble series that their comics but for the fact that they weren’t out to
never mere sex objects. uses magical realism and a large multigenerational prove a point. While other creators were seeking to
Love & Rockets debuted to a positive reception, cast to portray the social makeup of Palomar, a change comics by injecting more adult storytelling,
with Jaime and Gilbert taking it over entirely within remote Central American town. Strongly influenced art, and themes into the traditional comics genres,
the first few issues. Emboldened by positive critical by Latino art and culture, Gilbert’s stories broke the Hernandez Brothers were simply following their
success and Groth’s unwavering encouragement ground for how comics can behave as an expression own muses.
for the artists to simply be themselves, they quickly of culture. His use of language, heavily peppered The undergrounds embraced explicit sexuality
dropped the genre pretenses they first used in an with Spanish names and words, added a musical and coarse language in part to subvert the com-
effort to be commercial, and instead developed quality to his writing that was similarly unique monly held belief that comics were kid stuff. The
complex, character-driven universes rooted firmly within the medium. Gilbert’s stories behave as a Hernandez Brothers depicted sexuality because
in the real world. Once they took possession of that tapestry, shifting not just between characters, but it was part of life. They weren’t drawing their
freedom, their stories leapt into uncharted terrain. between several stages of their lives, to develop a personal fantasies, they were exploring how people
Jaime’s Locas stories document the emotional re- richly woven depiction of what’s fluid and what’s behaved. Where Harvey Pekar and late-period Will
alities of becoming an adult, through the eyes of his enduring in relationships, families, and communi- Eisner adhered to literalism in their portrayals of ev-
signature character, Maggie, and the lives that orbit ties over time. He shares his brother’s matter of eryday life, Los Bros didn’t shy away from injecting
her. We meet her as an 18-year-old who gets swept fact view of sexuality and often goes farther in fantasy and surreal elements into their work and still
into the glamour of travel and adventure under the exploring the sexual lives of his characters, delving pulled off the honest depiction of life as it’s lived.
wings first of heroic boss and infatuation interest into the role of sexuality as a motivational force in The Hernandez Brothers changed comics by
Rand Race, then larger-than-life female wrestling defining identity. Gilbert’s contributions to Love & internalizing the medium’s history and language,
champ and mentor Rena Titañon. These stories are Rockets also include a large body of wildly surreal then using it to express their personal visions. In the
told in breathlessly excited letters to her adorable experimental pieces that meld the humorous and honest portrayal of life as they saw it, they created a
punkette best friend Hopey and reflect how young grotesque. His fascinations with surrealism, sexual- vision of comics for adults that was neither tawdry
people develop their identities in the buoyant period ity, and family ensemble pieces have merged in his nor reactionary, and instead affirmed a world of new
where youthful wonder has yet to give way to current work exploring the offspring of Palomar possibilities for the medium to explore.
adult responsibility. When Maggie returns from her matriarch Luba as they develop their lives in the
adventures, she and Hopey veer into their twenties, contemporary United States.
and Jaime makes the reader fall in love with them
as spritely but tough free spirits. When he confirms
that they’re lovers, it’s done in a matter-of-fact way
that expresses an attitude toward sexuality that’s
Charles Brownstein is the executive director of the Comic Book Legal Defense
honest rather than confrontational. In carefully
rendered vignettes he peeks in on their lives as Fund (www.cbldf.org), a non-profit organization protecting the medium’s
they move from carefree kids with nothing to lose First Amendment rights. His writing about comics includes the award winning
to sudden adults where tragedy, disappointment, books Eisner/Miller and The Oddly Compelling Art of Denis Kitchen.
heartache, and confusion have replaced potential
with grace. In his most recent work Jaime continues
Hernandez Bros. photo by Tina Gill; Brownstein photo by Betsy Gomez WWW.COMIC-CON.ORG 39
RETURNS 02.12.12 9/8c
I
magine you are a 9-year-old boy and you are lying
on the living room floor reading the Sunday comics,
or a 16-year-old saving each weekly installment of
an artist you have admired since you were 10, or
even a young man of 19 perfecting your skills by
copying those same four-color fantasies. There is
were the pop culture visual medium, and Val was
box office gold. What is so incredible about Prince
Valiant is how today’s readers are embracing the
strip’s resurgence, prompted by the recent reprint
volumes. For the first time ever, Prince Valiant’s
epic adventures are being reprinted from restored
color engraver’s proofs. These oversized New York
Times bestselling hardcovers, published by Fanta-
graphics, have the approval of the Foster family.
You only have to look at the many reviews both
no television. There are no video games. There are professional and personal on Amazon, and you will
movies, but most are in black & white. It is Febru- see the words beautiful, brilliant, ground-breaking,
ary 13, 1937, and Prince Valiant in the Days of fun, vibrant, action-packed, exquisite, and gorgeous
King Arthur by Harold R. Foster has just premiered. used over and over again to describe this tour de
Now imagine your name is Frank Frazetta, or Ray force of art and writing. As you read through the
Bradbury, or Jacob (Jack Kirby) Kurtzberg. One adjective-filled quotes and comments, you will
day you will be an “Icon,” or a “Legend,” or a begin to understand that what made Prince Valiant
“King,” but for now, just for now, on this day 75 so popular when it first appeared is also what makes
years ago, you are simply a fan. it popular today. While these stories have dark ele-
It is hard for us to think of these three artistic ments, they are not dark stories. Val is not some
and literary gods of the 20th century as boys. They brooding, guilt-riddled anti-hero—he’s a Hero
were/are giants among us. They loomed larger than with a capital H. Prince Valiant resonates with
life, and their works not only enlivened our imagi- readers today just as much as it did 75 years
nations but embodied much of what we remember ago because the stories are timeless, the
as popular culture milestones for the past 50 years. artwork is stunning—better than most top tier
Yes, they may have been giants; gods to some, but cinematographers could ever hope to imagine—
it was Hal Foster that all three of them worshiped. and because Val’s creator was a genius.
To this day, Bradbury unabashedly wears his love The genius of Hal Foster was not just in his
(that’s love, people—not appreciation, not highest technical proficiency to illustrate the most beauti-
regard—love!) for Foster on his sleeve. Kirby, ful strip ever created (which it is); no, Foster’s true
Frazetta, and many early comics artists, includ- gift was his ability to let the story drive the art and
ing Alex “Flash Gordon” Raymond, liberally skillfully craft characters that people would care
swiped from Foster, and the first appearance of about very deeply. Val is an enormously complex per-
Batman in costume during his origin story is a son. That’s right, person! He is not a one-dimensional,
swipe of a panel from Foster’s Tarzan. Yes, cookie-cutter, lukewarm, stereotypical, politically
Foster illustrated Tarzan too, and he was the correct, personality-by-committee hero. He is brash,
first artist to draw the Lord of the Jungle for clever, impetuous, light-hearted, cocky, romantic,
comics. In fact, Foster’s reach extended crafty, skilled, humorous, willful, smart, flawed,
beyond just comics artists because it was and above all else brave! He is someone you
Foster’s Tarzan pages that the Disney want on your side, and heaven help you if he is
animators used as a model for the back- against you. He has been known to deliberately
ground scenes in The Jungle Book. drop an enemy to his death, unapologetically hang
But Prince Valiant wasn’t just another, leave a path of bodies in his wake (taste-
popular with artists and writers; he was fully bloodless, of course), and cleave a foe’s
everybody’s hero. “Val” was one of the hand off during a fight—then smiling,
first international superstars to reach that saunter from the battlefield while non-
valuable, highly sought-after 4Q (four quadrant) chalantly wiping the blood off his blade.
market consisting of males and females, above and And we love him for it! It is what Foster re-
below age 25. In the 1930s, ’40s, and ’50s, comics ferred to as “an honest brutality.” Val exemplifies
WWW.COMIC-CON.ORG 43
Hal Foster in his studio working on Prince Valiant in 1947.
the one trait missing from most of today’s fictional beloved, faithful friend of Val’s died in combat too. age of 87, he had worked on the strip for 43 years.
characters—passion—and he drips it from every And let’s not forget that “The Winning of Aleta” Not surprisingly, Foster is in four artistic Halls of
pore. saga, perhaps the most romantic sequence ever Fame—more than any other comics illustrator. He
Foster’s development of multidimensional char- created in comics, occurred during WWII when is in the Will Eisner Hall of Fame, the Joe Shuster
acters does not end with just Val. All of Foster’s the greatest percentage of readers in America were Canadian Comic Book Creators Hall of Fame, the
people are individuals. Each character is not only women. Then, after the war, just as the soldiers National Cartoonists Society Hall of Fame, and
visually different from the next, they also have were returning home, Val travels to America to the Society of Illustrators Hall of Fame. In 1980
different personalities. Their speech is different, rescue his pregnant wife, and it was here among the editor and author Cullen Murphy began writing
their body language is different, they have wrinkles Native Americans where their son Arn was born, Prince Valiant, and the father-son team continued
and scars, and if they stub their toe or have their thus heralding in the beginning of the Baby Boomer until Jack Murphy’s passing in 2004. Today, writer
hearts broken, we feel for them. You can almost generation. For the next decade, as Val and Aleta Mark Schultz and artist Gary Gianni continue Val’s
imagine that each person on a Prince Valiant page, raised their children, they were in sync with other adventures. It is only fitting that Prince Valiant’s
even the minor ones, has a history, a rich, full life young couples who were raising their own children wanderings continue, even after 75 years, for the
that precedes their ever walking into the scene. To (back then one of my neighbors even named their witch, Horrit prophesied to Val long ago, “You will
Foster’s credit (and to his wife Helen’s as well) the daughter Aleta!). In the 1940s, and ’50s, Prince have high adventure, but nowhere do I see happi-
women in these stories are often smarter than the Valiant was nothing short of art reflecting life— ness and contentment.” Personally, I am wishing
men. And, just to be clear, while “The Winning of with a dash of swordplay. Val many more un-contented years!
