WIZARD WORLD Philadelphia 2012 Convention! Pt 2 of 2!

Well finally the much prophesied final part of my Wizard World Philadelphia 2012 coverage is here. You can see the first part here.

First some sights of us gassing up and on the road to Philly:

So finally done with the “hard-traveling” heroes bit (i.e. the road trip pics), and I already told you about getting to the con itself, and the lines… so we can get to the meat and potatoes…onto the interviews!!!

One of the first creators I ran into at the convention, was the LOADED BARREL Studios table, which was nicely located near the entrance. Their comic, BRIELLE AND THE HORROR, was one of the first comics I picked up, and was one of the first creators I interviewed at my first convention back in 2007. (that’s a lot of firsts :))

So it was a bit appropriate after being off the convention circuit for just about five years, that the first people I should run into should be LOADED BARREL studios. Kudos to the young lady who called us over, or I would have no doubt walked past obliviously. I reviewed their first issue, on this blog years ago and was quite impressed by it. I’m a fan of photo-manipulated comics, and have never seen it done as well as the team of Jared Barel, Jordan Barel, and Alex Goz do it.

So it’s good to know they have since finished BRIELLE AND THE HORROR, and have a new series THE GREY out as a graphic novel. Definitely looking forward to picking it up and you should be too. It doesn’t appear to be available on Amazon yet but you can order it here. I’m looking forward to what the future brings for this company.

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Next up, after some meandering and wandering, I talked to the gang at POWER COMIX with their new kids comic SAGA OF THE POWER HEROES. Following up on that, Spoke to Jim Demonakos of the band KIRBY KRACKLE, and listened to his latest CD.

This was Jim’s first show at Wizard World Philly, and I thought the portable players/listening section he had setup was a nice touch. However being the founder of his own quite successful convention, Emerald City Comic Con, as well as a successful band, Jim is no stranger to conventions or great ideas. The music of Kirby Krackle being proof on both fronts, and comes recommended. You can sample the music and get your CD here.

On the video front, I met Ryan Cole, the cinematographer and Joe Parascand, who plays Sheriff Tom, one of the stars of the film MARY HORROR. Again a nice setup, with a multi-display arrangement to showcase their horror film. A horror film you can find out more about at MARY HORROR.

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My next interview at the con was Artist/co-creator Frankie B. Washington of the quite impressive web-comic ROBOT GOD AKAMATSU. The series done with writer co-creator James Biggie is a nice take on the Giant Robot genre that I haven’t seen before, and highlighted by great visuals, going by his gray-scale drawings.

With movement toward animation and merchandising, this is a series and a creative team to watch. And you can do so here! (One word regarding the site, the artwork there is colored a little dark, maybe even a bit muddy, so you lose the sense of the great line work and gray-scale artwork that they had on display at the convention. So my only caveat to the creators would be think about showcasing their linework/gray-scale art a bit more on the site or work on tweaking the coloring, as I feel the artist’s work gets completely gutted by the current coloring process. Other than that, well worth a look.)

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One of the other interviews of the day, and one of my few purchases was from Shawn Alleyne’s PYROGLYPHICS Studios. PYROGLYPHICS consists of creators Joseph Currie, Koran Curtis, Stanley Weaver, Charlie Goubile, James Mason and the aforementioned Shawn Alleyne and together they’ve just launched a title called STREET TEAM. Highlighted by simply gorgeous art, their post-modern comic is equal parts martial arts, manga/anime tinged, masked heroes, video-games and good old fashioned action. Toss in they also offered a special that included two huge prints, magnets, and postcards, and it was an easy buy.

Now the comic looks like it may just be a one-shot and a spring board for the video game, but I hope not. I hope we can look forward to quarterly or annual issues of STREET TEAM. Well to get your copies of STREET TEAM and find out more go bug Mr. Alleyne himself here or the Street Team crew here.

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I also had the chance to meet the talented husband and wife duo of Jerry and Penelope Gaylord. They have very distinct styles to one another, but very complimentary and very good. See for yourself at IDENTITY COMICS! Tell ’em HT sent ya!

