Long Time No See

Hello faithful readers...

Hello? Hello? anybody left?

It's been a very, very long time since I've consistently written for this blog. I'm going to try to be better, but I sincerely doubt I will ever get back to the "every weekday" schedule I was trying to maintain for a good long while, there. I will, however, try to maintain some consistency.

In the last month or so, I've been a little down. I missed an even-year San Diego Comic-Con for the first time since 2006, and it made me more sad than I expected. Now, on the flipside, I am attending the Star Wars Celebration in Anaheim next April. Disneyland and Jedi nerdishness with Mr. Sean H. and Ms. Leigh B. I'm expecting a good time, and hopefully I will finally score that Luke Skywalker green-blade FX series lightsaber I've been coveting.

So, there's that to look forward to.

Acting wise, I start rehearsals for Fail/Safe at Strawdog theatre on Sunday. I'm fairly excited about the show, and I think I have a very good part. That will run on off-nights (Sunday-Tuesday) from Sep 14 - Oct 14.






After that, I'm on my way back to City Lit for Father Ruffian: Shakespeare's Falstaff Story. Shakespeare...I'm doing Shakespeare again, playing a King again. Henry IV. That will run Jan 9th - to Feb 15th, 2015.

Y'know, it's funny, I spent so much time in undergrad working on style work, and Shakespeare, I really didn't overly care if I eve did it again. I've done a few shows here and there (All's Well That Ends Well, The Winter's Tale), but I've never really sought it out. I have to admit, it hold not the overriding excitement for me that I see in other theatre folk.

Just another play, just another playwright.

Musically, things are actually going really well. I was somewhat disappointed in the drum sound for the last Hayoth release, ...Getting Dollars Back. I mixed it too loud, with a lot of double-tracking, hoping to get a deep, booming drum track. What I ended up with was tinny, weak sounding drums that were really loud. They kind of overwhelmed the whole track. Which compounded the fact that I, bluntly, am not a drummer. As with most of my musical explorations, I am learning by doing.

I think that I've, at least, figured out how to mix the drums effectively. I think my playing is getting stronger, too, but that likely a matter of opinion. I have two tracks "finished," Burn and Warp. I have shared a preview of the earlier recording/mix of Burn. 



I have since junked this entire version, and started from scratch. I think it's better. I think the recording and mix is better.I'm hoping to get samples of both the new version of Burn and Warp up. Warp, in particular, has some interesting things...my first real stab at using keyboards.

A third track, Predator Game, is in progress. Which is a acoustic bed track with drums and electric lead. I managed to get a decent acoustic bed scratch track down over the weekend, and take a first few stabs at the drum track. I'm feeling good about it, and it seems like Uptown, as an album, is well on it's way. My goal is to have enough material to put it out by the end of the year.

Is Dropping My Bass On My Foot An Omen?

I was trying to lay down a temp bassline for Zep the other night, I was tangled up in cords, trying to puzzle through what I needed for the track. Something got hung up, and I gave it a tug to free it, and it yanked the strap right off the front button.

Down she went. Right onto my foot. the same foot I smashed the crap out of in college with a pallet jack while doing night stocking at a grocery store. Fear was my main response. After the initial yelp of pain, and "FUCK!!!," I had a sinking suspicion I'd broken the damn thing.

Of course, I also had a fear that I'd broken the bass. The last time I dropped it, it shoved the cable right through the jack plate. (Cheap bass, yes). I didn't even notice until weeks, months later when I was helping a friend record some acoustic tracks, and I suggested some bottom end might fill out the sound. Great idea. Having a non-working bass...not so great.

In the end? The bass is fine, and my foot has a nice, deep bruise across it, but otherwise none the
worse for wear. 

I was planning to hold off on the bassline until Paul C. could come over and do it, but I needed the bass track to put the guitar parts together. The song has been a bit of a bitch to wrangle. The drum parts are done...maybe. There's a few points where I think everything could be a bit more in synch. I'm thinking I might take another run at it once I've put down the guitar parts.

This is really going to be the first time I've "built" a track out of individual guitar parts...not overdubs, which I have done a lot, but different tracks for the different sections of the song. The verses are going to be lighter, acoustic, or at least clean electric. The pre-chorus and chorus are both heavier and distorted. This sort of thing just didn't feel possible when I was working with just 8 tracks (especially when only 4 were available at a time), but with 24, I have room to play.

But it's moving along, I think I've even solved the lyric question. I don't know that they're brilliant, or anything, but I thin they fit with the tone of the piece, and should be interesting. I am excited to move on to the next couple of tracks, which (as I've said) are more straight-ahead rockers, and ought to be easier to get situated. In particular, Reason has presented it's own lyrical solutions, as well as some structural changes that are exciting. I've also been refining a new riff and concept I'm calling Deliverance.

I feel good. It's been ungodly hot in Chicago, when you add a sealed-up room to record in, and my own sweaty nature, it does get a little..drippy. Even at that, I'm excited and invigorated. Of course, I'm starting rehearsals in a few days for Warped. Which is sure to slow me down, but I am DETERMINED to not get off-task with this stuff. The album will be done before the end of the year.

Speaking of Warped, and Stage Left, if you have any interest in helping, or ability to help, a small, non-profit theatre company, you can find info here about our mid-summer fundraising drive.

The other thing on my mind the last few days is that The San Diego Comic-Con began today.

Boy, do I wish I was there. 

There really is nothing like SDCC. Other conventions just seem...underdeveloped, in comparison. My visit to the Chicago Comics and Entertainment Expo just felt underwhelming, and I know that's because I was trying to use it as a replacement for visiting San Diego.

It can't compete. Few conventions can. Certainly not the ones Wizard produces.

The planning is underway for a trip next year. As always, the ticketing/hotel situation may screw us, but, if it does, we've discussed a "Plan B," which would be the New York Comic Con. Which does not have the rabid, "I gotta go" craziness of SDCC, meaning you can get tickets without sacrificing a goat, but still would offer a trip away from home. Now places to explore, people to meet, etc, etc.

Part of the problem with C2E2, honestly, is that it just doesn't have that, for me. Because I live here. When I drive home, the fact that I CAN drive home, tends to move me into a more insular experience. I don't feel like I'm in a place where I can, and should, wallow in the experience.

But, yeah....I am deeply envious, downright jealous, honestly, of anybody in San Diego right now. I wish I was there.

T-Minus 21 hours, Give or Take

Flying out for San Diego tomorrow. I may check in while I'm gone, I may not. I always SAY I'm gonna blog from the convention, but then I end up not wanting to haul the laptop around.

Pictures will abound upon my return. Stories will abound.

Very much looking forward to spending time with Ken G and Sean H, as well as seeing old friends like Tony & Hattie, and John & Mary (these are real people, I assure you).

Staying away from the big Hollywood panels, for the most part (I think - I reserve the right to suddenly need to see Man of Steel stuff.)

See you on the other side.

I Thought I'd Have the Summer Off

It's funny how, when you don't go looking for things, they tend to come to you. Of course, not always in the way you expected or wanted.

I had planned on remaining free of theatre commitments for the summer season. My plan was to focus on music projects, take the next part of The Artistic Home's Meisner program, and leave myself time for trips to Boston and, of course, San Diego for Comic-Con. That's...sorta...held.

The folks at Steep Theater Company asked me to audition for their upcoming show, Moment, which was very, very exciting to me. Alas, the opening weekend is when I'm in San Diego. I went back to them with true thankfulness that they thought of me, but I was really sad to say I couldn't do it.

Ultimately, I've been asked to understudy 2 roles in the show. Which, despite the fact I'm not a huge fan of understudy jobs, I'm very excited about. Steep is an exciting company for me, and I'm hoping to make a good impression. Get my foot in that door.

