San Diego Comic-Con Pushes Back on Harassment Policy Petition

The San Diego Comic-Con has finally responded to GeeksForCONsent.org’s petition demanding that Comic-Con create a formal anti-harassment policy.

The petition’s organizers say Comic-Con’s existing Code of Conduct is inadequate:

Cons should be about celebrating our favorite games, stories and characters freely and without judgment. But for many fangirls, women and LGBTQ cosplayers, going to cons often includes sexual assault and harassment. Comic Con has refused to create a full harassment policy. Will you join us in demanding a harassment-free Comic Con in 2014?

Launched in mid-May, the petition now has 2,375 signatures.

The Comic-Con Code of Conduct reads:

Code of Conduct

Attendees must respect common sense rules for public behavior, personal interaction, common courtesy, and respect for private property. Harassing or offensive behavior will not be tolerated. Comic-Con reserves the right to revoke, without refund, the membership and badge of any attendee not in compliance with this policy. Persons finding themselves in a situation where they feel their safety is at risk or who become aware of an attendee not in compliance with this policy should immediately locate a member of security, or a staff member, so that the matter can be handled in an expeditious manner.

Geeks For CONsent is looking for upgrades in the policy statement, the way it’s communicated to attendees, and how volunteers are trained:

We’re asking Comic Con San Diego to include the following in a formal anti-harassment policy:

–A harassment reporting mechanism and visible, easy to find on-site support for people who report harassment;

–Signs throughout the convention publicizing the harassment policy and zero-tolerance enforcement mechanisms;

–Information for attendees on how to report harassment; and

–A one hour training for volunteers on how to respond to harassment reports.

The petition’s creators have been in the news agitating for a public response from the con. Finally, on June 3, Comic-Con spokesperson David Glanzer defended the Code of Conduct on the air with NBC San Diego. He doesn’t feel the it is lacking, rather, he says it is “broad by design.”

“The fact of the matter is the broadness of the policy allows us to take more action than if we were specific. If we said ‘A, B, C, D was not allowed, what if somebody tries to circumvent that?’” said Glanzer who points to the heavy security and police presence as proof Comic-Con doesn’t take harassment claims lightly.

“The reports we’ve gotten have been few and far between.”

The need for conventions to have anti-harassment policies, in the words of Susana Polo, is that without clear paths to reporting harassment, con staff trained or experienced in how to receive such claims in a professional manner, and clear rules for attendees to follow, both reporting and creating consequences for inappropriate behavior becomes very difficult.

Lisa Granshaw wrote on The Daily Dot:

Facing harassment at conventions is unfortunately all too common for many cosplayers. Women especially encounter those who feel these events gives them the right to treat cosplayers as sexual objects instead of people. This is why it’s important for conventions to have firm anti-harassment policies in place and services to help those who feel threatened or uncomfortable.

Jon Voisey, The Angry Astronomer, adds:

Their real purpose is to send messages. They send a message to potential victims and aggressors that they feel this is an important enough issue to address specifically. This makes people who may be victims feel safer. It puts aggressors on note. Good policies also specifically address behaviors that constitute harassment and thus also serve to educate.

Fandom was slow to adopt the ideas of the Con Anti-Harassment Project until a highly-publicized incident of harassment at the 2012 Readercon, and the ensuing controversy over its administration of the con’s existing harassment policy, rallied a wide spectrum of conrunners to add policies tailored to their local conventions.

One of the conventions that adopted a code of conduct was the 2012 Worldcon (Chicon 7).

In July 2013, John Scalzi gave the idea another big push when he declared he would attend only cons with clear anti-harassment policies. Over 1,100 people co-signed his resolution.