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One of the joys for me of going to these shows is discovering a talent, an artist I was unaware of. So it’s with great pleasure that I came across the artwork of Laura Guzzo (kudos to her friend, Michael I think, who did a great job promoting her and singing her praises). Not only is she an ASTOUNDING artist, but her print prices are ridiculously reasonable.

You need to run, don’t walk to her website (well considering this is the web you don’t have to walk or run, try clicking here :)) and see her great artwork and purchase some at her Etsy store. She’s definitely going to be working for the big comic companies in no-time. Specifically she has an interesting and unique vision, that would make her a strong cover artist. I look forward to seeing her upcoming work.


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Well kids, that’s a wrap for this installment. All in all a fun convention, and I hope I’ve pointed you to some talent to familiarize yourself with. And if I do help turn you on to some new talent, just let them know that Heroic Times sent ya! ๐Ÿ™‚

Thanks again for visiting and I’ll leave you with a couple pictures from the con, most notably the Philly version of Black Widow,, which I have to tell you… is a pretty awesome version. Grrrowwlll. ๐Ÿ™‚

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In closing huge kudos to Jerry Milani of Wizard World for a fantastically well publicized, and well organized show!

And lest I forget, for anyone who I didn’t cover, please chalk that up to my head and not my heart, more than likely I didn’t have your complete contact info when time came to put this together. Just leave me a comment here, or email me if I gave you one of my business cards and we’ll get that corrected asap.

Thanks to everyone who made the show a great time for all involved! That’s all folks, go out there and be good to each other.

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WIZARD WORLD PHILADELPHIA COMIC-CON 2012 Convention Coverage

Just back from the Wizard World Philly Con. Due to pure economics (factors external to Wizard World, sold out hotels, exorbitant remaining hotel and parking prices) one day, Saturday, was the sole day I could be there.

But it was by all appearances a packed event, well attended. They had people lining up inside in one of the upper floors which is a nice change from other Conventions I’ve attended where the line is outside.

That said the line/lines were quite confusing and quite full. Luckily the con is staffed with helpful volunteers who are on hand to direct the stymied. Plus the lines while packed, seemed to be moving, In the future I would just suggest a clearer designation of what each line is and where it is, as they tended to run into each other and be a bit of a cluster.

However their organization for press/attendees was excellent. A helpful volunteer directed us to the press sign-in, and we were able to walk right up, get our credentials, and walk right in. It’s obvious Wizard World Philly has put some thought into their entrance process, and the interior queuing station, and the press/attendee entrance are huge improvements over your father’s con. ๐Ÿ™‚

Once entered the hall itself is quite large, filled with a nice mix of retailers/resellers, artists, celebrity signings (The big draw of the Convention floor. The lines for Chris Hemsworth and Stan Lee were getting substantial even before 1030am), and a smattering of costume wearers (Cos-players as they are known). Two of the most impressive were a Blade and a Black Widow. Both really looked the part, the guy playing Blade would have given Wesley a run for his money, and the woman playing Black Widow, definitely had the assets to pull off the skin tight costume. ๐Ÿ™‚

There was a 1960s era Batmobile there, recreation or real, and it was manned by a suitably out of shape TV era Batman, he made Adam West look positively herculean. But at least the female Robin and the Batgirl with him, were well fit.

But overall there were less costumes there than I expected, though to be fair, it was just cranking up when I was taking off, and people were still pouring in.

The big draw for me however was just walking through artist alley. The legendary George Perez was there, and from door open, had a line. Greg Capullo, was another one who was mobbed from moment one. I tended to leave the big draws alone, and was more interested in the under-patronized artist.

Next installment will bring you some of those discoveries.

But all in all WIZARD WORLD PHILADELPHIA COMIC-CON is a good local convention. If you are in Philly, it’s no reason not to show your face, unless of course you have to deal with the inexplicable gridlock caused by some good old boy/frat boy street demonstration that was bringing traffic on the way to the convention to a standstill. ๐Ÿ™‚

But for people coming from out of town, unless money is no object, the combination of tolls, parking and inflated hotel and everything else prices, may make it a bit of a money pit. Which even the best of Conventions are, though the location and prices of downtown Philly ratchets that up into the stratosphere.