Aleta” storyline that ran from May 1944 to January Foster wrote and illustrated Prince Valiant until Before Superman and Batman, before The Lord
1946 (see Volumes 4 and 5 of the Fantagraph- 1971. That amounts to 34 years, or 1,764 weekly of the Rings trilogy and The Chronicles of Narnia,
ics editions) begins with Aleta in shackles being pages, without missing a single deadline, and he before Joseph Campbell understood “The Hero’s
dragged by Val through the desert, this Queen of the continued to write and lay out the strip for 9 more Journey” and David Lean dragged Peter O’Toole
Misty Isles is no frail flower and could kill Val any years with illustrator John Cullen Murphy. When through a Technicolor desert, there was Harold R.
time she wants. Lucky for us Aleta has other, more Foster retired from Prince Valiant in 1980 at the Foster’s Prince Valiant, comics’ greatest 4Q hero.
“insidious” plans for Val, who often complains that
he will never understand the ways of women.
Finally, one of the more interesting yet over-
looked elements to Foster’s storytelling genius Brian M. Kane has taught art for 14 years and has a master’s degree
was how he used Prince Valiant to mirror society, in history of art from The Ohio State University. He is the author
thereby drawing us into his world. When Hitler of the Eisner-nominated, Ippy Award-winning Hal Foster: Prince of
marched through Europe, Val fought the Huns—and Illustrators (Vanguard), The Definitive Prince Valiant Companion
the strip was immediately dropped from German (Fantagraphics), and James Bama: American Realist (Flesk). Kane’s
newspapers. Even though Foster later claimed the essays also appear in Volumes 1 and 4 of Fantagraphics’ new Prince
Hun invasion was a coincidence, one gets the feel- Valiant reprint series, for which he is also a consultant. He is cur-
ing it was said with a knowing nudge and a wink. rently working on a new book collecting all of Hal Foster’s penciled
During World War II, when husbands, brothers, layout pages and would appreciate it if anyone owning a page or a
sons, and friends were falling on fields of battle, a pencil sketch by Foster would contact him.
BOOK DESCRIPTION
An informative look at both Gary Gianni’s
rendition of the Prince Valiant Sunday strip
and his own working procedures.
A Foreword by Mike Mignola
Introduction by Robert Wagner
112 pages, 9 x 12 in.
$29.95 hardcover with jacket
A B
Features new work by Elliott, Gianni,
Meseldžija, Schultz and Stout.
B 64 pages, 8.5 x 11 in.
$24.95 hardcover with jacket
By Mark Schultz
C Introduction by Craig Elliott
352 pages, 8.5 x 11 in.
$39.95 paperback
Visit fleskpublications.com
for signing schedules, to view our entire
line of books, to shop online and for
exclusive interviews.
Writer Mark Schultz and illustrator Gary Gianni
46 COMIC-CON ANNUAL 2012 Photo by John Fleskes; art © King Features Syndicate, Inc.
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FOR
2012!
We’re gearing up for the best show ever! Comic-Con
International returns to the San Diego Convention Cen-
ter July 12–15, with Preview Night on Wednesday, July
11. Over the next dozen or so pages, you’ll find your
first sneak peek at this year’s event, including the special
guests, the anniversary celebrations, info on the Mas-
querade (and how to sign up!), and this year’s Eisner
Award judges. And don’t forget to nominate you own
favorite comic book store for the 2012 Will Eisner Spirit
of Comics Retailer Awards (see page 71 for the official
ballot).
The best way to keep informed on everything you
need to know for Comic-Con 2012 is to follow us on Twit-
ter (www.twitter.com/comic_con), like us on Facebook
(www.facebook.com/comiccon), or subscribe to our RSS
feed at www.comic-con.org. These three things will keep
you up to date on information such as when badges go
on sale, when hotel reservations open, and when the
programming schedule goes live on the website.
The most important thing you can do RIGHT NOW is
sign up for a Comic-Con Member ID! You must have a
Member ID to purchase a badge for Comic-Con 2012. See
the article on the next page for information on how to get
your very own Comic-Con Member ID!
A Comic-Con Member ID is FREE and available to all adult and junior (ages 13 to 17) attendees with a valid and unique e-mail
address. (Children ages 12 and under may not register for a Comic-Con Member ID.)
Your Member ID will add you to Comic-Con’s verified special member “E-List.” As a member, all year round you will receive im-
portant information regarding registration, online badge sales, housing, and other announcements, including access to early-bird
or special e-list presales.
Signing up for a Comic-Con Member ID is quick and easy, and you only need to sign up once: your Member ID will be valid for all
Comic-Con affiliated events in 2012 and beyond.
By requiring a unique e-mail address for each Member ID, our hope is to increase the speed of the online registration process
and prevent duplicate registrations that allow scalpers to purchase multiple tickets and sell them at inflated prices. The Comic-Con
Member ID system is intended to allow more fans to purchase tickets for this highly popular event.
Everyone who intends to purchase a ticket for Comic-Con 2012 must register for a Comic-Con Member ID; that includes attendees,
professionals, press, and volunteers who apply for a complimentary badge.
For more information and to sign up for a Comic-Con Member ID, please visit www.comic-con.org/cci/cci_reg_memberid.php
100th ANNIVERSARY OF EDGAR RICE BURROUGHS’ TARZAN AND JOHN CARTER OF MARS 30th ANNIVERSARY OF LOVE AND ROCKETS
In 1912 two amazing creations leaped full-born from the vivid imagination of In 1981, three California brothers took their love of comics, movies, animation, and
Edgar Rice Burroughs. John Carter’s first adventure, A Princess of Mars, was all things pop culture and created their own fanzine, titled Love and Rockets. Gilbert,
serialized in All-Story Magazine from February through July of 1912 as Under Jaime, and Mario Hernandez published the first issue, then moved the book to Fan-
the Moons of Mars; the epic adventures of Tarzan of the Apes began in the pages tagraphics in 1982, its home ever since. The brothers have had an incredible impact
of that same magazine in October of that year. The two creations of the prolific on the alternative comics scene and are currently producing some of their best work
Burroughs have gone on to appear in numerous novels, movies, television shows, ever. The Hernandez Brothers are guests at both Comic-Con and APE in 2012. For
comics, and much more, including Disney’s John Carter movie. more information about Los Bros. Hernandez, see the feature article beginning on
page 38 and the Comic-Con special guest bios, beginning on page 52.
75th ANNIVERSARY OF PRINCE VALIANT
Hal Foster’s Prince Valiant in the Days of King Arthur, a beautiful full-page Sun- 20th ANNIVERSARY OF IMAGE COMICS
day comic strip, began in 1937. Foster’s incredible illustrative style and storytell- In 1992, seven popular artists stopped doing freelance comics work and formed
ing ability separated this elegant and exciting strip from pretty much everything their own imprints under a new company, Image Comics. Erik Larsen, Jim Lee, Rob
else being published at the time (and, one could argue, ever since). The strip Liefeld, Todd McFarlane, Whilce Portacio, Mark Silvestri, and Jim Valentino took the
continues today by artist Gary Gianni and writer Mark Schultz, who are Comic- comics world by storm, proving once again that the creators were just as popular as
Con special guests this year to help celebrate the history and ongoing influence of the characters they drew. Image has gone on to be a major force in the comics indus-
Foster’s great creation. For more information on Val and the current strip’s team try. A number of Image founders and creators are Comic-Con 2012 special guests;
of Gianni and Schultz, see the feature article beginning on page 42. see the special guest bios beginning on page 52 for more info.