Geeks For CONsent has gained traction with their complaint about Comic-Con’s Code of Conduct because, as an anti-harassment policy, it’s not very good. It’s missing several of the key things that, for example, Jim C. Hines’ harassment policy starter kit says typical policies should include:

  • A definition of harassment.
  • A clear statement that harassment is not tolerated at your event.
  • Instructions on how to respond to and report harassment.
  • Information on how staff will respond to reports of harassment.
  • A statement of the potential consequences for anyone choosing to harass others.

As a result of the shortcomings in its written policy, San Diego Comic-Con makes the perfect foil for advocates of this issue. It’s the country’s highest-profile sf/fantasy convention, thanks to its size and Hollywood connections. Mainstream news services already cover it. News websites love to run photos of cosplayers every chance they get and lately they’re running them alongside stories about cosplayers who have either experienced harassment at various cons, or about the effort to organize fandom to deter the harassers. If that’s a bit cynical, advocates have proven willing to capitalize on media cynicism to get out their message.

It’s even possible they’ve had more success drawing attention to the issue from mainstream journalists than from people inside the sf/fantasy/comics field. Justin Landon at Staffers Book Review complains that people inside the field have been reluctant to identify with the issue for selfish reasons —

And yet, where’s the outrage? Where’s the social media campaign to get them to fix it? To this point, I’ve not seen anyone call them to task. Rather, everyone seems very keen to get on programming. Because, well, Comic Con has a lot of fucking social power. I believe very strongly in social justice, but social justice is only worth something when powerful institutions, either individuals or franchises, are treated with the same kind of skepticism and indignity as the less powerful. Isn’t that the very root of social justice? It doesn’t matter how ivory your tower is, we’re all people who deserve to be treated the same. So, let’s make sure we act in a manner conducive with our words. I’m calling on San Diego Comic Con to ensure its a safe place for all 130,000 of its attendees. I hope you’ll join me.

Ironically, one of last year’s heroes is on the receiving end of some of this criticism.

John Scalzi, through a series of circumstances he explains in “A Note On A Topic of Interest”, agreed to go to Comic-Con and help promote Tor. But he admits the convention’s Code of Conduct is not state-of-the art. What to do?

With that said, here’s how I’m going to deal with this personally. I made a commitment to my publisher, and one should honor one’s commitments. SDCC says it won’t tolerate harassment, and I expect it will honor that commitment, too — I expect it wants to be seen letting harassment happen on its watch even less than I do. So I’ll be at SDCC this year, and am looking forward to seeing folks there.

With that said, again: providing clear guidance on what is harassing behavior is something SDCC should do — it’s not difficult to do, other comic cons do it, and it would help everyone who has to deal with this crap. So I think SDCC and Comic-Con International should add that into their Codes of Conduct (or even better, break it out under its own heading), and the sooner the better. I think it’s reasonable, and it’s something I look forward to seeing — and it’s something if I don’t see in the future, will matter to me, in terms of attendance.

However, the resolution disappointed Steven M. Long, one of Scalzi’s fans, and two days after it appeared Long was asking himself, “What Should We Expect From Our Leaders?”

I hold everyone to the same standard when it comes to commitments they’ve made. In the case of the SDCC policy issue, it’s a reasonable expectation that anyone who signed off on Scalzi’s convention standards shouldn’t be going to the SDCC, or should offer an explanation as to why they are. Opinions evolve, or gain nuance as time passes and circumstances change. I believe in assuming good intent, and while calling people out to effect change serves a valuable function, ratcheting up online outrage makes the community a worse place , not a better one. That said, in the case of John Scalzi, he used his authority to take on a leadership role, invited others to follow suit, and then re-prioritized his position. This is his prerogative, but it’s hard not to question his leadership.

Meantime, GeeksForCONsent.org is working to increase the pressure on Comic-Con.

The principle members of this “collective of comic, sci-fi, and fantasy convention enthusiasts interested in creating those conventions as safer spaces” are three Philadelphia-area women:

Rochelle Keyhan is a practicing attorney in Philadelphia focusing on women’s issues and non profit legal assistance.