It did give me half a pause about going to Comic-Con again. This year has been incredibly aggravating on a number of levels. The long delay in opening ticket sales (at least from where it was the last time I went, in 2010), made getting tickets a stressful mess. Ultimately, by some miracle, we scored 4-day passes, with preview night. Which makes us luckier than most.

Of course, then came the damn hotel debacle. I've been to San Diego before, this year will be my 4th trip. I've always managed to get a hotel downtown, somewhere. The Doubletree has been the go-to location. This year, with three of us vying for rooms, two of us were shut out completely, and the third...got a room in Mission Valley.

Now, on one level, I'm just happy we got a room, and it's on a 24-hour shuttle route. Not to mention the public transport light-rail option. Plus, with the near-miracle of getting a full-show pass, I couldn't walk away from the trip. On the other hand, I'm struck again by how much of a nightmare going to San Diego has become. Once you're there, of course, the stress falls away and it's just a good time. It's the 6 months leading up to going that becomes unbearable, at times.

Personally, I'm going to try to talk my brothers-in-geekdom into the New York Comic-Con in 2014. San Diego has just gotten too big, and the lack of adequate hotels and room in the convention center has set off a series of dominoes. I understand the need to control the amount of people, I do, but it's making the whole experience kinda ugly. I never thought I'd actually wish for Comic-Con International to pack up and leave San Diego, because the city is beautiful and fun.

But moving the show to, say, Las Vegas looks really good, right now. I also can't help thinking of a quote from the Las Vegas Chamber of Commerce representative when they were vying to take over the contract from San Diego a couple of years ago, "I have more hotel rooms on one corner than San Diego has in the entire city" (paraphrasing). I believe their convention center is larger, too.

I understand the nostalgic vibe. Like I said, I love going to San Diego. Comic-Con International has been in San Diego since day one, with a group in a basement somewhere. You don't walk away from that history easily, and a move to Las Vegas, in particular, would result in the convention sorta being swallowed by Vegas itself. When the convention rolls into San Deigo, it's like a little "United Nerdom" erupts in the city. You cannot miss what's going on. The whole downtown area shows signs of the influence. Plus, you can almost guarantee you'll run into comic pros on a nightly basis, because they congregate in specific areas. With Vegas, everyone would be thrown to the winds.

So, that's a downside, but now it feels like the SDCC organization is using this lack of space as a marketing tool. Driving demand WAY past any reasonable supply, using the resulting "sold out in an hour and half" stories to up it's media footprint, and perceived power in the pop-culture realm. It feels like this is all being orchestrated in order to guarantee a fan frenzy every year, when you could just move to Las Vegas (or any of a few other options), who clearly want the show, and actually meet the demand. It feels somewhat sketchy.

Anyway, we're going. (Long digression, there, I know.) Hell or high water. I'm behind where I usually am on my saving for this trip, and that makes me nervous, as usual. It'll all work out, it always does.

The rest of the Summer is coming together. The music project is moving forward, though I am still waiting for confirmation on what the schedule will be for the next Meisner class. It just amuses me, my plan for "taking it easy" is basically out the window.

Is It Just Me

Or does the whole "process" around the San Diego Comic-Con this year seem a little...odd?

I mean, in an unheard-of turn of events, I can book my flights to San Diego now, but I can't buy my tickets for the show itself. I COULD book my flight, but I'm sure as hell not going to do that before I know I can go. Now they're saying "pre-registiration" (some kind of ID system) will happen in January.

That better happen fast, because isn't the "hotel day" debacle usually in February?

Now, look, I understand that this is all in an effort to make things work quicker and smoother for everyone involved, and I know a massive convention like SDCC is a logistic nightmare. That said...is adding MORE steps to the process, not to mention pushing the whole thing later, really a proactive step?

Really, they've been putting off open registration for so long now, in the back of my head there's a nasty little voice saying "they sold all the tickets before the 2011 convention was over." I'd never think they did that on purpose, but hell, if memory serves, preview night 2011 sold out before SDCC 2010 was over. I'd hate to see San Diego become a "you go every year, or you don't go at all" convention.

Mainly because I can only go every other year.

I Can't Get Sick, I Can't Get Sick, I Can't Get Sick

I think I have a cold. Not terrible, but it's there. Itchy throat, stuffy head. The nose isn't running yet, but I feel it coming. Man, I hate this time of year, the temperature swings make me particularly vulnerable to a cold.

Ah, well, what can you do?

It's just poor, poor timing. Shows all weekend, some auditions to sit in on Sunday. I do not need to feel crappy. Bear down, and lots of hot beverages, I guess.

In other news, Bus Stop has officially been extended until January 14th, so I'll be playing Virgil twelve more times. It's nice, the show is fun, and the extra money will be really helpful going toward my SDCC trip. It's the first time, in 20 years of doing this, that I've had a show extended. So, that's cool.

As to Comic-Con, damn, they are taking forever to get registration up this year. It's maddening. It's bad enough that they tend to sell a billion tickets at the convention the year prior. I mean, last time I went, in 2010, all of the full weekend tickets with preview night had sold during the 2009 convention. Essentially, it created a situation where, in order to have a "full" convention experience, you had to go every year.

Thankfully, the convention organizers have acknowledged this, and. apparently, taken steps so it won't happen again.

Of course, we don't know that, since registration hasn't re-opened. 

And, now for your audio/video enjoyment, my theme song (or it ought to be):

Credit Cards Are Evil

No, I'm not badly in debt.

In fact, to most people, I'm completely out of debt. I have a little bit on my Guitar Center account, still under a no interest for 12 months plan. I have two other cards with less than that on them. Problem is, I've been trying to pay them off for about 2 months.

Stupid thing is, I keep using them. I have a couple of pre-orders from Amazon set for the next couple of months, and a list of things I'd like to buy...guitar TAB books, movies, etc. My no interest plan is up in December, so I need to get cracking on that too.

The point, I guess, is that, even when you have your cards relatively under control, the start to take over your life. I have become almost obsessed with trying to avoid paying interest. Which, y'know, is a good thing, but I also shouldn't get so damn uptight about a $2 interest charge on a couple of hundred dollars, right? It's silly, and it's relatively ridiculous to get obsessive about it, right?

Like everyone else, in college I let it get REALLY out of hand, and through the efforts and guidance of my lovely bride, I was released from that debt burden. Now, I just get completely freaked about it. I have two cards, and my Guitar Center account, and I wonder all the time if that's too much.

But really...here I am, relatively stable, with a total debt that's not even $1000. What the hell am I worried about?

Oh, hell...really I'm just writing this to try to give myself permission to buy that Rush TAB book, and the new Neil Peart book.  The items sitting in my amazon shopping cart...STARING at me.

And, really...if I have to talk myself into it...It's not something to do.

Yet.

Plus, y'know...I have to put away cash for SDCC nest year.

Responsibility sucks.

A "Moment" While Browsing in Borders

Decided to take a spin through Borders over lunch, and I came across this book.

Comic-Con: Episode IV: A Fan's Hope is written by Morgan Spurlock, with some really stunning photography by Alba Tull. I knew Spurlock, he of Super-Size Me and Pom Presents The Greatest Movie Ever Sold fame, was putting together a San Diego Comic-Con movie, but I had no idea that there was to be a book, as well.

I actually got an ad by e-mail earlier today for a "Special Edition" of this book. (Because there always has to be a "Special Edition," right?) I just ignored it, I get that stuff all the time, and usually these things aren't worth the time, let alone the money.

But, something happened as I thumbed through the book...A sweeping sense of place and belonging. I've been to a lot of sci-fi and comic conventions, but there is nothing like being in San Diego.

There's a true sense that the entire world, or at least the entire world of geekdom is converging in this one place. The truly beautiful portraits and photos chronicling the crowds were rich and sharp. I could hear the constant rumble of humanity, the smell of unwashed masses and bad food. The frustrations of the long lines, and the ecstatic joy when you can shake the hand of a writer or artist you admire

It was a "sense memory" moment that was almost overwhelming.