WWW.COMIC-CON.ORG 49
Comic-Con VISIT WWW.COMIC-CON.ORG FOR MORE INFO ON THIS YEAR’S EISNER AWARDS
2012
WILL EISNER
COMIC
INDUSTRY
AWARDS
JUDGES
The “Class of 2011” poses for their photo: last year’s Eisner Award recipients
The panel of judges for the 2012 Will Eisner Com- attending school and working numerous jobs. He the business side, Larry has been executive director
ics Industry Awards have been announced. These describes owning a comic book store as “the best of Image Comics, president of McFarlane Toys,
judges will choose the nominees in more than two job in the world for someone who likes to share and marketing director of Moondog’s, a chain of
dozen categories, from Best Writer to Best Graphic the joy of fine comic books!” Calum is a member Chicagoland comic book stores. He currently serves
Album. The ballot they compile will then be voted of ComicsPro, and Strange Adventures has won as president of the board of the Comic Book Legal
on by professionals in the comics industry, and the several retailer awards including the Eisner and the Defense Fund.
winners will be announced in a gala ceremony on Shuster. It was named best Canadian comics store
the evening of Friday, July 13, at the Hilton San in Previews magazine, Canada’s Readers Digest, BEN SAUNDERS, professor of English at the Univer-
Diego Bayfront. and The Coast newspaper readers poll. sity of Oregon, was hired by the university to teach
the plays of Shakespeare, but since receiving tenure
BRIGID ALVERSON has been reading comics since JESSE KARP is a school librarian at LREI, an in 2006 he has also worked steadily to establish that
she was 4. After earning an MFA in printmaking, independent school in New York City. He teaches institution at the forefront of Comics Studies. He is
she headed to New York to become a famous artist the graduate course Graphic Novel: Narrative and author of Do The Gods Wear Capes?: Spirituality,
but ended up working with words instead of pic- Sequence at Pratt Institute, and he served three Fantasy, and Superheroes (Continuum Press, 2011),
tures, first as a book editor and later as a newspaper years on the American Library Association’s Great and a founder of the university’s undergraduate
reporter. She started MangaBlog to keep track of Graphic Novels for Teens Committee. He is a minor in Comics and Cartoon Studies. (For more
her daughters’ reading habits and now covers com- graphic novel reviewer for Booklist magazine and info, see Ben’s special guest bio on page 58.)
ics and graphic novels as a freelancer for School is the author of Graphic Novels in Your School
Library Journal, Publishers Weekly Comics Week, Library (ALA, 2011) and the YA novel Those That MARY STURHANN has been secretary on the Board
Graphic Novel Reporter, Comic Book Resources, Wake (Harcourt Children’s Books, 2011). of Directors of Comic-Con International since
MTV Geek, and Robot 6. She also edits the Good 1994. Mary started attending conventions 31 years
Comics for Kids blog at School Library Journal. LARRY MARDER has had a long career in the ago. She is an avid reader of books, comics, graphic
industry, including creating, selling, publishing, novels, and manga. She collects old movies and
CALUM JOHNSTON is the owner of Strange Adven- and promoting comics. On the creative side of the enjoys gaming of all kinds, but leans toward board
tures: Comix & Curiosities, in Halifax, Nova Sco- comic book field, his Beanworld series has de- and card games. She attends and works as staff at
tia, which he started in 1992; he has recently added lighted readers from grade school to grad school for several conventions, including Comic-Con Inter-
a third location. Originally from Montreal, Calum more than a generation, earning him a spot on the national and WonderCon, and is the recipient of an
began selling comics at a farmer’s market while New York Times Graphic Books Bestsellers List. On Inkpot Award.
WANT A CAREER
IN MOVIES OR GAMES ?
For over a decade, Gnomon School of Visual Effects in Hollywood has trained some of the
world’s best digital artists who are now working on blockbuster movies and games.
CLOONAN
ENGLEHART
MATTHEW and
JAIME HERNANDEZ EVENS JENNIFER HOLM
Jones, and Tom Strong. For 8 years he genetically designed detective Paula to the launch of Mario Hernandez and N.K. JEMISIN
has drawn the newspaper Sunday strip Myo. After that came the standalone his brothers Gilbert and Jaime’s self- (author, The Inheritance Trilogy)
Prince Valiant. Recently, Dark Horse novel Great North Road, published published fanzine Love and Rockets. N. K. Jemisin is the Hugo, Nebula,
published Gianni’s occult detective by Del Rey, which he describes as his In addition to contributing some sto- and World Fantasy Award–nominat-
adventures, The Monstermen and “monster in the dark” story. Peter is ries to L&R, Mario has produced a ed author of The Hundred Thousand
Other Scary Stories, and Ras Press re- taking a break from adult novels to plethora of freelance work for various Kingdoms, The Broken Kingdoms,
leased The Nefertiti–Tut Express writ- write the Books of the Realms, a tril- underground and alternative antholo- and The Kingdom Of Gods (The In-
ten by Ray Bradbury and illustrated by ogy aimed at 8- to 12-year-olds. gies—Rip-off Comics, Buzzard, Real heritance Trilogy), out now from
Gianni. Girl, and Measles—culminating in Orbit Books. She’s also a counseling
GILBERT HERNANDEZ a one-shot collection, Brain Capers. psychologist, a biker, and a feminist/
ROB GUILLORY (writer/artist, Love and Rockets) His latest project was Citizen Rex for anti-racist blogger. She lives in Brook-
(artist/co-creator, Chew) Gilbert Hernandez, the co-creator Dark Horse with brother Gilbert. It lyn, New York and is currently hard at
Rob Guillory is a multiple Eisner and of Love and Rockets with his two was included in The Best Comics of work on two more books that will be
Harvey Award–winning comic book brothers, was born in Oxnard, CA, 2010 anthology. forthcoming from Orbit in 2012. For
artist. Born, raised, and currently seemingly with a comic book in his more info, visit nkjemisin.com.
based in Lafayette, Louisiana, Guil- hand. His mother allowed him and JENNIFER & MATTHEW HOLM
lory is most known for his art on the his siblings to read comics because (writers/artists, Babymouse, Squish) LYNN JOHNSTON
New York Times bestselling series she loved comics as a child herself. Jennifer and Matthew Holm are the (cartoonist, For Better or For Worse)
Chew, published by Image Com- He learned to draw his own minimal- sibling team behind the Babymouse Canadian cartoonist Lynn Johnston
ics. The book has won two Harvey ist comics at age 5, which eventually graphic novels for young readers, is best known for her comic strip For
Awards (including Best New Talent), evolved into the comics he does now. which have sold more than 1.4 million Better or For Worse. Her cartooning
was nominated for two Eagle Awards, He’s produced comics for almost ev- copies and won numerous awards, career started with a series of humor-
and won Eisner Awards for Best New ery major comics company but prefers including the 2006 Gryphon award, ous books on parenting. In 1978, she
Series in 2010 and Best Continuing to do more personal work, as he be- 2006 New York Book Show awards, sent off 20 examples of a daily comic
Series in 2011. lieves that comics are a great place for and seven IRA/CBC Children’s strip, The Johnstons—based on her
self-expression. His career spans 30 Choice awards. Babymouse: Queen of own family—to Universal Press
years, and he plans to go as far as he the World was the first graphic novel Syndicate. She received and signed
LARRY HAMA ever to be named an ALA/ALSC a 20-year contract, and For Better or
can with our beloved medium.
(writer/cartoonist, G.I. Joe, Wolverine)
Notable Children’s Book. The latest For Worse began. The strip ended in
Larry Hama is a writer/cartoonist/illus- volume in the series is #15, A Very 2010 but still appears (in reprint form)
trator/actor/musician who has worked JAIME HERNANDEZ Babymouse Christmas. The Holms are in over 2,000 papers in Canada, the
in comics, television, and film. He is (writer/artist, Love and Rockets) also the creators of the IndieBound- United States, and 20 other countries,
best known as the writer of Marvel’s As a young aimless Latino punk bestselling graphic novel series translated into eight languages. It’s
G.I. Joe comics in the ’80s and Wolver- rocker, Jaime Hernandez, along with Squish. The latest book is Squish #3: been collected into close to 40 books.
ine in the ’90s. More recently, he has his brothers Gilbert and Mario, self- The Power of the Parasite.