Anna Kegler works as a case manager in an Immigration law practice group, where she handles complex business immigration cases.

Erin Filsonis a local Philadelphian, a graduate of the University of the Arts, and has her own, hilarious online comic, The Adventures of Ranger Elf!

They understand that it helps bring their issue to the attention of the general public if they can link it to institutions and people that already have a high profile. Don’t go after a minnow; go after Moby-Dick.

However, just how threatened should Comic-Con really feel by a petition drive that’s only been able to collect 2,000 signatures?

Last year’s “Skip Ender’s Game” petition, organized by fans enraged by author Orson Scott Card’s anti-gay-marriage stance, gathered 2,000 signatures in the first six days, and over 11,000 by the movie’s opening weekend. Although this story got enormous coverage in the blogosphere, enough to scare the studio into leaving Card out of its summer Comic-Con panel, the movie still was the top box office hit the weekend it was released.

Considering those results, there’s little reason to expect the Geeks For CONsent petition to impact Comic-Con’s bottom line. They will win only if they find a way to convince Comic-Con this is not a purely business decision.

2013 Eisner Award Nominees

eisnerawards_logo_2The awards named for comics creator Will Eisner are celebrating their 25th anniversary this year. Nominees were selected by a panel of judges. The winners will be voted on by comic book professionals and announced July 19 at Comic-Con International.

Best Short Story

“A Birdsong Shatters the Still,” by Jeff Wilson and Ted May, in Injury #4 (Ted May/Alternative)
“Elmview” by Jon McNaught, in Dockwood (Nobrow)  
“Moon 1969: The True Story of the 1969 Moon Launch,” by Michael Kupperman, in Tales Designed to Thrizzle #8 (Fantagraphics)
“Moving Forward,” by drewscape, in Monsters, Miracles, & Mayonnaise (Epigram Books)
“Rainbow Moment,” by Lilli Carré, in Heads or Tails (Fantagraphics)

Best Single Issue (or One-Shot)

Lose #4: “The Fashion Issue,” by Michael DeForge (Koyama Press)
The Mire, by Becky Cloonan (self-published)
Pope Hats #3, by Ethan Rilly (AdHouse Books)
Post York #1, by James Romberger and Crosby (Uncivilized Books)
Tales Designed to Thrizzle #8, by Michael Kupperman (Fantagraphics)

Best Continuing Series

Fatale, by Ed Brubaker and Sean Phillips (Image)
Hawkeye, by Matt Fraction and David Aja (Marvel)
The Manhattan Projects, by Jonathan Hickman and Nick Pitarra (Image)
Prophet, by Brandon Graham and Simon Roy (Image)
Saga, by Brian K. Vaughan and Fiona Staples (Image)

Best New Series

Adventure Time, by Ryan North, Shelli Paroline, and Braden Lamb (kaboom!)
Bandette, by Paul Tobin and Colleen Coover (Monkeybrain)
Fatale, by Ed Brubaker and Sean Phillips (Image)
Hawkeye, by Matt Fraction and David Aja (Marvel)
Saga, by Brian K. Vaughan and Fiona Staples (Image)

Best Publication for Early Readers (up to age 7)

Babymouse for President, by Jennifer L. Holm and Matthew Holm (Random House)
Benny and Penny in Lights Out, by Geoffrey Hayes (Toon Books/Candlewick)
Kitty & Dino, by Sara Richard (Yen Press/Hachette)
Maya Makes a Mess, by Rutu Modan (Toon Books/Candlewick)
Zig and Wikki in The Cow, by Nadja Spiegelman and Trade Loeffler (Toon Books/Candlewick)

Best Publication for Kids (ages 8-12)

