Another Comic-Con gets going on Wednesday with preview night, San Diego’s 40th. I love Comic-Con and this will be my seventh in a row. But even in the relatively brief time I’ve been attending, the event has changed a great deal. Despite retaining the name “Comic-Con”, these days the convention bills itself as the largest pop-culture gathering in America. Comic books still have a presence, of course. Panels involving Marvel and DC’s biggest titles can come close to filling the mid-sized 1,400-seat rooms, and occasionally a creator will build a big enough name for himself to hold court in the 3,000 or 4,000-seat rooms. But that’s a rarity. Those rooms are mostly reserved for television shows these days.
Down on the main floor, several dozen retailers sell current graphic novels and individual issues, while an entire section of the floor is donated to dealers who trade in comic books from the golden (1930’s, ‘40s) and silver (‘50s, and ‘60s) ages. Individual comic publishers have booths on the floor, everything from the biggest (Marvel, DC, Dark Horse, Image) to small press imprints you’ve probably never heard of. Not to mention artists’ alley, where dozens of artists, some famous, some not, set up to sell their work, talk with fans, and create new sketches. But even on the massive main floor, the comic book people and the major tv and movie studios don’t always get along. In the wake of Comic-Con 2008, Chuck Rozanski, who runs Mile High Comics, one of the largest dealers at the show (and in the United States, for that matter), had a long and fascinating column about the dealers being virtually ignored in favor of catering to the major film and television studios. Comic-Con PR man David Glanzer’s take was that the same percentage of floor space is dedicated to comic books as in previous years. But if we’re to take Rozanski at his word then clearly something that was once the lifeblood of the show is now more of an afterthought.