scripted G.I. Joe Origins and G.I. Joe: published the first issue of Love and
JOE JUSKO
A Real American Hero for IDW as well Rockets in 1981. It was picked up by KLAUS JANSON (artist/illustrator, Marvel Master-
as various animation and video game Fantagraphics Books in 1982 and ran (artist/inker, Daredevil, pieces, Warlord of Mars)
projects. His illustrations have appeared 50 issues before the brothers took a The Dark Knight Returns) Joe Jusko’s career has spanned 35
in National Lampoon, Esquire, New break to pursue solo projects. Jaime’s After apprenticing with Dick Gior- years, starting with the sale of his very
York, and Rolling Stone. As an actor, he titles included Whoa, Nellie!, Maggie dano, Klaus Janson entered comics in first cover to Heavy Metal in 1977
has appeared on Broadway in Stephen and Hopey Color Fun, and Penny Cen- the early ’70s, inking an issue of Mar- at the age of 17. Joe has worked for
Sondheim’s Pacific Overtures and on tury. Love and Rockets was revived in vel’s Black Panther. He has inked just almost every major comic book pub-
TV in M*A*S*H*, SNL, and Another 2000 and still continues today. Outside about every penciler working within lisher, producing covers and interiors
World. of L&R, Jaime has also done other the last 40 years. In the 1980s, he for iconic characters such as Conan
comic work, magazine illustration, and inked Frank Miller on Daredevil and the Barbarian, Vampirella, and Tarzan
album covers. He lives in Altadena, CA
PETER F. HAMILTON The Dark Knight Returns. His pencil- of the Apes. His work has appeared
with his wife and daughter. ing work includes Gambit, Gothic,
(author, Night’s Dawn trilogy, on paperback book covers, calendars,
Spawn/Batman, and Death and the
Great North Road) posters, T-shirts, packaging, and most
Peter F. Hamilton is a Sunday Times MARIO HERNANDEZ Maidens. Currently, he is inking memorably the multi-award-winning
bestselling science fiction author of (writer/artist, Love and Rockets) Amazing Spider-Man over Giuseppe 1992 Marvel Masterpieces Trad-
15 books, including the acclaimed Comics histories, newspaper strips, Camoncoli and penciling Daredevil: ing Cards. His current work includes
Night’s Dawn trilogy. Born in Rut- cartoon collections, paperbacks, trad- The End of Days, written by Brian monthly covers for Warlord of Mars
land, England, he still lives there ing cards, monster magazines and Michael Bendis and David Mack and from Dynamite Entertainment and
with his wife and two young children. movies, rock and roll, cheesy TV inked by Bill Sienkiewicz. He is most Outcast from BOOM!, as well as
His last series of five books set in his shows and cartoons, and a whole proud of the students he has taught at many other projects.
Commonwealth universe featured the bunch of funny books—all contributed the School of Visual Arts.
KARL KERSCHL ventures of Superboy as well. In 2010 Nebres began work with DC Com- JAMES ROBINSON
(writer/artist, The Abominable Essex County was named one of the ics when fellow comic artist Tony (writer, Starman, Justice Society
Charles Christopher) five “Essential Canadian Novels” of DeZuniga introduced him to pub- of America, The Shade)
Karl Kerschl has been drawing comics the decade in the prestigious Canada lisher Carmine Infantino and editor James Robinson is a British-born
professionally for over 15 years. He Reads program, becoming the first Joe Orlando. He was given assign- comic book scribe and sometimes
has worked on Superman, The Flash, graphic novel to ever be included in ments drawing short stories for the screenwriter with a career spanning
and Teen Titans, among other heroic the national competition. Lemire’s DC mystery titles, including House of more than two decades. He is current-
things, and recently self-published a next original graphic novel, The Un- Secrets, Ghosts, and The Unexpected. ly writing The Shade and Justice So-
collection of his weekly webcomic, derwater Welder, from Top Shelf Pro- Rudy moved to the U.S. in 1975 and ciety of America for DC Comics. His
The Abominable Charles Christopher. ductions, will debut at Comic-Con was hired by Marvel Comics to work prior works include Starman, Leave It
He currently resides in Montréal, Can- 2012. on titles such as Avengers, King Kull, to Chance, The Golden Age, Super-
ada, where he continues to write and Conan, Red Sonja, Hulk, John Carter man, and JLA.
draw his own stories. The Abominable of Mars, and Deadly Hands of Kung
PAUL LEVITZ
Charles Christopher has been nomi- (writer, Legion of Super-Heroes)
Fu. Nebres has also produced work JOHN ROMITA JR.
nated for several awards and has won for Warren, CrossGen, and Harris and (artist, Amazing Spider-Man,
Paul Levitz has been a comics fan
the Shuster Award for Best Canadian worked with Neal Adams at Continu- Kick-Ass, Avengers)
(The Comic Reader, winner of two
Webcomic in 2010 and the Eisner ity Studios. John Romita Jr. remembers watching
Best Fanzine Comic Art Fan Awards),
Award for Best Digital Comic in 2011. editor (Batman), writer (Legion of his father draw Daredevil at home. It
The strip updates weekly at www. Super-Heroes), and executive (38 KATSUHIRO OTOMO obviously had a great effect on him,
abominable.cc. years at DC, ending as president and (creator, Akira, Domu, Steam Boy) as JR JR went on to become one of
publisher). He has received the Ink- Japanese cartoonist and animator Kat- the leading comics artists of his gen-
JOHN LAYMAN pot, Clampett Humanitarian, and suhiro Otomo, who made his profes- eration. His first work was for Marvel
(writer/letterer/co-creator, Chew) ComicsPro Industry Appreciation sional debut in 1973, is best known in UK, followed by a story in Amazing
John Layman is the co-creator, writ- awards, and he serves on the board of the U.S. for his manga series Akira, Spider-Man Annual #11. He illustrat-
er, and letterer of Chew, the New York the Comic Book Legal Defense Fund. which he made into an animated film ed just about every Marvel character,
Times bestselling, Harvey Award, and His Eisner Award–winning book, in 1988. His other manga include the including Iron Man, Thor, Hulk, Dare-
multi-Eisner Award–winning cannibal 75 Years of DC Comics: The Art of award-winning Domu, along with such devil, Punisher, the Avengers, and X-
cop comedy series from Image Comics. Modern Mythmaking, was published other series as Sayonara Nippon, Visi- Men. His own creations include Kick-
Layman was an editor for WildStorm by TASCHEN, and his recent com- tors, and SOS! Tokyo Metro Explorers. Ass (co-created with Mark Millar) and
Productions and has written or lettered ics writing includes Legion of Super- He has directed two other animated The Gray Area.
for nearly every major publisher in Heroes and The Huntress. films, Steam Boy and Memories, along
comics for the last decade and a half. with the live-action Jiyu Wo Warerani BRANDON SANDERSON
Other comics he’s written include ANDY MANGELS and Mushishi. Mr. Otomo has pub- (author, The Alloy of Law, Wheel
Puffed, Gambit, Godzilla, Army of (author, Star Trek, Star Wars novels) lished several books in relation to his of Time and Mistborn series)
Darkness vs. Marvel Zombies, Scar- Andy Mangels is a USA Today best- films and is currently preparing a new Brandon Sanderson has published six
face, Thundercats, and Stephen Col- selling author and co-author of over illustration book, Kaba 2. solo novels with Tor Books—Elantris,
bert’s Tek Jansen. Chew is currently 20 books, including Star Trek and the Mistborn trilogy, Warbreaker, and
in development to be a TV series on NATE POWELL
Star Wars tomes; his newest is Lou The Way of Kings—as well as four
Showtime. (writer/artist, Swallow Me Whole,
Scheimer: Creating the Filmation Gen- books in the middle-grade Alcatraz
Any Empire)
eration. Since 1985, his tales have been Versus the Evil Librarians series from
Nate Powell was born in Little Rock,
JIM LEE published by DC, Marvel, Dark Horse, Arkansas in 1978 and began self-pub-
Scholastic. He was chosen to com-
(artist, Justlce League, Batman: Hush; Image, Microsoft, and others. He regu- plete Robert Jordan’s Wheel of Time
lishing at age 14. His work includes
DC Comics co-publisher) larly contributes to international enter- series: 2009’s The Gathering Storm
The Year of the Beasts (2012, Roaring
See Jim’s WonderCon bio on page 16 tainment magazines and has scripted, and 2010’s Towers of Midnight will be
Brook), The Silence of Our Friends
for more info! directed, and produced over 40 DVD followed by the final book, A Memory
(2012, First Second), Any Empire
documentaries and special features proj- of Light, in 2012. His newest Mistborn
(2011, Top Shelf), Swallow Me Whole
JEFF LEMIRE ects. A national award-winning social novel, The Alloy of Law, was released
(2008, Top Shelf; Eisner Award win-
(writer, Animal Man, Frankenstein; activist, he has raised over $135,000 in November. Currently living in Utah
ner for Best Graphic Novel, LA Times
writer/artist, Sweet Tooth) for domestic violence programs at the with his wife and children, Brandon
Book Prize Finalist, and Ignatz Award
Jeff Lemire is the award-winning yearly “Women of Wonder Day” event. teaches creative writing at Brigham
winner), Please Release (2006, Top
Canadian cartoonist of the acclaimed He has moderated the Gays in Comics Young University.