Adventure Time, by Ryan North, Shelli Paroline, and Braden Lamb (kaboom!)
Amulet Book 5: Prince of the Elves, by Kazu Kibuishi (Scholastic)
Cow Boy: A Boy and His Horse, by Nate Cosby and Chris Eliopoulos (Archaia)
Crogan’s Loyalty, by Chris Schweizer (Oni)
Hilda and the Midnight Giant, by Luke Pearson (Nobrow)
Road to Oz, by L. Frank Baum, adapted by Eric Shanower and Skottie Young (Marvel)

Best Publication for Teens (ages 13-17)

Adventure Time: Marceline and the Scream Queens, by Meredith Gran (kaboom!)
Annie Sullivan and the Trials of Helen Keller, by Joseph Lambert (Center for Cartoon Studies/Disney Hyperion)
Ichiro, by Ryan Inzana (Houghton Mifflin)
Spera, vol. 1, by Josh Tierney et al. (Archaia)
A Wrinkle in Time, by Madeleine L’Engle, adapted by Hope Larson (FSG)

Best Humor Publication

Adventure Time, by Ryan North, Shelli Paroline, and Braden Lamb (kaboom!)
BBXX: Baby Blues Decades 1 & 2, by Jerry Scott and Rick Kirkman (Andrews McMeel)
Darth Vader and Son, by Jeffrey Brown (Chronicle)
Naked Cartoonists, edited by Gary Groth (Fantagraphics)

Best Digital Comic

Ant Comic, by Michael DeForge
Bandette, by Paul Tobin and Colleen Coover
It Will All Hurt, by Farel Dalrymple
Our Bloodstained Roof, by Ryan Andrews
Oyster War, by Ben Towle

Best Anthology

Dark Horse Presents, edited by Mike Richardson (Dark Horse)
No Straight Lines: Four Decades of Queer Comics, edited by Justin Hall (Fantagraphics)
Nobrow #7: Brave New World, edited by Alex Spiro and Sam Arthur (Nobrow)
2000 AD, edited by Matt Smith (Rebellion)
Where Is Dead Zero?, edited by Jeff Ranjo (Where Is Dead Zero?)

Best Reality-Based Work

Annie Sullivan and the Trials of Helen Keller, by Joseph Lambert (Center for Cartoon Studies/Disney Hyperion)
The Carter Family: Don’t Forget This Song, by Frank M. Young and David Lasky (Abrams ComicArts)
A Chinese Life, by Li Kunwu and P. Ôtié (Self Made Hero)
The Infinite Wait and Other Stories, by Julia Wertz (Koyama Press)
Marbles: Mania, Depression, Michelangelo & Me, by Ellen Forney (Gotham Books)
You’ll Never Know, Book 3: A Soldier’s Heart, by C. Tyler (Fantagraphics)

Best Graphic Album—New

Building Stories, by Chris Ware (Pantheon)
Goliath, by Tom Gauld (Drawn & Quarterly)
The Hive, by Charles Burns (Pantheon)
Unterzakhn, by Leela Corman (Schocken)
You’ll Never Know, Book 3: A Soldier’s Heart, by C. Tyler (Fantagraphics)

Best Adaptation from Another Medium

Chico and Rita, by Fernando Trueba and Javier Mariscal (Self Made Hero)
Homer’s Odyssey, adapted by Seymour Chwast (Bloomsbury)
Richard Stark’s Parker: The Score, adapted by Darwyn Cooke (IDW)
Road to Oz, by L. Frank Baum, adapted by Eric Shanower and Skottie Young (Marvel)
A Wrinkle in Time, by Madeleine L’Engle, adapted by Hope Larson (FSG)

Best Graphic Album—Reprint

Cruisin’ with the Hound, by Spain (Fantagraphics)
Ed the Happy Clown, by Chester Brown (Drawn & Quarterly)
Everything Together: Collected Stories, by Sammy Harkham (PictureBox)
Heads or Tails, by Lilli Carré (Fantagraphics)
King City, by Brandon Graham (TokyoPop/Image)
Sailor Twain, or The Mermaid in the Hudson by Mark Siegel (First Second)