But external costs aside, which is beyond the control of WIZARD WORLD ,(with the exception of tickets, which are reasonable) it’s a well organized event. Check back for part II as I cover some of the intriguing creators met at Wizard World 2012.

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The 2nd and Final Part of the convention coverage has been posted and you can find it here! Enjoy, I had a blast putting it together!

UPCOMING COMIC CONVENTION: Wizard World Philadelphia Comic Con!

UPCOMING COMIC CONVENTION: WIZARD WORLD Philadelphia Comic Con!

Join tens of thousands of fans as they converge on the Pennsylvania Convention Center at Philadelphia Comic Con Wizard World Convention to celebrate the best in pop culture. Philadelphia Comic Con brings it all – Movies, Comics, Toys, Video Gaming, Games, TV, Graphic Novels, Horror, Wrestling, MMA, Original Art, Collectibles, Anime, Manga & More! Philadelphia Comic Con is brought to you by the group who produces the most widely attended Comic Con tour!

โ€œBringing together the five Captains from the iconic โ€˜Star Trekโ€™ series, capped with the addition of the legendary Sir Patrick Stewart, is a once-in-a-lifetime opportunity for our fans,โ€ said John Macaluso, Wizard World CEO. โ€œThey and other standout guests like Chris Hemsworth, William Shatner and Stan Lee make Wizard World Philadelphia Comic Con a canโ€™t-miss event.โ€

A four day event that runs Thursday, Friday, Saturday, and Sunday (31 May 2012 to 3 Jun 2012) at:

PENNSYLVANIA CONVENTION CENTER
1101 Arch St.
Philadelphia, PA 19107.

I’ll probably do Saturday, to catch all the actors panels, Q&As I’m interested.

View full list of programming here!

On DC Comics New york Comic Con 2010 News! Zuda Comics and Milestone comics! Price changes and more! Pt 1 of 2!

Well had hoped to be partaking of New York Comic Con goodness today, I had even prepped a nice itinerary of panels and events, but some last minute snafus got in the way. But (hopefully) that just means I get to bring you the Sunday perspective rather than Saturday, and with Sunday typically calmer, it should allow me to bring you some interesting coverage.

Plan is to head out in the AM so I can crash the Sunday Convention doors when they open. We’ll see how well that plan pans out. ๐Ÿ™‚

But what I can bring you in the interim, is a bit of feedback on the first 2 days of the New York Comic Con (coverage/news has been surprisingly light), and following that offer a slightly sleep deprived, yet heartfelt questioning on what’s going on with DC Comics. Okay… onto the ranting ๐Ÿ™‚ :

Home and the Grace of God

ComingSoon.Net– Has a 5 page gallery of pictures from the con. Uhhh— don’t know who their photographer is, but you are at one of the nations biggest cons and all you can think to take pictures of is toys and props???? Wow. Either that’s the most boring con ever, or ComingSoon needs a new photographer. :). Judge for yourself.

Newsarama- True to their name is on the ball with coverage of various panels. Though the bit of news that got my attention was DC’s price drop, dropping their price from the insane $3.99 price point back to the nearly as insane, but just this side of acceptable $2.99 price point.

Now the following stance is primarily regarding the physical form of comics. But drop a $1 off the pricing and the stance is valid for the digital form of the product. For more on my take on tangible versus digital, go here.

I guess their shrinking sales figures woke them up to the fact (a fact that just about everyone told them before they embarked on the path) that $3.99 (ie $4!!) for a couple dozen pages of paper that will take you ten minutes to read… is not good value for your money.

Ideally I’d like to see the big two comic book companies (Marvel owned by Disney and DC owned by Time-Warner) pick up and run with Warren Ellis’ Slimline/Fell model of pricing… $1.99. That’s the price-point you need, particularly in this economy where the Average person’s salary is stagnant or decreasing, to not only maintain existing reader interest, but to create a viable entry price point for new readers.