Shelf), and Sounds of Your Name
graphic novel Essex County (Top panel at Comic-Con for 25 years! (See (2006, Microcosm). From 1999 to
Shelf) and the comic book series page 60 for more info) 2009, Nate worked full-time support- BEN SAUNDERS
Sweet Tooth from DC/Vertigo. He ing adults with developmental dis- (comics scholar, professor of English at
is also the current writer of Animal RUDY NEBRES abilities, and he has performed in DIY the University of Oregon)
Man and Frankenstein for DC Com- (artist, Conan, John Carter of Mars) punk bands Universe and Soophie Ben Saunders believes that comics
ics and has written the monthly ad- Philippine-born comics artist Rudy Nun Squad. make people smarter. Besides serv-
SHAW!
OTOMO SHIGA
USLAN SAUNDERS
TRIMPE
TURNER
TORRES
ing as curator for the Jordan Schnitzer ways has. His lifelong interest in ad- After a career as the executive art di- is currently drawing G.I. Joe covers for
Museum of Art’s comprehensive ex- venture fiction and science led him to rector at Capitol Records and as the IDW publishing, as well as extensive
hibition of original comic art from create the award-winning comics series creator, editor, and designer of the commission work.
the superhero genre (“Faster Than a Xenozoic Tales and co-create the un- magazines Cinema and Movies Inter-
dersea adventure SubHuman, as well national, as well as being a glamour
Speeding Bullet,” 2009), Ben is au- MORRIE TURNER
thor of Do The Gods Wear Capes?: as to write such nonfiction projects as photographer, historian (Here’s Look- (cartoonist, Wee Pals)
Spirituality, Fantasy, and Superheroes The Stuff of Life, a Graphic Guide to ing At You, Kid), novelist (the Death Cartoonist Morrie Turner, a native of
(Continuum Press, 2011) and a founder Genetics and DNA. He has illustrated Dealer series), and screenwriter (Sa- Oakland, CA, turned to cartooning full-
of the undergraduate minor in Comics a collection of Robert E. Howard’s hara, King Solomon’s Mines, Revenge time in 1964. In 1965 he created the
and Cartoon Studies at the University Conan of Cimmeria and the autobiog- of the Ninja), Jim Silke turned, in 1991 Wee Pals comic strip. It was Turner’s
of Oregon, where he teaches a variety raphy of Charles R. Knight. Currently, at age 60, to his first love—comics. He intention to portray a world without
of classes drawing on the Anglo-Amer- he is completing the visuals for his has since completed the graphic novels prejudice, a world in which differenc-
ican canon of newspaper strips, comic Storms at Sea novella while continuing Rascals in Paradise and Bettie Page, es—race, religion, gender, and physi-
books, and graphic novels. to script Prince Valiant, which appears Queen of the Nile, plus a number of cal and mental ability—are cherished,
in the funny pages of better newspapers illustrated art books, including Bettie not scorned. One life-changing honor
everywhere. Page: Queen of Hearts, Pin-Up: The
DOUG SAVAGE was during the Vietnam War when he
(cartoonist, Savage Chickens) Illegitimate Art, and Jungle Girls. was one of six cartoonists asked by the
When Doug Savage was a kid, he al- SCOTT SHAW! National Cartoonist Society to go to
ways wanted to be a cartoonist. But (cartoonist/writer, Captain Carrot, J. MICHAEL STRACZYNSKI Vietnam, where he spent 27 days on
when he grew up, he found himself Oddball Comics) (writer, Superman: Earth One) the front lines and in hospitals drawing
working in a corporation, starving for Scott Shaw! is an experienced profes- See JMS’s WonderCon bio on page 18 more than 3,000 caricatures of service
creativity and plagued by migraines. sional cartoonist/writer in the fields of for more info! people. Morrie also has the distinction
Luckily, this predicament drove him comic books, animation, advertising, of having been at the very first San Di-
to pick up a pad of yellow sticky notes and toy design. His first published com- ANGELO TORRES ego Comic-Con in 1970.
and start drawing chicken cartoons. ics story appeared in the underground (artist, MAD, Creepy, Eerie)
Published online every weekday since comic book Gory Stories Quarterly. He Born in Santurce, Puerto Rico in 1932, MICHAEL USLAN
2005, Savage Chickens is read by mil- co-created—with Roy Thomas—the Angelo Torres began drawing at a (writer/historian/producer, The Dark
lions and has been published in books funny animal superhero series Captain young age. In 1946 he moved to New Knight, The Boy Who Loved Batman)
and magazines worldwide. His book, Carrot and His Amazing Zoo Crew! York City, where he studied art in high Michael Uslan grew up loving Bat-
Savage Chickens: A Survival Kit for (DC). Scott was one of a handful of school and in 1951 went into the Army man. As a young adult, he was one of
Life in the Coop, was published in local comic fans who helped organize and served in Korea. He attended the the first people in the country to teach
2011 by Perigee Books (an imprint of the first San Diego Comic-Con. He Cartoonists and Illustrators School a college-accredited course on comic
Penguin USA). Learn more at www. regularly performs his popular Oddball (SVA) from 1953 to 1955, when he left book folklore. Along with business
savagechickens.com. Comics slide show at Comic-Con, and to work in the comic business, includ- partner Benjamin Melniker, Uslan has
he wows the audience along with Ser- ing collaborations with his friends Al produced all the Batman films to date,
JOHN SCALZI gio Aragonés and Mark Evanier at the Williamson and Frank Frazetta. The starting with the first Tim Burton film
(author, Old Man’s War, Fuzzy Nation) annual Quick Draw! event. years ahead were busy with a wide in 1989. He has also written for com-
John Scalzi is the author of several variety of projects, including Jim War- ics, including the Archie Gets Married
science fiction novels, including the JASON SHIGA ren’s Creepy and Eerie. In 1969, Torres storyline, was instrumental in bring-
bestselling Old Man’s War sequence, (writer/artist, Bookhunter, Empire State) joined the gang at MAD magazine. ing the 1960s comics fan favorite title
comprising Old Man’s War, The Ghost Jason Shiga graduated from the Uni-
T.H.U.N.D.E.R. Agents back to print,
Brigades, and the New York Times best- versity of California at Berkeley with and recently published his autobiogra-
HERB TRIMPE
selling The Last Colony. He is a winner a degree in pure mathematics. He is the phy, The Boy Who Loved Batman, with
(artist, Incredible Hulk, GI Joe)
of science fiction’s John W. Campbell author of over 20 comic books, includ- Chronicle Books.
Herb Trimpe is best known for his
Award for Best New Writer, and he ing Fleep, Bookhunter, Meanwhile,
8-year run on the Incredible Hulk for
won the Hugo Award for Your Hate and Empire State. He is the inventor
Marvel, featuring the introduction of TREVOR VON EEDEN
Mail Will Be Graded, a collection of of three board games, two card tricks,
Wolverine in Hulk 180 and 181. Trimpe (artist, Black Lightning, Green Arrow,
essays from his popular blog “Whatev- and the world’s second largest interac-
is also known for his contributions to Thriller)
er.” His latest novel, Fuzzy Nation, hit tive comic, spanning 25 square feet.
several licensed characters, including Trevor Von Eeden, born in Guyana,
the New York Times bestseller list in its His puzzles and mazes have appeared
Transformers, Godzilla, and G.I. Joe, South America in 1959, came to the
first week on sale. His next book will in McSweeny’s and Nickelodeon maga-
all of which were featured in major U.S. in 1970. Along with co-creating
be published in June 2012. zine. He lives in Oakland, CA.
motion pictures. Other titles drawn by Black Lightning for DC, Von Eeden
Trimpe include The Defenders, War Is has drawn Batman Annual #8, a Green
MARK SCHULTZ JIM SILKE Hell, Guardians of the Galaxy, Indi- Arrow miniseries, Thriller, Catwom-
(writer/artist, Xenozoic Tales, (artist/illustrator/designer, Rascals in ana Jones, and Fantastic Four Unlim- an, Worlds’ Finest, Legends of the DC
Prince Valiant) Paradise, Bettie Page, Queen of the ited, a quarterly publication that became Universe, and Black Canary, among
Mark Schultz loves a good story, al- Nile) Trimpe’s final effort at Marvel. Trimpe many others. He has also produced his
Gays in Comics
Panel
Celebrates
25th Year
Twenty-five years ago, Comic-Con International
unveiled a panel that would go on to have lasting
appeal to the convention. The first Gays in Comics
panel occurred at Comic-Con in 1988. Over that
past quarter century (!), one constant has been
present at all the annual panels: moderator Andy
Mangels, who started it that very first year and has
been at it ever since.