No, SDCC is never, ever a "perfect" experience. There's always that one panel you couldn't get into, the damn line you waited in for 3 hours for a panel that ended up being lame, causing you to miss 3 other panels that would've been awesome. The crowds are nightmarish at times, and every moment you stop to catch your breath, there's a nagging sense that you're...missing...something!!

But, I wouldn't have missed it for anything.

My (delayed) San Diego Comic-Con Wrap-Up

Well, I return to you after 6-ish days in San Diego, with 4 within the halls of the San Diego Convention Center. First off, a deep apology for the lack of blog entries since, and during, my trip. My original intention was to blog as much as possible from the convention floor. This, alas, ended up being more of a pain than expected (my laptop gets HEAVY). When I would return to the hotel, there was always some nighttime adventure in the offing, and a blog seemed less than important.

As always, The San Diego Comic-Con was exhilarating, exhausting, annoying, laughable and downright fun.

We flew out of Chicago early on Wednesday the 21st, and arrived in San Diego about 11:00 AM. I have to admit the experience of walking outside was a little less than it had been on my previous trips. In 2006 and 2008 the weather was absolutely gorgeous the entire time I was in San Diego, and this year was a bit overcast and cooler. (I even had to buy a jacket.)

The "new" hotel this year, San Diego Hilton Bayfront, was absolutely gorgeous. It was also, literally, right next door to the Convention Center.

It also looked like the set of Logan's Run.

It was absolutely convenient, but I have to say, for future trips, a return to our San Diego Doubletree Downtown may be in order. I was kinda shocked to find out I had to pay $14 each day for internet, and $15 each day if I wanted to use the gym. Both amenities that were free at the Doubletree.

It's really a hard call. Being so close made going out after a day on the floor really easy, and our hotel hosted many of the guests. I caught the entire cast of Chuck in the lobby on Saturday morning. I think staying where we did made our evening social time much more enjoyable. The hotel bars, after vainly searching the Gaslamp for convention people in '06 and '08, are where it's at.

I guess I'd always try to get one of the big convention center hotels from here on out, but I wouldn't feel so cut off a little further out anymore. The Doubletree served us well. Also...with only three of us this year, the Hilton Bayfront was a little pricey, but that's what I've been saving all year for, right?

Day One;

My initial Thursday schedule was really, really ambitious. I had my time packed with 10 "first choice" panels, and several back-ups. Of course, as I always say, SDCC is all about planning and being flexible enough to throw that planning right out the window. Sean, Zach and I decided to take a spin around the main floor, and I immediately zeroed in on original art booths.

Original art has become my "thing" when I go to San Diego. I rarely see any well-stocked art dealers at the other conventions I've attended, so Comic-Con is where I can usually find something nice. I found two nice pieces by Mark Bagley and Darwyn Cooke, respectively. I circled and circled, and kept coming back to them. Finally I just dropped the cash, figuring they were such nice pieces I didn't want to let them slip away.

Mark Bagley is probably my personal favorite artist, and Benjamin J. Grimm, a.k.a "The Thing" is crown jewel for Marvel Comics. Truly one of Stan Lee and Jack Kirby's greatest, single creations. I hadn't even known Bagley had done a Fantastic Four run, but a nice, dynamic page like this? Could not pass it up.

Darwyn Cooke is certainly in my top 5 of favorite artists, and Jonah Hex is my pick for the most consistently great book on the market today. (Seriously, if you are not reading it...GO GET A COPY!) This is a really nice, clean page from Jonah Hex #50. There were a couple of other pages that were more busy, but this seemed to evoke the John Ford western feel so well.

Long story short, I'm just beside myself to have such great pieces from two of my favorite artists to go on my wall.

The traipsing around the floor put a serious crimp on panel time for Thursday, and we only managed to see one:

3:45-4:45 TV Guide Magazine And The Paley Center For Media Present: A Leap Of Faith, A Quantum Leap Retrospective— Moderated by TV Guide Magazine Executive Editor Craig Tomashoff, this panel will take a look back at the cultural phenomenon of the hit series Quantum Leap featuring clips from the Paley Center collection and a discussion with series star Scott Bakula (Men of A Certain Age, Star Trek: Enterprise, Chuck). Room 6A

Scott Bakula was charming and witty, and, while I didn't really learn anything I didn't already know about the series, I was really happy to be in that room with people who really loved Quantum Leap, and weren't just trying to get a picture of a huge star.

Later that night, I also sampled some convention nighttime programming, which I'd kind of avoided. I always figured nightlife was more exciting. I managed to get into

7:30-9:30 First Look! Secret Origin: The Story of DC Comics— Behind the amazing tales of Superman, Batman, Wonder WomanWatchmen is the equally impressive story of the challenges, creativity and triumphs of the company that brought those characters to life. Warner Home Video and DC Entertainment present a first look at the new documentary Secret Origin: The Story of DC Comics, a compelling insider's tale and a 75th anniversary celebration as seen through the inkwells of those who created and lived it, balanced with insights from key historians and filled with interviews, archival footage, and a dazzling parade of those forever riveting and splashy DC covers. Included in the premiere event is a panel of distinguished representatives of DC's storied history. Produced by the Academy Award–nominated team behind Spellbound, this documentary is narrated by Ryan Reynolds (Green Lantern) and will be distributed by Warner Home Video in November 2010. Room 7AB

This was a really excellent documentary about the history of DC Comics as a company and a brand. Lots of great interview moments, and some information I hadn't known. It could've been a cheap publicity scam, but, while it certainly wasn't "hard hitting journalism," there felt like a lot of honesty was on the screen. It's definitely something I'm planning to pick up.

The rest of the evening was spent at a "Drink and Draw" with LA friends TonyD and HattieD. Then off to the Hyatt lobby bar. Great evening.

Day Two;

Friday turned out to be an even lighter panel day. SeanH and I did manage to catch:

1:00-2:00 Bloom County's Berkeley Breathed: The Secret Sex Tapes— The creator of the Eighties' most enduring strip act, Comic-Con special guest Berkeley Breathed, reveals all the behind-the-scenes shockers...and some never-before-seen tests of the Miramax Opus movie that was eventually killed by the Deptartment of Homeland Security. Plus, Bill the Cat's private home videos of Jeanne Kirkpatrick, Diane Sawyer, and Barbara Bush. Room 6A

...And, after, we hustled down to the convention floor to get Sean's Bloom County book signed.

Breathed had never been to SDCC before, and it kinda sounded like he'd never been to any comics convention. He should do more. He had a wonderful presentation full of humor and honest appraisals of his industry and other cartoonists he had known. I probably could've listened to another hour of his stories.

We spent the rest of the day on the floor, taking in the sights, and I decided to pick up a convention-exclusive toy set.

It's a re-creation of The Brave and the Bold #28, the first appearance of the Justice League of America, where the five original League members confront Starro the Conqueror. I had bought it because I figured it would be easy to break apart and pack into my suitcase for the trip back.

Yeah, well...

The thing talks. Giving a history of the story and the comic, and all the heroes on the front. With that, I knew leaving the packaging behind was not an option.

The rest of the day was spent kicking around the floor, and I got lots of great pictures at the Sideshow Toys booth, including one of a Raiders of the Lost Ark fertility idol prop replica that I find myself coveting...