Best Archival Collection/Project—Strips

Alex Raymond’s Flash Gordon and Jungle Jim, vol. 2, edited by Dean Mullaney (IDW/Library of American Comics)
Mister Twee Deedle: Raggedy Ann’s Sprightly Cousin, by Johnny Gruelle, edited by Rick Marschall (Fantagraphics)
Percy Crosby’s Skippy, vol. 1, edited by Jared Gardner and Dean Mullaney (IDW/Library of American Comics)
Pogo, vol. 2: Bona Fide Balderdash, by Walt Kelly, edited by Carolyn Kelly and Kim Thompson (Fantagraphics)
Roy Crane’s Captain Easy: The Complete Sunday Newspaper Strips, vol. 3, edited by Rick Norwood (Fantagraphics)

Best Archival Collection/Project—Comic Books

Crime Does Not Pay Archives, edited by Philip Simon and Kitchen, Lind & Associates (Dark Horse)
David Mazzucchelli’s Daredevil Born Again: Artist’s Edition, edited by Scott Dunbier (IDW)
Wally Wood’s EC Stories: Artist’s Edition, edited by Scott Dunbier (IDW)
Walt Disney’s Uncle Scrooge: Only a Poor Old Man, by Carl Barks, edited by Gary Groth (Fantagraphics)
Young Romance: The Best of Simon & Kirby’s Romance Comics, edited by Michel Gagné (Fantagraphics)

Best U.S. Edition of International Material

Abelard, by Régis Hautiere and Renaud Dillies (NBM)
Athos in America, by Jason (Fantagraphics)
Blacksad: Silent Hell, by Juan Diaz Canales and Juanjo Guarnido (Dark Horse)
The Making of, by Brecht Evens (Drawn & Quarterly)
Monsieur Jean: The Singles Theory, by Philippe Dupuy and Charles Berberian (Humanoids)
New York Mon Amour, by Benjamin LeGrand, Dominique Grange, and Jacques Tardi (Fantagraphics)

Best U.S. Edition of International Material—Asia

Barbara, by Osamu Tezuka (Digital Manga)
A Chinese Life, by Li Kunwu and P. Ôtié (Self Made Hero)
Naoki Urasawa’s 20th Century Boys, by Naoki Urasawa (VIZ Media)
Nonnonba, by Shigeru Mizuki (Drawn & Quarterly)
Thermae Romae, by Mari Yamazaki (Yen Press/Hachette)

Best Writer

Ed Brubaker, Fatale (Image)
Matt Fraction, Hawkeye  (Marvel); Casanova: Avaritia (Marvel Icon)
Brandon Graham, Multiple Warheads, Prophet (Image)
Jonathan Hickman, The Manhattan Projects (Image)
Brian K. Vaughan, Saga (Image)
Frank M. Young, The Carter Family (Abrams ComicArts)

Best Writer/Artist

Charles Burns, The Hive (Pantheon)
Gilbert Hernandez, Love and Rockets New Stories, vol. 5 (Fantagraphics)
Jaime Hernandez, Love and Rockets New Stories, vol. 5 (Fantagraphics)
Luke Pearson, Hilda and the Midnight Giant, Everything We Miss (Nobrow)
C. Tyler, You’ll Never Know, Book 3: A Soldier’s Heart (Fantagraphics)
Chris Ware, Building Stories (Pantheon)

Best Penciller/Inker

David Aja, Hawkeye (Marvel)
Becky Cloonan, Conan the Barbarian (Dark Horse); The Mire (self-published)
Colleen Coover, Bandette (Monkeybrain)
Sean Phillips, Fatale (Image)
Joseph Remnant, Harvey Pekar’s Cleveland (Zip Comics/Top Shelf)
Chris Samnee, Daredevil (Marvel); Rocketeer: Cargo of Doom (IDW)

Best Painter/Multimedia Artist (interior art)