What’s the “secret origin” of the Gays in Comics (L to r) The panelists from the 2011 Gays In Comics panel: Jon Macy, Andy Mangels, Robert Kirkman, Paul Cornell, Greg
panel at Comic-Con? Pak, Chip Kidd,and Dan Parent.
Andy Mangels: Back in 1988, while writing for
Amazing Heroes magazine, I produced a 36-page
in-depth article that ran in two issues, titled “Out of bisexual, and transgendered fans and professionals that there were “No gays in the Marvel Universe.”
the Closet and into the Comics—Gays in Comics: mattered in the industry. Now, not only does Marvel have gay characters, but
The Creations and the Creators.” At that point in time, Archie and DC have gay characters headlining their
nobody had ever written about the subject in an article, You’ve done 24 panels over the years . . . which own books!
and nobody in the mainstream comic book industry one was the most memorable for you, and why? The dialogue begun at the Gays in Comics panels
was out of the closet (though there were a handful who Each year, I have a lot of people who say, “This has helped fans as well. From early fan gatherings
were “out” in the underground/nascent independent year’s was the best one yet!” and it’s hard to dis- after the panel sprang gay comic clubs, and then In-
comic world, most notably Howard Cruse and Roberta agree. After over two decades, things have changed, ternet forums and online clubs. A zine I put together
Gregory). I interviewed a lot of gay, lesbian, and and the dialogues on-panel are much different than in 1999 for dispersal after the panel which listed all
bisexual creators who were quoted anonymously, as they used to be. Whereas the larger publishers the “out” creators at the time eventually led to the
well as a lot of heterosexual creators, about the way used to shun the panel, many of them now suggest formation of PRISM Comics, the nonprofit group
the industry treated gay characters, gay creators, and participants. It’s always a difficult balance finding that supports GLBT creators and fans and which
gay fans. a diverse lineup, trying to include men and women, proudly exhibits each year at Comic-Con. There
The articles were released in mid-June and early gays and straights, people of different ethnicities have been gay comic fan receptions and parties
July, a month prior to San Diego Comic-Con 1988. and ages and fame-levels. after the panel since 1999, and additional panels
Even in those pre-Internet days, the reaction was im- I think Year 20 was a pretty memorable year at Comic-Con since 2002. And attendance at all of
mense. There were a lot of letters written and phone because Paul Levitz—then the head of DC Com- the panels has remained stellar; we’ve inhabited a
calls made. It became one of the biggest news stories ics—appeared on it. That sent a message to the 1,000-seat room since 2006! With the aid of Comic-
of the summer! Although I had not chaired a panel industry—at least to those who were listening, since Con, the GLBT comic fans have been able to find
before, I approached Comic-Con about doing a Gays the comic press mostly doesn’t send reporters to a sense of community within the larger comic fan
in Comics panel. They were unsure what the response this panel—that a major force in the industry felt it community.
would be, but scheduled a panel in the 3,000-seat important to dialogue with the GLBT audience.
Civic Theatre. I put a panel together of some straight Besides the 25th anniversary Gays in Comics
creators, as well as some “out” underground/indepen- Do you feel that the panels have fulfilled the panel for Comic-Con 2012, what are you working
dent creators. original intent and mission you had in mind when on now?
I believe there were about 700 to 800 people in the they started? I will have one new book (my 20th!) out this year,
audience that year, and everyone was shocked at how The dialogue fostered by the panels has helped titled Lou Scheimer: Creating the Filmation Gen-
high attendance was. I was only 20 years old then, change the industry itself: there are more good eration, from TwoMorrows. I’m continuing to write
and coming out to the industry as the first openly gay GLBT characters than ever; some companies have for magazines such as Back Issue and Star Trek
mainstream professional, while leading a combative GLBT employee groups; and the word “diversity” magazine, as well as online sites, have been acting
panel in front of an audience like that, was a trial by isn’t looked at by most as an obligation but as a cre- in minor roles on Grimm and Leverage, and produce
fire. But it was clear to everyone that year, and in the ative opportunity. When I began the panel in 1988, the yearly charity event “Women of Wonder Day”
years that followed at Comic-Con, that gay, lesbian, Marvel reportedly had an intercompany mandate every October.
!
NEW Any costumed entry winning one of Comic-Con’s own award categories will receive a FREE 4-day membership to Comic-Con 2013!
FOR If you have a winning costume, you’ll get your badge for 2013—Comic-Con’s extra thank you for all your hard work and talent!
2012 BADGES ARE NONTRANSFERABLE; IF A GROUP WINS, UP TO FOUR MEMBERSHIPS WILL BE GIVEN.
Backstage at the
ing their turns presenting on the stage, the master
of ceremonies is announcing each entry, dramatic
music flows from the overhead speakers, and every
few minutes applause fills the air. If you’ve been
Comic-Con Masquerade:
to Comic-Con’s Masquerade, you know what the
show is like from the audience’s perspective. Care
to step behind the curtains for a quick tour while the
show is running?
What the Audience Here, behind the tall black drapery of the
4,000+-seat ballroom, lighting is kept minimal so to
not bleed onto the stage when it goes dark between
Doesn’t See!
each act. Only a few scattered work lights provide
illumination. Contestants, show staff, and Conven-
tion Center A/V technicians speak in hushed tones,
avoiding being overheard by the microphones on
the stage lectern. Behind the color-changing stage
by Martin Jaquish
backdrop, a dozen costume entrants stand lined up
along the back wall, waiting their turn as they hear
the music and applause of the presentation finishing
Masquerade Coordinator, up on stage. They anxiously check their props and
costumes, hoping and praying their months of plan-
Comic-Con International ning and crafting will lead to a smooth presentation
The Comic-Con 2011 Masquerade Best in Show winner: “Saligia: The Court of Sin,” worn, designed, and made by Katrina Andrews, Dustin Javier, Marty Le Grow, Krys Lewis, Moira
Malstrom, Carrie Martin, Jennifer Newman, and David Patricola
Next, we pass the closed room where the judges dress. A few steps away Abraham Lincoln texts on artists from Hollywood are set up, donating their
and company representatives are briefed before- his cell phone, while in the corner Batman chats time and materials to help contestants look like
hand and where they deliberate at intermission, with Beatles look-alikes from Yellow Submarine. pros. Near them are the costume repair supplies
aided by reference photos of each of the costumes. Nearby, Iron Man shares construction tips with an Comic-Con provides, where last-minute breakages,
Only the workmanship judge sees the costumes alien creature that walks on stilts. torn seams, and failed glue can usually be fixed in
ahead of time, in order to evaluate the finer details; While some costumers relax in chairs to await the nick of time.
the rest of the judges see the costumes for the first the end of the show, a few have no choice but to Now we step aside as a helper runs past, a wor-
time when the audience does. Inside this room, too, stay standing if their costumes won’t let them sit. ried look on his or her face as some detail is seen
Comic-Con’s Onsite Newsletter reporter anxiously The show isn’t over until the awards are given, and to; no one wants to be the one to let something go
awaits award results so they can be included in the some of the contestants have been preparing all day. wrong! For the rest of the year these helpers are
Sunday newsletter before it goes off to the printer Meanwhile, the backstage helpers keep scurrying schoolteachers, programmers, clerks, and engineers,
at midnight. in and out, clipboards and walkie-talkies in hand. but for this one night they are theater staff, donating
Now another batch of costumers walk past, “Is all of your group here? Are they back from the their time and sore feet to help the contestants to
returning from the photo stage to the contestant bathroom? Someone left a prop behind! Ah, there it look—and feel—like stars for a night. “You did a
ready room, which, borrowing a term from theatre is, quick, get it to the stage!” great job, and the crowd loved you—didn’t we tell
and TV, is called the Green Room. Keeping track Next door, another ordinary meeting room has you they would?”
of 100+ contestants as they move between rooms been transformed even more dramatically. Thanks Backstage after the show, the rooms are a mess
can be a challenge, so they are gathered here where to a lot of pipe, metal stands, and thick drapery, of discarded paper, used makeup brushes, costume
they can watch the show on their own projection temporary private dressing rooms now surround parts, unwanted wigs, empty soft drink cans, and,
screen. The practice stage is here as well, built with the perimeter. Mirrors stand propped against walls, oddly, always a pair of shoes. But clean-up follows,
the same dimensions as the ballroom stage so that and the middle of the room sports what resembles then crews arrive in the wee hours to tear down the
contestants can rehearse a bit. The room is crowded a workroom of a costume shop: chrome clothing dressing rooms, stage, and screen, returning the
and noisy, as socializing goes on in unique—some- racks and long tables covered with wigs, masks, rooms to event space for the next day. All traces of
times bizarre—combinations of characters. Over bits of fabric, props, curling irons, spray adhesive, the show are erased, other than the magic smiles
here an Avatar-like woman covered in blue body rolls of duct tape, and sometimes a sewing machine that many of the contestants, and most of the audi-
paint tries not to rub against an elegant Victorian or two. Off in one corner, two professional makeup ence, carry though to the next day.