We also managed to check out:

5:30-6:30 Shout! Factory: Roger Corman: King of the Independents— If your idea of fun is watching wild and outrageous cult flicks, you will not want to miss this! Oscar recipient for Lifetime Achievement and legendary director/producer Roger Corman takes center stage to share insights on his incredible filmmaking career. Notable Corman alumni will also be in attendance to reflect on their involvement during his New World Pictures era in the'70s and '80s, at a time when grindhouse theatres and drive-ins were the place to see over-the-top sex and violence. Panelists include Joe Dante (director of Piranha), Sid Haig (The Devil's Rejects), Mary Woronov (House of the Devil), and Allan Holzman (director, Forbidden World). Moderated by Alex Stapleton (director of King of the B's: The Independent Life of Roger Corman). Short Q&A if time permits. Room 25ABC

Which was kind of disappointing. First, the vast majority of the crowd was waiting for the Gears of War panel that followed, and, second, the microphones were crap, and we couldn't hear half the panel. Corman deserved much better.

Friday night we met up with John and Mary from LA, who had been in Sean's production of Plans 1-8 From Outer Space with me. We ended up at a midnight screening of Free Enterprise.

God, I'd forgotten how I hate that movie. No offence to anyone, as I hung out with director Robert Meyer Burnett a bit that night, and his crowd. Very nice people.

I just don't like your movie.

We all ended up in the Marriott bar.

Day Three;

Ah, Saturday. I briefly had a moment when I thought MAYBE I'd just plant in Hall H, to see the BIG movie panels. Green Lantern, Cowboys and Aliens, Green Hornet, Thor, Captain America: The First Avenger, and, of course, The Avengers. I took one look at the line outside the convention center, and just wrote it off.

Sure, I could've seen Ryan Reynolds recite the Green Lantern oath for the first time in public, The first reveal of the Avengers line-up, and (most personally painful) Harrison Ford's first Comic-Con appearance. When it came right down to it, being in there, alone (Sean and Zach were not interested), didn't seem at all fun. (And how the hell would I pee and not lose my seat?)

What I want to applaud the Con organizers for is that they realized the wisdom of putting all the huge, rabid fan interest panels in Hall H on the same day. This was how it was in '06, but in '08, they seemed to spread things out. The advantage of everybody trying to pack into Hall H is...the floor does seem relatively lighter, and other panels are not quite as tough to get into.

I had a really pleasant time on Saturday and saw more panels than on any other day of the convention.

11:30-12:30 Shazam! The Golden Age of the World's Mightiest Mortal— Author/designer Chip Kidd (Mythology, Bat-Manga, Rough Justice), author/producer Michael Uslan (Archie Marries...), and Charles Kochman (executive editor, Abrams ComicArts) celebrate the 70th anniversary of the Big Red Cheese in this panel and slideshow discussion celebrating Kidd's upcoming fall release from Abrams ComicArts, Shazam! The Golden Age of the World's Mightiest Mortal. Room 9

This one was a little disappointing. Mainly it was an advertisement for a book on SHAZAM!/Captain Marvel collectibles from the 30's and 40's that Chip Kidd has put together. The other panel members seemed to just be there to reinforce the importance of this character. Which, sadly, needs to be done. People in line didn't seem to even know the most basic things about Captain Marvel. Made me a little sad.

The panel did make me very curious to try to pick up some trade paperbacks of the early Marvel family stuff.

Then I cut across the hall, and walked right into:

12:30-1:30 Spotlight on Brian Michael Bendis— The controversial Marvel writer and Comic-Con special guest Brian Michael Bendis turns his spotlight panel into a live taping of the popular Word Balloon Bendis tapes. Word Balloon podcast host John Suitress will moderate the panel and take questions from the audience, with nothing off limits. Bendis will also be giving away limited-edition variant covers of his new creator-owned series Scarlet. Room 6DE

I was kinda amazed that I could just walk right in. That said, it was a huge room. Bendis is a really fun personality, and can spin a good story. Jeph Loeb appeared in line and, with a kind of annoying "comic bit" announced Bendis would be a producer and writer for a new Ultimate Spider-Man cartoon series. (How many Spider-Man cartoons do we need, Marvel...there seems to be a new one every other year.) The weirdest bit of info was that Bendis had interviewed David Mamet, one of his writing heroes (the guy has taste), about a comic book Mamet had written and drawn. Who knew?

Then I jumped across and caught the end of:

12:30-1:45 DC Universe: Event Horizon— Ian Sattler, senior story editor, and your favorite writers and artists are here for the main event: The DC Universe! What lies ahead for your favorite heroes and series? Got a question for your favorite DCU creator? Come on by! There's no greater gathering of top-tier creative talent! Room 6A

Which, yeah...whatever....I was just waiting for:

2:00-3:00 Green Lantern: Emerald Empire— No evil shall escape this panel's sight as the top creative teams on the Green Lantern books drop hints on upcoming stories and take on your questions! Led by group editor Eddie Berganza with Geoff Johns (Green Lantern, The Flash), Tony Bedard (Green Lantern Corps), Joe Prado (Brightest Day), and Ivan Reis (Brightest Day). Room 6A

I'm gonna say this, this panel ended up being kind of frustrating in the way all Geoff Johns (who was absolutely the star here) panels are. Nobody wants to comment on anything in any contrete way. There's a few vague, sweeping announcements, and that's it. As much as I love John's writing (and that's a LOT), he's not a verbal storyteller. He can't seem to make his answers entertaining and funny like Bendis does, or any number of other creators do.

That's not to say he's not a great guy, because I have first-hand accounts that he is. I'd love to have dinner or coffee with him. Entertaining a whole room takes a little more extroverted personality, however.

I had originally planned to jump from there into the "DC Showcase Original Shorts Collection: Jonah Hex, Green Arrow, and Beyond!" panel, which was to talk about the new DC Showcase shorts being added to all the animated DC Comics direct-to-DVD movies. One look at that line, and I knew I was SOL.

That being the case, I went to wait for one of the panels that I was most looking forward to. I could walk right into the room, and sat through a panel I'd never planned to see, but ended up being very interesting:

3:00-4:00 Comics Reprint Revolution— For comics fans, the vintage reprint revolution keeps getting bigger and better! Comics Reporter's Tom Spurgeon talks with Craig Yoe (Krazy Kat, Popeye, Jetta), Dean Mullaney (editor of Library of American Comics for IDW: Dick Tracy, Little Orphan Annie, Secret Agent Corrigan), Daniel Herman (Hermes Press: Buck Rogers, The Phantom), Gary Groth (Fantagraphics: Peanuts, Prince Valiant, Captain Easy), Peggy Burns (Drawn and Quarterly: John Stanley Library, Walt & Skeezix), Steve Saffel (Titan Books, Beetle Bailey, Simon & Kirby Library) and Charles Pelto (Classic Comics Press: Mary Perkins, On Stage, The Heart of Juliet Jones, Big Ben Bolt) about their publications reprinting some of the very best of comic books and comic strips. Room 8

It was really cool to hear the ins and outs of trying to publish collections of classic comic strips, from rights issues to the basic lack of acceptable copies of the material. It was a panel of people passionate about what they were doing, and it was a great relief from the mass-media onslaught outside.

Then, it was time for the panel I'd been looking forward to all day:

4:00-5:00 Taking Back the Knight: Batman in the 1970s and Beyond— The 1960s Batman TV show -- fun as it was -- left the public thinking the Caped Crusader was more of a clown than a crimefighter. In the 1970s, editor Julius Schwartz, along with writer Dennis O'Neil and artist Neal Adams (mostly in collaboration with inker Dick Giordano), decided to take back the Knight to his darker origins. The resulting character became the template for the next three decades, a time span marked by Batman's huge success in films and other media. Moderator Mark Evanier talks with Comic-Con special guests Dennis O'Neil and Neal Adams about their rebirth of the Bat and with Paul Levitz on how that re-creation took Batman to even greater heights. Room 8

This was a great panel. O'Neil and Adams are really fantastic together, and Adams, in particular, is a big, boisterous voice for artistic integrity. I loved watching these guys talk about taking Batman back to what felt "right," even if the readers at the time had never experienced Batman "right." It had been camp antics and aliens for so long, that O'Neil and Adams' razor-sharp detective and crime tales were a joy. This is what Comic-Con ought to be about.

