§ This New York Comic Con badge thing is wild this year. They are much harder to get this year than before, and it seems a ton of people just don’t have one. But want them. You can buy them on StubHub ($130 for Saturday, $159 for a four-day pass), or Craigslist or eBay, although I’m told this practice is NOT condoned and next year procedures will prohibit badge resale. I posted yesterday that I have one badge for a writer to help cover the show (alas, Henry Barajas won’t be coming as planned) and the response was kind of overwhelming.
To which I had to throw up my hands, because TWO MONTHS AGO, I put out a call for writers and got nada in response. And two months ago, I could have gotten extra press badges. But now…I cannot. And yes, that badge is gone. I’m sad because a lot of great people wrote in about it.
The moral of the story? People plan way ahead for San Diego because it’s common wisdom that getting a badge is hard. NYCC always had a more free form, loosey goosey vibe. I am here to tell you that vibe is NO MORE.
§ For more on this year’s show and badges and what not, check out Rich Schivener’s story for PW.
Fensterman expects the overall attendance of the festival to exceed 116,000 this year, but tickets are being sold in a different way, thanks to the RFID system. “We are selling fewer multiday passes and more single days to accommodate more fans. So each day will have the same number of people in the building, but [compared to previous years] fewer of them will be repeat customers from day to day, so our total number of tickets sold and fans in attendance will go up.”
According to the story, the RFID technology being used for badges this year was verrrry expensive, so props to the ReedPOP folks for investing in the safety of attendees.
§ For those still basking in the memory of PACIFIC RIM, Legendary is running a contest whereby you can win some cool props from the movie.
§ DCWKA has an interview with Mike Madrid, author of Divas, Dames and Daredevils, a look at the many comics heroines of the ’40s and ’50s.
Your book shows that strong women who drive stories were happening long before the recent years of “strong female characters” why do you think that behavior changed?
In the course of my research I found that many very strong female heroes were created right when the comic book industry was taking off, around 1940. Comics were new then and more experimental. The world was also on the brink of World War II. During the war, women were taking on more active roles in the military of working in war plants. As a result, powerful comic book heroines were more common. When the war was over, women had to return to more traditional roles as wives and mothers. Consequently we see strong heroines begin to disappear in the postwar years, and more romance comics fill the newsstands.
I’d also note that in this period girls were considered a natural audience for comics.
§ A lighting company has taken a bunch of classic comics covers and added lamps to them. I’d like to shed more light on this, but I don’t think I can.
§ Tom Spurgeon went to MIX in Columbus and had a swell time. The new Billy Ireland Library will apparently bring tears to our eyes when we finally see it.
§ The FUN HOME musical is here.
What vexed Ms. Tesori was that she had no experience adapting a graphic novel for the stage. Musicals, even challenging ones, demand structural simplicity and a linear story line, whereas the graphic novel lays out a series of cells containing illustrated moments, often with captions and bubbled dialogue, that can jump time and setting from cell to cell. Could a performance tell such a nonlinear story? “That’s where we really lost our stomach linings,” Ms. Tesori said. But it was also what brought her on board, she added. “I knew it was going to sing.”
§ Here is one of those “craft process posts” we’re so enamored of here at Stately Beat Manor, Deron Bennett on lettering Cyborg 009…and it must be said that Cyborg 009 continues Archaia’s streak of absolutely gorgeous hardcover books. Bennett went so far as to hand letter sond effects–in the above sample, the hand-lettered version is on the left, the digital on the right.
How did your previous work influence your lettering on the new version of Cyborg 009, and what did you do differently?
As a tip of the hat to the original, I wanted to incorporate elements from the manga into my own lettering. So I repurposed the fonts from the 009 manga into the new graphic novel. It uses the same dialogue font, and the font for the location captions is also borrowed from there. The modified telepathy balloons take their cue from the original as well. I even considered keeping the double balloon treatments that Ishinomori famously used but ultimately decided against it to fit Marcus To’s art style. My goal was to take ideas from the original but still keep things fresh and give Cyborg 009 its own personality, lettering-wise.