Now I’m not crazy that DC is cutting 2 pages of story, 20 rather than 22 pages, to bring the price-point back to $2.99. So they are pretty much screwing the people who were just getting $2.99 books, which was pretty much everybody. So to look at this another way you’re still forcing an across the line price increase by reducing the content for the regular $2.99 books, while still asking a $2.99 price tag for them.

Crap! That makes me mad.

Leave it to DC, to make a necessity, lower prices or lose market share, yet another way to screw the consumer.

I think it reeks of unhealthy quibbling from one of the more public faces of a multi-billion dollar conglomerate. I mean seriously, you’re going to stiff us across the line for 2 pages.

Johns, Dido, Lee, Wayne… (a company with entirely too many titles, and too few people really willing to steer the ship), are you watching this?! Great Caesar’s ghost! If we’re losing 2 pages across the line, kick the darn price down to $2.50!

Sigh.

I was taken in by this announcement until I really started thinking about it.

I mean don’t get me wrong it is a start. It’s a start… an underhanded, devious, greedy, backstabbing, slimy, smarmy, odious and stinky start. But it’s a start.

Now all they have to do is publish some books worth buying, and I might jump back on the DC bandwagon.

Oooh, riled a few of you huh?!

Here’s the thing, I’m not a DC basher. I like DC.

While Marvel was the comic company that, like most kids my age, galvanized my attention in my youth; heading into my teenage years it was DC who had picked up the coming challenge of the direct market and a more mature customer base and gave us a very sophisticated and yes literate body of work, in an amazingly short amount of time.

Wolfman and Perez’s NEW TEEN TITANS (look at that great cover! We’ll discuss in a minute how current day DC comics have a hard time producing great covers), Paul Levitz and Keith Giffen’s LEGION OF SUPERHEROES, Moore, Bisette and Totleben’s SWAMP THING, Miller’s DARK KNIGHT and YEAR ONE, Baron and Guice’s THE FLASH , Englehart and Joe Staton’s run on THE GREEN LANTERN, O’Neil and Cowan’s THE QUESTION, DeMatteis and Giffen’s JUSTICE LEAGUE, (preceded by the equally good run by Gerry Conway and Luke McDonnell on the closing issues of the JUSTICE LEAGUE OF AMERICA) and of course Wolfman and Perez on CRISIS ON INFINITE EARTHS. All those books in relative spitting distance of each other and in many ways they still define what is best in this medium we call comics.

Those runs are memorable touchstones to a lost holy grail, that to this day, companies are still mining for, still trying to recapture. Not least of all DC itself.

DC

Here’s the thing I’m aware from podcasts that DC has quite a few talented creators out there, and some are doing good books. Some are doing FANTASTIC books! DC has one of the best creators, in my opinion, working in comics today in Mark Chiarello, Art Director (as of this writing) of DC Comics. His SOLO and his WEDNESDAY COMICS, in a time where the height of creativity or thinking outside the box in comics, was Zombie variant covers, or killing/resurrecting characters, are two projects, that continue to blow my mind. Just inventive, thinking out the box audacity. And that he’s also am amazing writer and artist (His Negro League cards are STUNNING!) in his own right, just makes it all the more odd that DC doesn’t just turn over the keys to him.

But they don’t.

Instead DC seems to be retreating from very innovative concepts and growth, growth that seemed to have been building up to a watershed of creativity perhaps akin to that 80s period I mentioned, but seemingly forestalled in what can only be seen as a homogenization of what was becoming an ethnically diverse line.

DCs problem today is the same problem that has always been an Achilles heel of comics. Braindead marketing, and over-saturation/flooding of the market.

“Oooohh. One Batman book is good. That mean’s 16 Batman titles would be great!” No you stupid, stupid men. Multiple titles of the same character introduces confusion into your consumers and into the brand. While you will always capture the one moron, with too much disposable income, who will buy, and probably not read, all 16 titles. Historically, and today currently, what happens instead is for that one who will buy into your gouging ploy, you have 600 people like me who will look at these 16 different Bat titles, scratch their head, and say I can’t be fucking arsed to figure out what title is the ‘good’ Batman title.