Spent a little more time on the floor after, and ended up joining John and Mary at:

6:00-7:00 Roddenberry Presents— Eugene "Rod" Roddenberry (CEO, Roddenberry Productions), Trevor Roth (head of development, Days Missing) and Tory Mell (production supervisor, Trek Nation) are taking the name that created Star Trek and bringing it to levels not seen since the original days of the genre-changing television show. Join them for some awesome discussions and a chance to win a free iPad! Also on the panel: Phil Hester (Days Missing, Green Arrow), Dave Marquez (Days Missing, Syndrome), Stephen Christie (Archaia Publishing), and Paul Morrissey (editor, Days Missing). Room 25ABC

Of which I'll only say....

*SHRUG*

The evening ended with a lovely prime rib dinner (Donovan's - totally worth it) and then drinks with John, Mary and their Trekker friends at the Hyatt Lobby Bar.

Day Four;

Sunday generally feel like a wrap-up day. Deals on the convention floor, and a general sense of winding down.

This year, it was also the day I stood in the longest line.

You may ask why?

I love Nathan Fillion:

10:30-11:30 ABC's Castle: Nathan Fillion & Stana Katic— Up close and personal with actors Nathan Fillion (Firefly) and Stana Katic (Quantum of Solace), creator Andrew Marlowe (Air Force One), and executive producers Rob Bowman (X-Files) and Laurie Zaks. BE sure to be on hand for the Q&A session, filled with exclusive videos and fun surprises. Whether you're a fan of the show or a fan of Nathan Fillion, you won't want to miss this panel! Room 6BCF

Fillion is built for conventions. He simply knows how to play the room, and what will make fans the most happy. Be it a dramatic reading of a sex scene from one of "Richard Castle's" novels with Katic, handing out his wristbands from various celebrity parties, and other assorted items (the clippings from his eyebrows seems like maybe a bit much, however), or turning the Double Rainbow YouTube phenomenon into a running panel joke. The man simply knows how to entertain people, and I have to say the Castle panel was the most fun I had this year. Worth the huge line.

After that, a quick walk around the floor, and off to another panel I was very excited about:

12:00-1:00 Spotlight on Dennis O'Neil— One of comics' most legendary writer/editors, Comic-Con special guest Dennis O'Neil is best known for his work on Batman. O'Neil's long career includes writing and editing at Marvel and guiding the Caped Crusader at DC Comics for many years. Dennis will talk about his career and what's up next for this fan-favorite creator. WildStorm's Scott Peterson moderates. Room 25ABC

O"Neil is a whip-smart and highly opinionated guy. He's also honest to a fault and willing to admit his failures and mistakes. It's was very cool to have him talk about all the superb work he did outside the Batman franchise. Great panel.

A lot of time on Sunday going back and forth to the main floor, I was trying to grab up some trades, and spent a lot of time at the Mile High Comics booth looking through their extensive (but dwindling) piles. I have to say that one of the biggest disappointments this year was the lack of places to just look for trade paperbacks. In '06 and '08, it seemed there were at least 3 different booths where you could just browse collected editions. (Organized collected editions...too many "scavenger hunt" booths, where there was no rhyme or reason to how things were laid out.) I know back issues are the bread and butter, but...trades make new readers. Trades let you sample new series. For all the non-comics people wandering that floor, potential readers...that's letting an opportunity slip.

We wrapped up the convention with:

3:00-4:00 DC Town Hall Meeting— All are welcome to join DC co-publishers Dan DiDio and Jim Lee for a relaxed Sunday afternoon discussion. Share your thoughts on what you love about comics now and what you hope to see in the future! Room 25ABC

Which had a couple of moments when I wanted to shout at Dan DiDio. His comments about not wanting to do "Elseworlds" books, because they're more interesting than the regular series, infuriated me. That just means you have the wrong teams on the books. That you, as editorial, have dropped the ball. Which also ties into what the kid, who said he wanted "deeper" stories about heroism, meant.

Both DC and Marvel are chasing "cool" right now. That's fine, to an extent, but it typifies the thought process behind the DC Universe Online trailer you showed. Instead of telling stories rooted in the greatness of your characters, you keep trying to show us their dark underbelly. Tear it down, and show the worst possible outcome, because it's "cool."

Solid storytelling. Regular schedules. A commitment to making the books the best across the board, rather than tying them into an "event" that will only provide a temporary, false, boost to sales. Geoff Johns is a great writer, but I wish he, and the entire DC staff would stop looking from crossover event to crossover event, and just tell some stories that begin and end in the same book.

Anyway...enough of that rant.

Closed out the Con at the Mile High booth again, grabbing a couple of John Byrne Fantastic Four: Visionaries trade paperbacks.

Sunday night, out to dinner with my friend Courtney.

Monday...

Shipping the swag back to Chicago ($100 - ouch!), and then off to the plane.

Thoughts:

Look, every year I hear the bitching about how Hollywood has taken over SDCC. It's a fact, you can't deny it. How the hell else do you explain a Glee panel?

However, as the Comic-Con has grown, and yes, it's outgrown the San Diego Convention Center, the excitement that's generated by those crowds cannot be denied. I love going, even if I spend too much time in lines, and I miss things I'd like to see. The experience of being there, and feeling that swirl of excitement around you is worth it all.

I generally go every 2 years. If, in fact, the show moves to Anaheim or LA in 2013, I have to go in 2012. It'll be a last hurrah for San Diego, which is as beautiful and gracious a host city as you can hope for.

Personally, I hope it stays right where it is.

T-Minus One Week.

Let's see...one week from right now, as I'm typing, I'll probably be at;

1:00-2:30 Comics Arts Conference Session #3: New Fun About Siegel and Shuster— Gerard Jones (Networked: Carabella on the Run) leads Nicky Wheeler-Nicholson Brown (grand-daughter of Major Malcolm Wheeler-Nicholson), Brad Ricca (Last Son), and copyright expert Lauren Agostino in a discussion about the creative influences and legal issues surrounding Siegel and Shuster's early characters. Mel Gordon (California State University East Bay) shares insights about Jewish superheroes from his forthcoming book Siegel and Shuster's Funnyman: The First Jewish Superhero, co-authored by Thomas Andrae. Room 26AB

Or, on the main floor, because I'm sitting here reading that panel description, and thinking, "I thought it would be about the Superman copyright thing." Oh, well.

I've pretty much cemented my thought process of avoiding Hall H, and all the major movie panels. It's just too hard to give up all that time to see 4 minutes of footage. I mean, the mainstream press is already getting stuff in anticipation of Comic-Con week. For example:



Yep, that's "Van Wilder" in his all-CGI Green Lantern suit. I can't say I'm jumping up and down and screaming "COOL!" about it, but I'm also not condemning the film to failure. First publicity photos always look a little...off. I always reserve judgment until I can see some actual footage, be it a trailer, or whatever. Long story short, not a disaster.

In a way, knowing this will be on the cover of my Entertainment Weekly on Saturday re-affirms my thought process. Why spend 2 hours in line to see Ryan Reynolds be charming (I really do want to hate him, but I just can't), and have to listen to a Harry Potter presentation, too (sorry, I think the films are poor), when I can see:

Saturday 11:30-12:30 Shazam! The Golden Age of the World's Mightiest Mortal— Author/designer Chip Kidd (Mythology, Bat-Manga, Rough Justice), author/producer Michael Uslan (Archie Marries...), and Charles Kochman (executive editor, Abrams ComicArts) celebrate the 70th anniversary of the Big Red Cheese in this panel and slideshow discussion celebrating Kidd's upcoming fall release from Abrams ComicArts, Shazam! The Golden Age of the World's Mightiest Mortal. Room 9

I dunno. I mean, look at the SDCC coverage listed on that cover. It's basically all the major film/TV panels. That stuff will get out, and that information will be available. But nobody's gonna write an article about:

Saturday 4:00-5:00 Taking Back the Knight: Batman in the 1970s and Beyond— The 1960s Batman TV show -- fun as it was -- left the public thinking the Caped Crusader was more of a clown than a crimefighter. In the 1970s, editor Julius Schwartz, along with writer Dennis O'Neil and artist Neal Adams (mostly in collaboration with inker Dick Giordano), decided to take back the Knight to his darker origins. The resulting character became the template for the next three decades, a time span marked by Batman's huge success in films and other media. Moderator Mark Evanier talks with Comic-Con special guests Dennis O'Neil and Neal Adams about their rebirth of the Bat and with Paul Levitz on how that re-creation took Batman to even greater heights. Room 8

Even though it is Comic-Con, right?