Brecht Evens, The Making Of (Drawn & Quarterly)
Juanjo Guarnido, Blacksad (Dark Horse)
Teddy Kristiansen, The Red Diary/The RE[a]D Diary (MAN OF ACTION/Image)
Lorenzo Mattotti, The Crackle of the Frost (Fantagraphics)
Katsuya Terada, The Monkey King vol. 2 (Dark Horse)

Best Cover Artist

David Aja, Hawkeye (Marvel)
Brandon Graham, King City, Multiple Warheads, Elephantmen #43 (Image)
Sean Phillips, Fatale (Image)
Yuko Shimizu, The Unwritten (Vertigo/DC)
J, H. Williams III, Batwoman (DC)

Best Coloring

Charles Burns, The Hive (Pantheon)
Colleen Coover, Bandette (Monkeybrain)
Brandon Graham, Multiple Warheads (Image)
Dave Stewart, Batwoman (DC); Fatale  (Image); BPRD, Conan the Barbarian, Hellboy in Hell, Lobster Johnson, The Massive (Dark Horse)
Chris Ware, Building Stories (Pantheon)

Best Lettering

Paul Grist, Mudman (Image)
Troy Little, Angora Napkin 2: Harvest of Revenge (IDW)
Joseph Remnant, Harvey Pekar’s Cleveland (Zip Comics/Top Shelf)
C. Tyler, You’ll Never Know, Book 3: A Soldier’s Heart (Fantagraphics)
Chris Ware, Building Stories (Pantheon)

Best Comics-Related Periodical/Journalism

Alter Ego, edited by Roy Thomas (TwoMorrows)
ComicsAlliance, edited by Joe Hughes, Caleb Goellner, and Andy Khouri
The Comics Reporter, edited by Tom Spurgeon
Robot Six, produced by Comic Book Resources
tcj.com, edited by Timothy Hodler and Dan Nadel (Fantagraphics)

Best Comics-Related Book

The Art of Daniel Clowes: Modern Cartoonist, edited by Alvin Buenaventura (Abrams ComicArts)
Marie Severin: The Mirthful Mistress of Comics, by Dewey Cassell (TwoMorrows)
Marvel Comics: The Untold Story, by Sean Howe (HarperCollins)
Mastering Comics, by Jessica Abel and Matt Madden (First Second)
Team Cul De Sac: Cartoonists Draw the Line at Parkinson’s, edited by Chris Sparks (Andrews McMeel)
Woodwork: Wallace Wood 1927–1981, edited by Frédéric Manzano (CasalSolleric/IDW)

Best Educational/Academic Work

Autobiographical Comics: Life Writing in Pictures, by Elisabeth El Refaie (University Press of Mississippi)
Comics Versus Art, by Bart Beaty (University of Toronto Press)
Crockett Johnson & Ruth Krauss: How an Unlikely Couple Found Love, Dodged the FBI, and Transformed Children’s Literature, by Philip Nel (University Press of Mississippi)
Lynda Barry: Girlhood Through the Looking Glass, by Susan E. Kirtley (University Press of Mississippi)
The Poetics of Slumberland: Animated Spirits and the Animating Spirit, by Scott Bukatman (University of California Press)

Best Publication Design

Building Stories, designed by Chris Ware (Pantheon)
Dal Tokyo, designed by Gary Panter and Family Sohn (Fantagraphics)
David Mazzucchelli’s Daredevil Born Again: Artist’s Edition, designed by Randy Dahlk (IDW)
Mister Twee Deedle: Raggedy Ann’s Sprightly Cousin, designed by Tony Ong (Fantagraphics)
Wizzywig, designed by Ed Piskor and Chris Ross (Top Shelf)

The 2013 Eisner Awards judges were reviewer Michael Cavna (“Comic Riffs,” Washington Post), academic/author Charles Hatfield (Cal State Northridge), retailer Adam Healy (Cosmic Monkey, Portland, OR), author/educator Katie Monnin (Teaching Graphic Novels), cartoonist/critic Frank Santoro (Storeyville; TCJ), and Comic-Con International registrar John Smith.