And I understand, that with so-called 2nd string titles not selling as well, the impetus is to go with a name, go with a name, go with a name. The problem with that is at $4 a pop, no one is going to experiment on a 22 page comic. At 60cents and 75cents I could take a risk on something called SWAMP THING or $1.25 on something called THE QUESTION. But DC, all comic companies have largely priced themselves out of the impulse buy market. At $4 the book has to offer a definite great experience for the reader’s money. In terms of both story, art, character, and payoff. And typically that’s a lot to ask of a new character where the first several issues is about building the character. And that’s a lot to ask of Dc, in particular, because DC cover artiist, for the most part, not very good. Anytime DC gets a halfway decent artist, Marvel swoops in and steals him away, till you look at today, and DCs covers for the most part look like garbage. The tradedress, the actual art, it’s just not something that wouls impel me to stop, pickup the book, and flip through it. If the cover artist sucks, I can only imagine how bad the interior art is.

I refuse to believe Mark Chiarello is signing off on these covers. But whoever it is, needs to tighten up the ship, because fault Marvel for what you will, but their books, their cover artists… are AMAZING! Like I said, I don’t even buy Marvel Comics with the exception of Brubaker’s CRIMINAL, but if I did I would be drawn to these marvel books.

Why is CRIMINAL the only Marvel/Icon book i buy?

Well, because I don’t buy individual issues that don’t come with a letterspage and/or backmatter/ additional conversational type material. One of the reasons I was such a huge fan of books such as FELL and GUTTSVILLE (Holy Hell I miss that book! Two of the most innovative, beautiful and brilliant books of the 21st, smothered to death by that little flooding the market thing I’m talking about) is because they offer this deeper insight into the material. in the case of Brubaker’s CRIMINAL it’s even more amazing material.

So yeah that’s why. If you can’t be bothered to put together a Stan’s Soapbox style bit for your readers, or do a letters page, I can’t be bothered to pay for your effing book.

However all things being equal, if Marvel and DC were to reinstate letters-pages/back-matter, and get the ads out tof the story, based on the quality of the Marvel artists and to some degree writers, I would clearly be buying Marvel comics.

While it’s inane to let a cover be the sole judge of a comic, this is a graphic medium, so the cover means a bit. It’s the resume that gets you in the door, or the hands of the reader, and it should impress.

Marvel Comics, from trade dress to actual artist, typically rocks.

DC typically sucks.

Examples?

Damn take your pick of nearly any DC comic released this month. Such as:

This is your flagship title, right? You couldn’t tell it by this cover. You could barely tell this is a JLA title. You make the title all but invisible? Really? It’s just piss-poor trade dress design. And the central image conveys and illicits no interest what so ever. No art director should have signed off on this.

This is a good artist, however the central image doesn’t really convey much. The Rebel’s title and trade dress doesn’t help to give any kind of interest to the cover. It’s the type of cover that in the old days would have been saved with a word balloon or caption, but evidently DC can be bothered these days with little things, like making their covers sell-able.

Honestly do I even have to point out how bad this cover is. And me not reading DC comics, this is my first time seeing the costume all the podcasters were talking about. I really have no stake in the character, so change away. But make it good, that costume is utter garbage. Beyond that the art just looks… awkward. I’m not sure if she’s preparing to fight or having some type of hemorrhoid attack. :).

Here are 3 more cover images, that just don’t cut it.

The DOOM PATROL central image is actually good, but the trade dress just does nothing to make it exciting. It’s just floating in a sea of boredom. The FLASH image is busy, but busy in a bad way, it’s just not engaging or interesting, but at least the Trade Dress, typography brings some interest to the image. Just not enough to overcome the weakness in the central image.