Saw The Swell Season at Ravinia Park last night. Nice enough show, but the show at The Vic a couple of years ago was miles better. That show will be the one I remember.

There's a number of factors for that, I think. Ravinia, now that I've actually seen a show there, is, frankly, not a venue I'd ever choose to see a pop/rock show at again. Yeah, it's pretty, and the pavilion is nice, but that whole environment is designed for a more...staid form of entertainment. No seating during songs, no food, no drinks but water, it's designed for a symphony crowd. I never felt overly comfortable.

Glen Hansard actually requested that people from the lawn seats be allowed down front by the stage. I understand the impulse, and the show certainly picked up, energy-wise, when the crowd streamed in. However, you just KNEW how it was going to end up. Fire Marshals, a demand for everyone to return to their section before the encore, the whole bit. It was a mess, and all I could think was how bad I felt for the ushers (who looked all of about 14 years old), being put under the pressure of having the guy on stage tell them to do what they're expressly not supposed to do.

that's all outside the performance, of course. I like Hansard, quite a bit. I like his voice, and his songwriting is fairly dynamic, if predictable. I mean, you know, every song, in the third verse (or the equivalent) he's gonna go from his "quiet and intense" singing to the "super intense" Hansard wail. Don't get me wrong, it's awesome, and effective, but it gets predictable.

The other trouble I had was with how Marketa Irglova, who is the other half of the duo, was presented during the evening. For all intents and purposes, we might as well have been watching The Frames, which is Hansard's primary group, and function as the backing band for The Swell Season.

I really felt like Irglova was just sidelined during the entire show. She had a few nice numbers, a solo piano piece, and then kinda functioned as a backup singer for Hansard. She has a lovely voice, and writes interesting songs, I would like to see her function as an equal.

I get the impression she's a shy person, but for an artist who's supposed to be half of the group, her work seems awful subservient to Hansard's. At times, I even got the feeling she wasn't overjoyed to be on the stage. Who knows? It could be the factor that they were romantically linked, and now apparently are, most certainly, not. That's supposition, but I really didn't feel like things were 100% comfortable, or equal, on that stage. That's a shame when it's supposed to be a duo.

I really do love Hansard and Irglova together, and that show at The Vic was revelatory, just beautiful. However, last night never even came close to those heights.

New Comic Day 7.14.2010 Plus, Other Comic Stuff.

Hey, hey...it's new comic day!

Batman #701

Written by GRANT MORRISON
Art and cover by TONY DANIEL

Grant Morrison and Tony Daniel re-team to tell the exciting 2-part, untold tale of Bruce Wayne and his adventures between BATMAN R.I.P. and FINAL CRISIS! What happened to Batman – and Dr. Hurt, for that matter – after the devastating events at the climax of R.I.P.? And what secrets within this story point toward THE RETURN OF BRUCE WAYNE?

Ok, see, for me, R.I.P was not, in any way, a high point for Batman. I just don't think Grant Morrison has the temperament for the gritty, streets of the city stories that I prefer for a Bruce Wayne Batman. The Silver Age throwback stuff he's been doing in Batman and Robin, with the considerably lighter mood of Dick Grayson's Batman is wonderful. However, his pre-death of Bruce Wayne run was really, really flatline for me. The high concepts and vaguely goofy tone, well...it was like Roger Moore trying to work in a Sean Connery (or worse, a Daniel Craig) James Bond picture.

I know, I know the Denny O'Neil/Neal Adams 70's work I admire so much had globe-trotting and introduced Bond villain-like characters such as Ra's Al Guhl, but Bruce Wayne is obsessed with Gotham, and that's where he operates best.

This, of course, has nothing to do with this story, but I really never cared for Dr. Hurt as a villain before, what's changed? Probably not enough.

Booster Gold #34

Written by KEITH GIFFEN & J.M. DEMATTEIS
Art by CHRIS BATISTA & RICH PEROTTA
Cover by KEVIN MAGUIRE

Booster Gold travels into the past to right the wrongs of JUSTICE LEAGUE: GENERATION LOST. But when present-day Booster is mistaken for his past self, he lands in the middle of an old JLI mission with Blue Beetle and the man who killed him – Maxwell Lord!

God, I love this series right now. I had a friend ask me why I was so down on Justice League: Generation Lost, and the answer is simple. It's hawking the cast of the old Justice League International series, but is pretty much completely opposite in tone and style. JLI writers Giffen and DeMatteis are bringing that style and tone in Booster Gold, and that is what I'll be reading.

The Brave and The Bold #35

Written by J. MICHAEL STRACZYNSKI
Art and cover by JESUS SAIZ

Inspired as always by their idols in the Legion of Super-Heroes last issue, the Legion of Substitute Heroes has also traveled back in time to recruit new members. But where their counterparts reached out to the Doom Patrol, the Subs have managed to enlist The Inferior Five! It ain't a stretch to suggest this won't end well.

Legion of Substitute Heroes = FULL OF WIN!!

The Spirit #4

Written by DAVID HINE
Co-feature written by MARV WOLFMAN
Art by MORITAT
Co-feature art by PHIL WINSLADE
Cover by LADRÖNN

New series writer David Hine comes aboard for the first chapter of "Frostbite!" The ultimate high has arrived on the corners of Central City, and the ghouls who deal it aren't interested in cutting the all-controlling Octopus in on the action! It doesn't take long for hot blood to hit the icy city streets! And in the co-feature, THE SPIRIT: BLACK & WHITE, Marv Wolfman and Phil Winslade show us what happens in Central City when the lights go out – every last one of them! It's a citywide blackout in black and white!

A series that is becoming one of DC's more interesting reads. In the tradition of creator Will Eisner, it's definitely one of the most stylish looking series you'll find on the rack. I'm still really enjoying this new take on the pulp-ish title character, but any time you bring in a new writer, there's a chance for things not to click. However, the talent on this book seem to approach things with the idea of taking risks, and that's exciting, even if they don't always work.

Ultimate Comics Spider-Man #12

COVER BY: DAVID LAFUENTE
WRITER: BRIAN MICHAEL BENDIS
PENCILS: DAVID LAFUENTE
INKS: DAVID LAFUENTE GARCIA
COLORED BY: JAYPO LLC
LETTERED BY: NEUROTIC CARTOONIST, INC

Guess what? That ain’t Peter Parker!! But it is Peter’s worst nightmare. Someone has taken Peter’s place in the world, his likeness, his everything, and he is—well—he is doing some damage! You won’t believe the mayhem that goes down in this issue! Join superstars BRIAN MICHAEL BENDIS (SIEGE, AVENGERS) and DAVID LAFUENTE (X-MEN, PATSY WALKER) as Peter battles the ultimate threat!

Are they trying to hide that it's an Ultimate version of The Chameleon? Because that seems pretty bluntly obvious to me.

Always a good read.