JOSH, MIKEE,
AND ROBYN:
A FAMILY WITHIN THE
COMIC-CON FAMILY
Comic-Con International would not be possible
without the army of volunteers who help run the
event onsite. Many of those volunteers have come
back year after year, forming the extended “family”
of Comic-Con. Within that group of volunteers
are actual families—moms and dads and sons and
daughters—who have been active with the organi-
zation for years. One such family is composed of
Comic-Con’s Anime co-coordinator Josh Ritter, his
wife Mikee Ritter (who is Comic-Con’s Hospitality
Suite coordinator), and Mikee’s daughter, Robyn
Reynante, who helps her mom and has held various
other jobs at the event, basically growing up at
Comic-Con. Comic-Con Annual asked this family of
volunteers how they first came to the show and what
Left to right: Robyn Reynante, and Mikee and Josh Ritter
keeps them coming back.
What do you do in “real life”? Hall. It’s just a bit bigger than when I started com-
What first brought you to Comic-Con? ing to the show.
Josh: I am a community services officer for the San
Josh: I started collecting comics in 1974 and heard Diego Sheriff’s Department, conducting weapons Mikee: If there were a Harry Potter cast panel or a
about Comic-Con from Richard Alf’s Comic King- screening at the Vista Courthouse. spotlight on J. K. Rowlings, I would be right there
dom, the store where I bought books. [Alf was one along with a bazillion other attendees. I would also
of the founders of Comic-Con in 1970.] I had to Mikee: I work for the County of San Diego Health have to see a WETA costume designer/fabrication
drive to San Diego for a comics shop, as there were and Human Services Agency. I determine appli- panel, especially with a focus on period/fantasy
none in North County at that time. I began attending cants’ eligibility to welfare programs. pieces.
Comic-Con in 1975 at the El Cortez. I spent most of
my time in the dealer’s room, all 2,000 square feet Robyn: I’m a pool guard for the City of San Diego. Robyn: The Masquerade party on Saturday night.
of it. Over the years I have made friends and met
many comics professionals. What do you like best about Comic-Con? What currently satisfies your inner geek?
Mikee: Jayne and Theodore Sturgeon invited me to Josh: Seeing the friends I have made over the years Josh: The movies I have most enjoyed recently
the show in 1976. I ended up volunteering the first that I only get to see during Comic-Con, including have been How to Train Your Dragon, Megamind,
day and have not missed a convention since then, any comics professionals and others in the industry, Harry Potter 7.2, and Captain America. Arakawa
working them all. such as sci-fi authors that I read. Under the Bridge is a fun anime series that I am
looking forward to seeing more of. The books I
Robyn: My mom first brought me to Comic-Con! Mikee: The people. There are so many truly have read most recently have been the Three Mus-
wonderful people I have met over the years: profes- keteers series by Alexander Dumas.
What do you do now at Comic-Con? sionals, fans, and fellow volunteers. I met Josh at
Comic-Con! Mikee: The Sleeping Beauty (and all of the 500
Josh: Since 1993 I have been assistant or co-coordi- Kingdom stories) by Mercedes Lackey; she is my
nator for the Japanese Anime department. Robyn: Seeing everyone I have grown up with favorite author. I like the new TV series Grimm,
while working Comic-Con. and Bones is always a favorite in our house.
Mikee: I am the Con Suite/Hospitality coordinator.
I supervise the Con Hospitality Suite, the Industry If you were coming to Comic-Con as an attendee, Robyn: My current favorite author is Lee Child. I
Lounge, and staff lunch distribution. what is your one must-attend panel or event? watch Castle, Sons of Anarchy, and football.
Robyn: I work in the Hospitality Suite with my Josh: Anime of course, but panels of sci-fi/fantasy
mom. authors would be a priority for me, and the Exhibit
WWW.COMIC-CON.ORG 69
Spirit of
Comics
RETAILER AWARD
Anina Bennett Joe Ferrara an entire country . . . you just can’t beat that!
(writer/editor, Heartbreakers, (owner, Atlantis Fantasy- Israel just didn’t have any cultural history
Boilerplate) world, Santa Cruz, CA; with comic books, so Comics and Vegetables
former award recipient) had to start at square one. I really admired
Clearly, the bar has been what they did. And I kept thinking to myself,
raised. Fifteen years ago, The quality of each store “This is the store that Will would have
every one of the nominees was highly professional and picked!”
would’ve been an exceptional retailer and a they were all deserving of recognition. Will’s
top contender. Now, there are so many good intention in creating this award was to inspire Jeff Smith
comics shops that it was tough to choose a comics store owners to present their stores in (writer/artist, Bone, Rasl)
winner! Many of the things we used to wish a more professional manner so as to appeal
for have come true in the direct sales market. to a wider audience. I think he would be very The presentations were all
The stores are clean and well organized— proud of all of these nominees. very energetic. As a comics
though I wish more of them would rack books Every comic store owner has a passion publisher, I was happy to
by genre—with diverse products and friendly, for what they do, but the staff at Comics and see so many contemporary
knowledgeable staff. All the nominees were Vegetables were able to convey the unique stores with clear ideas about how to rack
winners in that sense. way they reach out to the community beyond and display books. A lot of the nominees had
Two things about Comics and Vegetables the limitations of their store. Their love for dedicated children’s areas, complete with
stood out from the crowd. First, the storeown- comics is exceeded only by their commitment tables and chairs.
ers’ written presentation was superb. They to spread the word to Tel Aviv and beyond. Comics and Vegetables had many strong
submitted a book of photos with captions, They are the best ambassadors for comics points, but it was their community outreach
a words-and-pictures narrative that was cre- you could ask for. that really put them over the top. They almost
ative, engaging, concise, and relevant to all single-handedly created a comics scene in Tel
the judging criteria. Chip Mosher Aviv! And of course, the name is awesome!
But the main reason Comics and Veg- (VP, marketing, public relations, and business
etables won is that its owners have almost development, comiXology) Curtis Sulliivan and Steve Fodale
single-handedly created an infrastructure for (Vault of Midnight, Ann Arbor, MI, last year’s
comics fandom in Israel. They launched comic I know when Will Eisner came up with the award recipient)
shops where there were none. They helped idea for this award he really wanted to have
found a museum, run classes, and organize a something in our industry to recognize great The top dozen or so stores looked amazing,
comics and animation festival. They founded stores, but also to incentivize stores to be top shelf for any business. Full range of comic
“Comics for Everyone,” an “association of the best that they can be. There are so many books, great product mixes, and dynamite
Israeli comics creators volunteering to inspire great stores out there with so much to offer. layouts. It was very hard to whittle it down to
creativity in disadvantaged children.” I don’t We had 25 nominations this year, and there five and than one ultimate champion.
know how those guys even have time to was not a bad store in the bunch. Unfortu- [Comics and Vegetables] had a great look-
breathe, but I salute them. As artist Michael nately, there can be only one winner . . . but ing store, and they had the full breadth and
Netzer wrote, they’re “striving to make com- it is great to know that Will’s original vision width of comic books, but their unabashed
ics as popular and loved as anything else in has really come true. zeal for the medium was what put them over
[Israeli] culture.” They embody the Spirit of Comics and Vegetables had the edge in the top. True ambassadors of the art.
Comics. that they brought the comic book medium to
Nominate Your Own Favorite Comic Shop for the 2012 Award!
Fill out the form on the next page and mail or fax it in or visit
www.comic-con.org/cci/cci_eisners_spirit.php to nominate a store online!
70 COMIC-CON ANNUAL 2012
2012 CALL FOR
NOMINATIONS
The Will Eisner Spirit of Comics Retailer Award,
presented under the auspices of Comic-Con Interna-
tional: San Diego, is given to an individual retailer
who has done an outstanding job of supporting the
comics art medium both in the community and with-
in the industry at large.
GUIDELINES CRITERIA
for nomination include: for judging include:
• Any retailer established in business for at least two • Support of a wide variety of innovative material.
years is eligible to be nominated. Providing opportunities for creators’ material to reach
• Anyone—retailers, professionals, fans—may place a buyers; stocking a diverse inventory.
name in nomination. • Knowledge. Working to stay informed on retailing as
• A panel of industry judges select a group of finalists well as on the comics field.
to be subjected to an in-depth examination based on • Community activity. Promoting comics to the
the award criteria. community; maintaining relationships with schools and
• Recipient will be announced as part of the Will Eisner libraries; keeping active in social, business, and arts
Comic Industry Awards at Comic-Con International community organizations.
on Friday, July 13, 2012. • Quality of store image. Innovative display approaches;
• Previous winners are not eligible for nomination. using store design creatively.