The voting in one Eisner Awards category, the Hall of Fame, is already completed. The award judges selected Golden Age artist Mort Meskin (Vigilante, Wildcat, Johnny Quick for DC) and the late underground cartoonist Spain Rodriguez (Trashman, Nightmare Alley) to automatically be inducted into the Will Eisner Comic Awards Hall of Fame for 2013.

Judge Michael Cavna of Comic Riffs discusses the experience here. He recused himself in the Best Comics-Related Book category where Team Cul de Sac: Cartoonists Draw The Line at Parkinson’s, for which he wrote the main text, was selected as a finalist by the others on the panel.

Tarpinian: A Comic-Con Tribute to Ray Bradbury

Rachel Bloom speaks at Comic-Con's Bradbury tribute. (Photos by John King Tarpinian.)

By John King Tarpinian: The Saturday evening tribute to Ray was very beautiful and moving.  The hall sat 4,000 people and followed a Gleek Fest.  I know of a few people who attended the Glee event in order to get a good seat for the tribute.

Even with having a line-up and an outline we had fifteen minutes to set-up and decide how to actually do the panel.   It was decided to take the tables off the stage and have a single podium so each speaker would be able to give their personal tribute to Ray.

Sam Weller was the organizer-host (The Bradbury Chronicles, Listen to the Echoes & Shadow Show).  He shared podium duties with Mark Evanier (Kirby: King of Comics).  Each tribute was separated by video clips of Ray over the decades.

First up was Rachel Bloom who had prepared a PG-13 version of her Hugo-nominated song.  When she came on stage she asked the assembled masses if they wanted to hear the CENSORED version or the real version.  Not one person in the hall opted for the CENSORED version and Rachel added some audience “call & response.” 

A number of the people who spoke have known Ray for half a century or more, William F. Nolan, George Clayton Johnson and Stan Freberg.  Both Bill and George let people know how Ray helped those two young writers.  If you youngins’ do not know the name Stan Freberg, just Google “Ray Bradbury Stan Freberg prunes” then sit back and prepare to laugh out loud.  Ray introduced Stan’s wife to him and was best man at their wedding.

Joe Hill gave a lovely tribute, of course.  He mentioned he had only met Ray the one time at the 2010 Comic-Con and that a man came over to him asking if he’d like to say hello to Ray.  I am proud to say that I was “that man.”  Joe also read a moving tribute from Frank Darabont.

Margaret Atwood had never met Ray and was supposed to visit him earlier this week but that was not to be.  She talked about how she read, as a young girl, Ray’s books as they first came out. That she used some of his themes in her books.  In The Handmaid’s Tale she used that women were not allowed to read because of Fahrenheit 451.

Marc Scott Zicree told how he first met Ray.   As a young man, Marc had done a “mixed tape” mashing up various audio renditions of Moby Dick.  Marc handed this out to a few friends.  A copy wound up with Ray.  Marc says he came home one day to find a message from Ray on his answering machine asking him to call.  Marc was afraid he was in trouble when in fact Ray loved the tape and they became fast friends.

On a final personal note, the only times I attended Comic-Con were with Ray.  Not a bad way to visit the zoo.  I did not speak but in talking to the guest speakers backstage I told how Ray’s hearing aids really did not work well with the den of noise in the hall but that hundreds of times an hour you could hear people shout out such phrases as, “OMG it’s Ray Bradbury.”  “I LOVE YOU RAY.”  “THANK YOU Ray.”  But the one that really got to me was when a young father and his son, who was riding on his shoulders said to the son, “There goes Ray Bradbury the greatest writer of all time.”  Once a man came up to Ray, got down on his knees bowed three times, got up and just walked away without saying a word.  There were lots of laughs, hugs and tears backstage and that will be how I will always remember Comic-Con.