And, for this week, from the "maybe" pile:

Superman #701

Written by J. MICHAEL STRACZYNSKI
Art by EDDY BARROWS & J.P. MAYER
Cover by JOHN CASSADAY
1:25 "DC 75th Anniversary" variant cover by JOHN CASSADAY

J. Michael Straczynski begins his highly anticipated run on SUPERMAN! After the devastating events of WAR OF THE SUPERMEN, how can Superman possibly continue his battle for Truth, Justice and the American Way? Find out here in "Grounded" part 1 and get in on the starting line of a modern-classic SUPERMAN story!

"Hot" writer comes on board to create a "classic" (or, sorry, "modern-classic") run on Superman...

Great.

I'm so conflicted about this. The story SEEMS like it could be interesting, with Kal-El literally walking across America to re-connect with the common people. Yet it starts with Superman feeling guilty because a woman berates him for letting her husband die of cancer? I can't help but feel like...It's Superman, by this point he would've come to terms with the idea that he can't save EVERYONE, and certainly not from a death by what amounts to natural causes.

So, yeah, I have doubts. I'll thumb through the book and make the call.

R.I.P. Harvey Pekar


In recent years, when we've lost various comic book creators, the word "giant" gets thrown around a lot. I usually don't make a big deal out of it, but most of the time these are excellent practitioners of standard superhero fare. Not trying to denigrate that, as, I'm sure it's obvious, I love superhero comics. Still, they rarely have a body of work that truly sets them apart form many, many others who have worked in the medium.

But Harvey Pekar was different...

The man who passed away early Monday morning in his Cleveland bedroom can truly be said to have expanded what could be explored or depicted in the realm of a comic book. Harvey Pekar was the sole writer of the series American Splendor since 1976.



Even for underground comics, American Splendor was different. It wasn't fiction, Pekar wrote short tales from his own life, and the lives of the "normal people" he worked and lived with every day. Harvey had no need for the fantastic, as he found a wealth of humanity and drama in his everyday world. Pekar's characters dealt with problems and challenges we all do, from buying a fresh loaf of bread to carrying a mattress back to an apartment, and he never allowed these tales to become anything more than what they were, snippits of normal life. He used the comics medium as a reporter, crafting almost a documentary of his Cleveland.

He, of course, didn't do it alone. Harvey could not draw. He engaged a string of extremely talented artists to craft the visuals. Underground comics legend R. Crumb drew the first issue. The talent that worked with him, and the breadth of styles on display, however, were staggering. Harvey, often a character of narrator of his tales, could appear as a rather handsome middle-aged guy to a flea-bitten slob.

The book gave Pekar some fame. He made several infamous appearances on David Letterman's show that are fondly remembered.



I'd like to say that I'd been a fan of Harvey's for years, but I can't. I'm a superhero kid, and my tastes have always leaned that way. I was aware of American Splendor, in a cursory way, as a fan of the medium, but never actually read the book until 2003. Shamefully, I came to it from the American Splendor movie directed by Shari Springer Berman and Robert Pulcini, starring Paul Giamatti as Pekar. It's an amazing movie, and one of the best, if not THE best comic book-inspired movie I have ever seen. (Giamatti is simply fantastic.)

After seeing the film, I made an effort to read more of Harvey's work. It's a step I have never regretted. Harvey's stories weren't standard storytelling, for sure. The point was bits of life, not smooth storytelling, and sometimes the story would end right as you were becoming engaged with it. Pekar didn't care about crafting a smooth story, he cared about truth. that's what he aimed for, and almost always hit his target.

I recommend any of his books, and certainly any of the American Splendor collections.

SDCC

The San Diego Comic-Con is right around the corner. It's kind of hard to believe it's so close. One week from today I'll be in sunny San Diego, probably trying to get my registration and badge squared away.

Programming is always the primary thought at this point. Going over the schedule, trying to figure out what's a "must see," and what's not. I have to say it's the part of the whole process I hate, and love the most.

I love it because it's all about possibilities. It's this list of wonderful things to see, wonderful creators to ask questions of. Movie Stars right in front of you, etc....

I hate it, well...Look at the daily schedules:

Thursday - Friday - Saturday - Sunday

No matter how you finesse this process, you're going to miss something you would really like to see. Take Saturday, for example. In Hall H, the huge "it's a big deal" room, we have a string of movie presentations. Green Lantern, Harry Potter (meh), Cowboys and Aliens (Harrison Ford...maybe), and the big Marvel deal Thor, Captain America: The First Avenger, and The Avengers. It's all stuff I would like to see...

But entering Hall H means YOU ARE IN HALL H, and going in and out is not really an option. You want a seat? You stay right where you are. If I go in there on Saturday, I miss out on all the other panels that might be happening.

And there's stuff I'd like to see, Denny O'Neil and Neal Adams talking about their 70's Batman work, a panel on SHAZAM! (Captain Marvel) in the Golden Age (that would be pre-50's). Not to mention various panels with current writers and artists. Y'know, the COMIC BOOK stuff.

Early on, I swore I wouldn't spend all day waiting to see some 2 minute sizzle reel, that would be on the internet within hours. That I would remember my past SDCC trips, and how the most memorable panels featured people you really want to see speak before they leave us. In 2006 I saw a Golden Age Batman panel that was amazing, a bunch of old pros talking about what a bastard Batman creator Bob Kane was. It was fun, interesting, and I think half of that panel is no longer with us.

In 2008 Sean H and I watched a tribute panel for Famous Monsters of Filmland publisher/Editor, and general spokesman for fanboys everywhere, Forrest J. "Forry" Ackerman. He passed away less than six months later. Watching Forry in front of that room, even in as poor a health as he was, was one of the most moving things I had ever seen. He could barely speak any longer, but the man just glowed. It was so clear how much he loved entertaining people and seeing the fan community around him. By the end of the string of testimonials and stories about Mr. Ackerman, I was literally in tears.

I spent 3 hours waiting to get into the Watchmen panel that year, and left feeling like "well, that was OK."

Yeah, I think maybe sticking to the "no movies" rule is a good plan.

HULK SMASH MONDAY!!!!

NOTICE: I'm putting "Monday with The Boss" on hold until after Comic-Con is over. I can't keep a regular schedule on it until then, and I should've waited until after things died down to start. It's just difficult to make time to listen to/watch something specific and comment right at the moment.

So, there's a bit of a flap in play around Marvel films' The Avengers right now.

It started last Friday when Drew McWeeny, over at HitFix.com reported that, despite the fact that Edward Norton wanted to play Dr. Bruce Banner in The Avengers, Marvel was looking elsewhere. Now, I gotta be frank here, I was surprised they were even talking to Norton at all. His relationship with the studio during post-production on 2008's The Incredible Hulk was decidedly less-than-happy.



Apparently, Norton and director Louis Leterrier had much more they wanted to do and say with the film, but Marvel pulled them from the editing room. Now, Norton was deeply involved with the development of this film, even re-writing the script. Looking at it from my perspective, Norton had firmly committed to making The Incredible Hulk the best movie he could. Marvel, instead of using this input (Norton is a talented actor, and writes and directs...he can make a worthwhile contribution), shuts him out.

Stupid.

I think Marvel was terrified of repeating the failure of Ang Lee's 2003 Hulk. A film which I feel is unfairly crapped upon. Yeah, it could've used more "HULK SMASH!!!!," but it was a thoughtful, adult comic book-inspired movie. Which, after years of telling people "comics aren't just for kids," might've been something to consider more than fandom did.

So, personally, I prefer Lee's film. That said, I think that Leterrier's version has plenty that's good. Prime among that is Norton's performance.

Still, after all that was said and done back in '08, I thought they'd NEVER get Norton back for The Avengers. Now, in Drew's article, Norton is taking meetings, apparently excited to join the ensemble, only to get passed over.

Now, once this went public, Marvel Films' Kevin Feige had to make a statement.