THE FLASH has some of the best covers ever, it has to do with artists with a great sense of design and placement, as well as a great color scheme, and finally fantastic typography, captions, and word balloons, a life and energy that is mostly missing from this modern issue.
So DC has only itself to blame that it’s new characters find a steep slope to acceptance. Even at $2 I’m open to dropping $5 and picking up 2 books a week. But when $5 will barely get you one book/story, and typically that $5 experience of piece of story is unsatisfying at best.

SUPERGIRL- I’ve heard nothing but good things about this Super-Girl run, but based on this cover alone, I would never pick up the book. Again the central image itself isn’t particularly bad, it’s just not particularly anything. And once again DCs lack of trade dress, typography, just calls attention to the fact that something is lacking.

How is it with nearly 80 years of comic covers to learn from, people still can’t get it right?

Marvel however, really has not only great artists, but as importantly they understand typography and the effective use of typography and cover organization. Bendis was well known for this with his POWERS work. Some examples of Marvel getting it right? (these are from the same month as the DC ones above):

The above Marvel images speak clearly for themselves.

Marvel just kicks ass on these covers (and this statement comes from me Heroic Times, someone who for the most part has turned his back on Marvel monthly comics)! Marvel has those stunning, painterly artists, such as Simone Bianchi that DC simply can’t hold onto.

Marvel is no less culpable than DC with their 6 THOR or 8 AVENGERS titles, but each issue looks orders of magnitude better than their DC counterparts. And Marvel seems, to come to each cover witn a sense of design and layout, for the most part lacking in the DC titles.

George Perez is still cranking out some masterpieces for DC. Relative newcomer Sami Basri , is knocking it out of the park with POWER GIRL (And if DC doesn’t pay this guy, I predict he’ll be the next artist Marvel takes away from them. He’s that good. Look at his cover to issue #16 of POWER GIL, a great use of negative, a great understanding of creating images that speak), as well as Alina Rusa’s attention grabbing cover to BOP.

But these are exceptions to DC’s rule of rather tired, boring, uninspired covers. Marvel on the other hand, while no less event heavy, and just as guilty of flooding the market, you get the sense it’s a rather cohesive vision driving the Marvel machine, and for the most part it really is creator and quality driven. With DC you get the sense it’s mostly editorial mandates, that tend to be a scattershot approach, and that quality across the board is more miss than hit.

Yet given all this, DC still looks to the consumers for the reason their books aren’t selling. The books aren’t selling first and foremost because they are too expensive. And two because, the DC comics I’ver read in the past few years, individual issues, just aren’t very good, even if they were $2, for giving you a good reading experience. The JLA is supposed to be the flagship title for DC, and in the last few years, they’ve been unable to get anyone excited or interested in these comics.

Part of this, most of this is, particularly with Dwayne McDuffie… editorial interference. I have yet to interview Dwayne McDuffie, but the sense I get was he was courted by DC, following his HUGELY successful JLA UNLIMITED series (which got the JLA absolutely right and is the best they’ve been in any medium in years) and given JLA, mainly to weasle the rights to MILESTONE away from him (more on Milestone in a bit). And once that was done he was pretty much saddled with crippling editorial interference, and a less than stellar art team, until he was pretty much shooed off the book.

So when a company’s flagship books are saddled with high prices, and poor, unsatisfying story and art, very few are going to risk dollars with secondary characters or untried characters from this company. It’s why I think ideas like Chiarello’s SOLO and WEDNESDAY COMICS, somewhat of a reinvention of the company’s SHOWCASE roots, are potentially the future of the medium. A monthly flagship title, containing a mix of classic and new characters, with letter pages, and back matter, and a real conversation like comics of old, with popular characters being spun off into their own titles.

The alternative is the diminishing returns model of current comics.

To be continued….

The NY COMICCON 2007 Coverage Pt. 1: The Black (you talking about shaft? Hush your mouth!) Panel

I had a great time at the NY comiccon. I thought with the exception of the rat like maze, laughingly referred to as a line, that it was a well conducted event.

Being my first con, I was definitely a little overwhelmed. The sales floor really was too much for me. Navigating it on Saturday (and I tried), was a herculean task, and I couldn’t find anything.