Sam Weller

Margaret Atwood

Gary Gianni

George Clayton Johnson

Joe Hill

Marc Scott Zicree

Mark Evanier

William F. Nolan

Stan Freberg

Comic-Con 2012 Membership Changes

Last February 5 tickets to San Diego’s Comic-Con International 2011 sold out in seven hours. The company running the online registration system admitted it was overwhelmed by record demand and crashed more than once.

The con is making changes in an attempt to satisfy more members in 2012. The two main ones involve pricing and a new membership ID system.

Comic-Con has stopped offering a discount for 4-day badge purchases in hopes more people will purchase only the days they actually will be attending, leaving more badges available for others.

Then, everyone who intends to purchase, apply, or register for a Comic-Con badge must sign-up for a Comic-Con Member ID.

A Comic-Con FAQ attempts to minimize the confusion over its new terminology:

I still don’t understand – What is the difference between Member IDs, badges, and tickets?

A Comic-Con badge is required for entry to any Comic-Con event. This is the physical badge you will wear at Comic-Con.

Additionally, a Member ID account is required to purchase, apply, or register for a badge for Comic-Con. The Member ID will act as your “login” to the EPIC online registration system when it at a later date.

Without a Member ID you will not be able to log on to the EPIC online registration system and purchase a badge, nor complete a press, professional, trade professional or volunteer application.

Comic-Con does not sell “tickets” to our event. After you register for a Member ID and purchase your badge through EPIC online registration, you will receive a barcode confirmation e-mail that you will bring onsite to exchange for a badge.

I did not find the date for open online registration posted on any of the pages linked above; perhaps it has yet to be revealed. Conrunners will be watching with interest to see how the giant of the sf/fantasy field fares this year.

Here There Be Coincidences

Ray Bradbury and Mike Mallory at Comic Con 2009

Above, Mike Mallory and Ray Bradbury at Comic Con 2009. On Bradbury’s lap is a copy of James A. Owen’s novel Here There Be Dragons.

James A. Owen was an excellent author guest of honor at this year’s Mythcon. Among his works is a series of fantasy novels that kicks off with Here There Be Dragons. I knew he and his family were going to Comic Con next. And I was highly intrigued to notice in John King Tarpinian’s photo of Ray Bradbury posed beside Mike Mallory (above) that Bradbury is holding a copy of Owen’s novel.

Where did that come from? I wondered.

Now I know the answer. Owen has blogged the whole joyous explanation — including a line that must be music to every author’s ear:

“It’s a beautiful book!” Ray told me. “I want to buy it! Right now!”

Below, Ray Bradbury and James A. Owen at Comic Con 2009, in a photo from Owen’s LJ. (I smiled even more when I realized that was John King Tarpinian in the background, camera in hand.)

Bradbury and James Owen at Comic Con 2009

Comic-Con ’09: Sold Out

Publishers Weekly reports that Comic-Con ‘09 is going to be as big as the law allows:

The San Diego Comic-Con International is full up. With every inch of the San Diego Convention Center booked for the show years ago, and every ticket gone and hotels sold out months in advance this year, the annual comics-themed pop culture extravaganza has gotten as big as it can physically get. Yet in the imagination of the world’s enlightened nerds, it continues to grow.

A number of years ago the story went around that the announced Comic-Con membership figure was a certain amount simply because that was the maximum occupancy in the convention center permitted by the fire department. A good story – I don’t know whether it was a true one.

[Thanks to Andrew Porter for the story.]

Following San Diego Comic-Con Online

Hero Complex, a Los Angeles Times blog covering genre films, graphic novels and comics, is making frequent posts about the San Diego Comic-Con. The coverage is quite interesting. And the last time I checked the front page of the online version of the Times, a big image from this video of costumed fans occupied the space devoted to the top news story. You know, the space usually reserved for photos of presidential candidates or Marines in combat. That was unexpected.