"We have made the decision to not bring Ed Norton back to portray the title role of Bruce Banner in the Avengers. Our decision is definitely not one based on monetary factors, but instead rooted in the need for an actor who embodies the creativity and collaborative spirit of our other talented cast members. The Avengers demands players who thrive working as part of an ensemble, as evidenced by Robert, Chris H, Chris E, Sam, Scarlett, and all of our talented casts. We are looking to announce a name actor who fulfills these requirements, and is passionate about the iconic role in the coming weeks."

And to that I say...Woah. I mean, seriously, that's a press release bitchslap. What the hell happened?

Then, of course, Norton's agent released a statement.

Looking at this, again, from my perspective, Norton's agent, Brian Swardstrom, is absolutely correct. If Marvel was just making a financial decision, so be it. It happens. The fact they went out of their way to be bitchy, and cast a bad light on Norton, is just ridiculous.

But, you see...I think this was inevitable. Marvel Films has made a big splash by trying to run their film productions like a comic book company, unified universes, cast crossovers, etc, etc. This whole plan was pointing to The Avengers, where the franchises they were building would come together in a huge, splashy adventure.

The troubling part, based on this recent development, is that you begin to realize that the selling point of The Avengers is solely on seeing these characters, that you know from other films, together. It's easy to have Iron Man meet Bruce Banner in the comics, you just draw them. Not so easy when established actors are involved.

The fact is, now that Marvel has been pushing the "Marvel Movie Universe," these actors ARE these characters. We have a relationship with Norton's Banner, an established character, and that's what makes it interesting to see him interact with Robert Downey Jr's established Tony Stark. Marvel may be learning that your unified movie universe is a double edged sword. Sure, it's exciting, but it also means we expect things. Things like seeing the same faces as the same characters.

The side issue here is that, by sidelining Norton, Marvel's apparent plan to make a big splash at Comic-Con by introducing Joss Whedon as the director, and having the entire ensemble stand with him, is shot. Swardstrom's press release makes it abundantly clear that Whedon is the director, which Marvel had clearly been holding off until "the right moment" to announce, and that the plan was for a big-deal press op in San Diego. If they go ahead with it, the only people in the San Diego Convention Center that will be truly impressed will be the mainstream press, who are pretty clueless about this stuff.

I really don't have any sympathy for Marvel here, at all. They've pushed an agenda that brought them to this point. They wanted "names" for their characters. Not HUGE names, but actors you've heard of. Actors who are going to understand that their participation is a valuable asset, and are going to use that. Marvel seems to want the cachet of saying "Edward Norton as Dr. Bruce Banner," without accepting the creative input that comes with it.

They wanted a unified universe, where characters will routinely appear in each other's films. Now they find that building that universe can get in the way of the film's primary story, a la Iron Man 2. Also that we, as fans, expect continuity to mean just that...an expectation that we'll see the same faces again. You can pull a Terrance Howard/Don Cheadle switch because, frankly, Howard didn't make that big an impression in the first Iron Man, and Cheadle is, well, Don Cheadle.

Who are they getting to replace Edward Norton? Joaquin Phoenix, maybe. That sound like trading up, to you?

Didn't think so. Not to me, either. No disrespect to Mr. Phoenix, because I like his work, but Norton is, well, Edward Norton.

I just see that Norton finally commented personally, on his Facebook page:

"I am so appreciative of the outpouring of support from fans of the Hulk and The Avengers that I feel it would be rude not to respond," his statement reads in part.

"So here goes: It seems it won't work out for me to continue playing Bruce Banner for Marvel in The Avengers. I sincerely hoped it could happen and be great for everyone, but it hasn't turned out as well as we hoped. I know this is disappointing to many people and that makes me sad. But I am very sincerely grateful to Marvel for extending the offer and even more so for giving me the chance to be a part of the Hulk's long and excellent history."

Now, Norton's clearly playing spin himself, but...compare that statement to Feige's. Tell me who comes off with more class.

My original plan was to skip all the movie panels at SDCC, but, I think this may be too much of a soap opera to miss out on.

Well, at least I got that going for me.

I accomplished something today.

If I hadn't said so before, my short play, Protected, has been chosen to be a part of Strangeloop Theatre's "Loopshop" festival. I wrote it about 5 years ago, for one of the Brown Couch 10-Minute Play festivals. It wasn't chosen for that, and went in a drawer.

Well, through a series of events, Dustin Spence, a member of Strangeloop, read this script, and they asked me to direct it myself for their festival.

All well and good. I'm the only person directing their own piece, which I didn't ask to do. I have a sneaking suspicion that this was done because my script calls for (literally) a whole bag full of odd and specific props. "He wrote this crap, let him figure it out!"

LOL. Just kidding, really. I'm blissfully unaware of why they asked me to direct it. I'm happy to do so, don't get me wrong, but I, frankly, don't have time to figure the "why" of it all out.

Casting was a bit of a merry-go-round of craziness. I'd find the right person, then I'd be stuck on finding the other. It's a two-person show, FYI. I'd find the other, and my first would jump ship. This went on for a while. I was starting to get nervous. Finally, somebody mentioned a name to me, and I almost slapped myself, it was just an obviously good casting choice.

Thank God I got two people I trust and respect, and, I think, feel the same in return. So, good job there. Then scheduling, looking for aforementioned odd and specific props...

It's just a lot, when I had Sun, Stand thou Still going on, with Leapfest and The Meaning of Lunch hard on it's tail. The festival is July 13th and 14th, which isn't too far off, honestly, and I've got a family reunion trip between now and then. I'm just feeling the pressure right now.

I'm totally in "head down until I get off the plane in San Diego" mode. Comic-Con is, officially, five weeks and six days away. Between now and then I have 8 rehearsals, 2 tech rehearsals, 5 performances, 1 box office shift, 1 special cinema event, 1 concert, 24 day job work days, 3 ensemble meetings, 1 "Stage Left work day," 2 set strikes, 2 airline flights, 4 days in Arizona seeing my family, 4 other Leapfest shows to see, not to mention the release of Toy Story 3, fixing my laptop and getting the comic book Zach B. and I are working on printed.

But, y'know...I got my rehearsal schedule for Protected finalized today, and I found rehearsal spaces for every rehearsal. And tonight is my Rush "special cinema event."

So, I got that going for me.

Another Week Down.

One less week until SDCC...

It's kinda pathetic how much I'm fixated on this trip. I mean, I have a LOT to do between now and then. Two shows, plus rehearsals, load-ins and strikes, two concerts I'm pretty (actually completely) revved up about, and a trip to see my family for the first time in years. There's a lot going on in the next few months, not even to mention the general work routine.

Right now, as far as Sun, Stand Thou Still, I'm in the "learn your damn lines" phase. I mean, I really haven't even started blocking rehearsals yet (that would be Sunday), but I feel the specter of tech week (starting May 10th). It's stalking me, and I mean to have it before it has me.

I also sat in on casting for the show I'm doing for Stage Left's Leapfest this week, so I have that bearing down on me, too. I'm doing one of the two major roles in The Meaning of Lunch, which is a script I was a big supporter of during the selection process. It's great fun, but also very quick, clipped, Mamet-like dialogue (Gee, why would I like that?). We'll also open the festival 12 days after Sun, Stand Thou Still closes. Both perform at the current Stage Left space, as well.

I was really happy to get to read The Meaning of Lunch selections with the actors up for the role of my father. I just love the play, and all of the guys made it fun to read. It's just so snappy. When you do one of these festival gigs, sometimes it feels like the fun gets sucked out of what you're doing. Not enough time for proper attacks on the material, but just reading a few pages got me all kinds of fired up. I can't imagine not having fun with this.

It's a quick turnaround between these two shows, quicker than I've done in a while. I know it'll all work out, as we say in the thea-tar, "it always does." However, I have these two scripts to become intimately familiar with quickly.

That said...I am walking over lunch today. I've spent too much time cooped up in this office going over my script this week. I need fresh air.