So I mossied (I couldn’t find it in the dictionary, but you know mosying , that thing cowboys do when they can’t find a horse. It’s kinda like walking ๐Ÿ™‚ ) my way down to the panels.

The panels I had researched and knew what I wanted to hit. With one exception I hit pretty much every panel I was interested in, and on Sunday got to touch base with creators and personalities I’m a fan of.

Here’s a pic from the great Marvel Bullpen panel. Lot’s of fun, packed house. Sorry for the blurry pic, but I think you can pretty easily make it out. From left to right it’s Stan (The Man) Lee, Jolting Joe Sinnot, and Gracious Gene Colan!.

Stan was a riot! Panel also included Ralph Macchio and a lady they only referred to as Flo. Fun panel, full of reminisces of Marvel’s glory days. My 2nd favorite panel!

But in this installment wanted to talk about the panel that surprisingly was my favorite of the con. Michael Davis’ The Black Panel NYC.

Now, now… don’t give me that look, it was actually really good. :).

The unfortunate truth is you can’t say Black in this country without some idiot saying, “why it gotta be a Black thing” and the answer is always the same. For the same reason there is an Asian thing, or a Jewish thing, or an Italian thing, and let’s be honest America is a defacto white thing.

And for the absence of a strong sense of identity amidst that defacto standard, prisons are filled, and drugs go into veins. So it is very, very important to have a china town, or a little Italy, to have a language, and a country, and a history, and a culture, and idioms to call your own.

And a lot of that infrastructure is in need of building.

Not just for the good of the minority mind you, but for the good of the majority. It benefits the majority, for the pieces that make up the whole, to be able to bring their own identity, and strength to the table.

So trust me, a Black Panel, A China Town, a Little Italy…. these are good things.

Now quick thoughts on the panel:

Above is a nifty pic of the panel. From left to right you have:
Denys Cowan (You can just make out the tip of his hat, and his shoulder, but have a better pic below), Chuck Creekmur, Cheryl Lynn, Prodigal Sunn, Michael Davis, Reginald Hudlin, and Mark and Mike Davis of Blokhedz. I’ll get into who everyone is, and what they work on)

“I would love to work with (Christopher) Priest. Along with Denys (Cowan) he’s one of the creators I’ve reached out to.”
…Reginald Hudlin, Writer, Filmaker, Comics Pro, President of BET, and Renaissance Man, an excerpt from the absolutely was not to be missed Black Panel that took place at this years NY Comiccon. A panel decisively and brilliantly moderated by Michael Davis.

Because many times even when the panel is great, the questions are idiotic and insipid. As in the Stephen King panel, “well I haven’t read the book Mr. King, but a friend of mine told me….”

So it was great to not see that happen, and that Michael Davis steered the panel with a deft and strong hand. The panel was great, the questions were great, the vibe was stunning. You had a great Asian-Latin-Black lovefest and mutual admiration society going on, which is great and fitting, because Black really does encompass all those people, the mass media’s attempt to fractionalize that truth, aside.

Above is a pic of Prodical Sun, Michael Davis, Reginald Hudlin.

And I want to get further off topic here, Mr. Davis took flak from someone regarding using the term Black for his panel. Isn’t that amazing? You can have a Jewish Anti-Defamation League, or an Asian that, or a Korean this, or an Italian that, but noooooo… you can’t have a Black so and so.

But Luckily he told the guy go jump in the lake. Because honestly I frigging despise the term African American.

“OHHHHH!!” And the crowd gasps!

“No he didn’t just say that!”

“That Negro has lost his mind!”

Well actually I did say it, and I have as firm a grasp on my sanity as I ever had, which of course isn’t saying much.

But for you in the cheap seats, let me say it again so you catch every word: I frigging despise the term, African American.

Why?

Because it’s a very marginalizing, mass media term; that doesn’t encompass the rich vein of people and culture that word is tacked over, but segments them based on national/geo-political boundaries.

An idiotic way to define a people, painting them with a nationalistic brand or brush. And an inaccurate way.