• Adherence to standard ethical business practices.
Retailer’s Name_____________________________________________________________________________________________________________________
Store Name____________________________________________________________________Store Phone #_________________________________________
Complete Store Address_______________________________________________________________________________________________________________
__________________________________________________________________________________________________________________________________
PROVIDE BRIEF STATEMENTS HOW YOUR NOMINEE EXCELS IN EACH OF THE FOLLOWING CATEGORIES. USE ADDITIONAL SHEETS IF NECESSARY.
WWW.COMIC-CON.ORG 71
APE2011 A LOOK BACK AT THE ALTERNATIVE PRESS EXPO, HELD OCTOBER
1 & 2 AT THE CONCOURSE EXHIBITION CENTER IN SAN FRANCISCO
APE (the Alternative Press Expo) once again took over San 2
Francisco’s Concourse Exhibition Center to the delight of
comics fans from all over the Bay Area, on Oct. 1 and
2, 2011. Over 5,600 people attended the annual celebra-
tion of comics, which included special guests Kate Beaton,
Daniel Clowes, Craig Thompson, Matthew Thurber, Adrian
Tomine, and Shannon Wheeler.
4 8
5 6
10
4: Cartoonist Keith Knight talks to creators Dan Cooney and Andy Ristaino on the
“Indy Cartoonist Survival Guide” panel, in its third year as a popular program at APE.
5: Special guest Kate Beaton signing at the Drawn & Quarterly tables. 6: Paige Brad-
dock celebrated the 10th anniversary of her comic Jane’s World with a panel at APE.
7: The mezzanine level of the Concourse was the spot for hands-on workshops all week-
end long, such as this one featuring cartoonist/journalist Shaenon Garrity. 8: The Comic
Creator Connection, teaming aspiring writers with potential artist collaborators, was
packed in both its sessions. 9: Comics legends Daniel Clowes and Adrian Tomine teamed
up to talk comics. 10: Cartoonists Jason Shiga and Mari Naomi were two of the artists
who took part in the “Comics Coast to Coast” panel on Sunday.
1 2 3 4
Shannon sent in numerous roughs, four of which are shown above. Some of them included his trademark coffee motif, from his famous
creation Too Much Coffee Man (really . . . how many comic characters have an opera?). We decided to go with number three, but it
wasn’t an easy decision. They were all great.
Left to right: moderator Charles Brownstein talks to Kate Beaton, Craig Thompson, Tom Neely, Shannon Wheeler, and Matthew Thurber about inspiration, work, and comics.
One of APE 2011’s panels, “Drawing Inspiration: The were a kids’ medium—were below the censorship Matthew Thurber: I guess I feel like comics are the
Secrets of Comics Creativity,” centered on how artists radar. I think that’s why my brother and I were able to most effective and resourceful medium for channeling
get their inspiration. Moderated by Charles Brown- access the edgiest sort of entertainment in comics and your dreams or your mental movies. Your fantasies
stein (executive director, CBLDF) and featuring that’s what imprinted on us as an artform. My brother can quickly become actualized with no budget or no
APE special guests Kate Beaton (Hark! A Vagrant!), and I started working on a farm for a dollar an hour resources or not even any drawing skill. So when I got
Craig Thompson (Habibi), Matthew Thurber (1-800 and that was equivalent to one comic book an hour at out of art school, comics just seemed like an economi-
MICE), and Shannon Wheeler (Oil and Water), the time, and that’s how we thought of labor. For me, cal way of producing ambitious long pieces, when I
plus Tom Neely (The Wolf), this in-depth discussion labor and comics have always been very intercon- couldn’t get it together to write a film script and get a
revealed the secrets of what inspires them, along with nected. movie made. It was very do-it-yourself. I could control
a whole lot of tangents on other creative issues. every aspect of it.
Tom Neely: I guess I grew up always wanting to
Charles Brownstein: One of the things that’s really do comics. I was given a subscription to the Floyd Charles: How is it that you find yourselves going
incredible about a show like APE is that, unlike Gottfredson Mickey Mouse comics that Gladstone about the discipline of creating the work and distilling
anything anybody would have imagined 50 years ago was publishing at the time. But other then Mickey the inspirations out there?
when comics were being censored by things like the Mouse, Archie, Marvel, and DC, I didn’t really have
Craig: I like what Matt said about dreams. I think
Comics Code Authority, and 25 years later an organi- any exposure to anything else. By the time I got to
the kernel of creativity is the daydream part, that’s
zation like the CBLDF had to come about to protect high school I kind of drifted more towards fine art
maybe the only real fun part. There’s a fun stage at the
all kinds of free expression in comics, you just would and got into painting, but was always doing comics in
beginning where you’re kind of daydreaming, you’re
have never imagined a room full of the diversity of my sketchbook. Because I grew up in a small town in
collecting research and at a certain point that research
artistic expression like we’re seeing here today. These Texas, I didn’t have any independent or underground
is a form of procrastination. For me it’s kind of a ro-
panelists really represent a broad swath of what’s comics to see, and then I moved here to San Francisco
mantic relationship, and if you leave at the first sign of
possible in comics, when 25 years ago you were either and went to the Art Institute. I discovered underground
struggle you don’t learn anything about yourself. The
working on superheroes or elves. What was it about comix and alternative comics, and actually you [Craig
point of relationships and the point of art is to conjure
comics that drew you to have the freedom to express Thompson] were one of the first people I found, and
all the dark neuroses inside you, take the chaos out
yourself in this fashion? Chester Brown and Renée French, and that made me
and put it in a container.
realize that you can do weird stuff in comics, not just
Kate Beaton: Why comics? It just seemed very superheroes. And I started doing comics again and Kate: I think that there is a certain amount of despera-
natural. I started with comics because I worked for a never looked back. tion in it. If I only made comics when I wanted to for
school newspaper at a university and I did a humor
Shannon Wheeler: I grew up reading the newspaper fun, you wouldn’t see that many [from me]. I like
column and for fun I would do comics as well. I found
and wanting to draw comics from that. I liked things making comics, but it’s also your job and it’s almost
that I had drawn all the time anyway growing up, and
like Garfield. And then finding a stash of Fabulous like when you did university papers . . . I would
I wanted to do humorous stuff, so putting the two
Furry Freak Brothers that were left around the house always work best under pressure, and that certainly
together just seemed natural. I didn’t really think com-
and reading Fat Freddie’s Cat, I thought this is how to helps. I have a comic where I have a self-imposed
ics was the real ticket for me, it’s just what you end up
do comics. It turned out there were a lot of under- deadline of so many times a month or once a week or
doing because it happens.
ground comix around the house, and I was weaned on whatever, and I kind of need that to get it out some-
Craig Thompson: I grew up in a working-class those—ZAP and these really offensive other titles. For times. Otherwise I would drift off and just doodle and
household, and comics just happened to be the most me there’s nothing shocking and there aren’t really not finish things, because the fun part is definitely to
accessible medium, like the Sunday funnies. My limits. I don’t have a lot of filters, but I’m not really think of an idea or to think of a joke. That’s such a big
household was also very religious, and they censored rebelling against anything either. I’m just doing the question—how does the inspiration end up becoming
all the media in the house, but comics—because they stuff that I genuinely love. a comic?—because that’s your whole life if this is
WWW.COMIC-CON.ORG 77
APE CLICK HERE FOR UP-TO-DATE INFORMATION ON APE 2012!
2012
APE (the Alternative Press Expo) Returns to San Francisco Oct. 13 & 14!
The Alternative Press Expo (APE) returns to the Concourse Exhibition Center in San Francisco on October 13 and 14, 2012. Coming off its most successful year
ever—with over 5,600 attendees—APE once again offers a giant exhibit hall, provocative programming (including panels, workshops, and the ever-popular Comic
Creator Connection) and much, much more. Be a part of San Francisco’s only major comics convention in 2012! APE 2012’s special guests include:
The Hernandez Brothers: Gilbert, Jaime, and Mario (Love and Rockets)
The Love and Rockets 30th anniversary celebration continues with the first-ever appearance of all three Hernandez Bros. at APE! (For more on Gilbert, Jaime, and
Mario, see their Comic-Con bios on page 54 and the feature article on page 38).
Erik Drooker
Eric Drooker is a painter and graphic novelist, born and raised on Manhattan Island. He’s the award-winning author of Flood! A Novel in
Pictures, and Blood Song: A Silent Ballad. He designed the animation for the recent film Howl, a movie based on the epic poem by Allen
Ginsberg, who collaborated with Drooker on the book Illuminated Poems, and the new Howl: A Graphic Novel. His paintings appear often
on covers of The New Yorker, and hang in numerous collections. For more info, visit www.Drooker.com.
STEAMPUNK
NATION