60% (a low #) of what we consider Latin nations, Brazil/Cuba/Venezuela are heavily of African ancestry. So as a person whose blood line runs from Senegal to the islands to the Americas… Black works really well for me, hey I’ll even answer to Pan-African, Nubian, on an especially jovial day perhaps even colored(smile when you say that boy!) but you can take your African American and choke on it.

Because AA is a marginalizing divisive term taken out of the context it was first used in.


“Man that Negro is crazy!” “Pan-African please. ๐Ÿ™‚ ”

So getting back on topic, the fact that it was called the Black Panel, worked for me. And I think it worked for the people who were there.

Because unlike my tirades ๐Ÿ™‚ it was all about the creative process, and new projects, new visions, upcoming work, and generally just moving forward.

With Animation projects, comic projects, book projects, publishing ventures it was a really informative panel, bursting with networking goodness.

I should have recorded the panel, and hope someone did, because it was that good.

Here’s a better pic showing Denys Cowan and Chuck Creekmur.

Panelists were:

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Denys Cowan-Writer, Artist, Martial Artist. Very long, very brilliant comic career. Highlights for me being his work on the Question, Black Panther, Batman Blind Justice and his Milestone work, such as Hardware. Now VP of BETs new Animation Studio.

I’ve been a loud detractor of BET, since their sale to Viacom, my issue being how you can honestly call it Black Entertainment when it’s owned by a white company, you may be able to call it blackface, or propagation and fulfillment of black stereotypes but not necessarily Black entertainment.

But with names like Hudlin and Cowan at the helm I’m inclined to actually give the channel another look, and hope it becomes more than a station that panders to stereotypes.

Though I would love to see these men working on their own company rather than a subset of a larger company. Because end of the day as Michael Jackson, and Magic Johnson, and Prince have found working their projects under Sony, end of the day you are generating income for interests outside your community, making Sony’s name at the expense of your own, and end of the day when you stop generating income you will be discarded. As will your work.

That’s always the fear when talented creators of color invest their time, in properties they do not own. But again with Hudlin and Cowan in the game I’m inclined to be positive.

Check out Newsarama’s interview with him here:

http://www.newsarama.com/general/Cowan/DenysInt.html

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Chuck “Jigsaw” Creekmur- President of WWW.ALLHIPHOP.COM. I admit to being out of the hiphop loop, but the site looks like a fun, easily navigated, and thankfully Flash free site. I’d love to see him partner with creators such as Aaron Mcgruder and Keith Knight, to bring their respective funny endearing, and satire filled cartoons, BOONDOCKS and THE K CHRONICLES, to a hiphop audience.

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Ms. Cheryl Lynn- Unfortunately the only beautiful panelist (no offense guys) was not captured in any closeups. I consider myself pretty schooled on Comic/Cartoon history, but I was mistaken. As Ms. Lynn eloquently informed the audience about a wonderful female cartoonist who worked in the golden age of the medium, of whom I was totally ignorant… Jackie Ormes. She has a great site, and I urge you to do what I did, go to her site and get informed. And also it’s a great resource for cartoonists of color to join, or for finding great cartoonists to work with. http://theormessociety.com/.

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Prodigal Sunn of Wu Tang Clan– Wu Tang Clan is among the most effective musicians to use the comic medium as an expression and extension of the story their music told. And Prodigal with a solo CD about to launch, television work, animation, and film projects on the burner remains one of the busiest and most steadfast supporters of the medium of comics.

I’d love to see Prodigal’s website become Flash Free. ๐Ÿ˜‰ [Black people, can’t we stop using Flash. :)]

But seriously, what I would like to see is Prodigal’s Wu Tang Clan comics syndicated/reprinted on ALL HIPHOP. Also what would be great is if ALL HIPHOP offered a store where you could purchase the books, of WU TANG CLAN, BOONDOCKS, K-CHRONICLES direct from their site. A win-win situation for everyone.

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Okay all the time I have for this installment. Next installment we’ll cover the last 4 members of NY Comiccon’s THE BLACK PANEL! ([ feel like that should be in big lights, and the name echoing :)]

All in all a fun, fun panel.

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