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TM & © 2006 DC Comics. All Rights Reserved.

2006

1

YOUR COMPLETE GUIDE TO 

COMIC-CON INTERNATIONAL

SAN DIEGO • JULY 20-23, 2006

PLUS:

 

All Our 

Guests, the 

Eisner Awards, 

Masquerade, 

Volunteers, 

Registering for 

Comic-Con, and 

Some Super Cool 

2005 

EXCLUSIVES!

3

PLUS:

WonderCon! 

APE! And 

much more!

INSIDE: 

The 50th Anniversary 

of the Flash!

Interviews with 

special guests 

Carmine Infantino 

and cover artist 

Brian Bollland!

NO.  1

  | 

2006

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BEAT.  THE.  RUSH.

Preview  Night  Returns

Nothing’s better than 
being first in line, and 
with Comic-Con Interna-
tional’s Preview Night, 
you get the opportunity 
to be that top dog. 

On Wednesday, July 19, 
all pre-registered 4-day 
members and industry 
professionals are al-
lowed to pick up their 
badges and explore the 
entire Exhibit Hall. Not 
only does that mean 
access to all those rare 
comics, toys, conven-
tion exclusives, and 
other super cool stuff 
before the general 
public, but you won’t 
have to wait in registra-
tion lines on Thursday. 
Combine that with an 
advance copy of your 
2006 Events Guide, and 
you’ll even be able to 
plan your whole week-
end in advance.  

But remember, 

no

 on-

site registration is avail-
able during Preview 
Night. None. Nada! So 
if you want to ensure 
your own entrance on 
Wednesday, turn to 
page 36 for more info 
on how to pre-register. 
You’ll be glad you did.

B. Brown © SDCC

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1

COMIC-CON INTERNATIONAL: SAN DIEGO

BOARD OF DIRECTORS

President

 John Rogers

Secretary

 Mary Sturhann

Treasurer

 Mark Yturralde

Vice Presidents

Events

 Robin Donlan

Exhibits

 Beth Holley

Operations

 William Pittman

Directors at Large

Frank Alison

Ned Cato Jr.

Dan Davis

Eugene Henderson

Eddie Ibrahim

Martin Jaquish

James Jira

Executive Director

Fae Desmond

Director of Marketing and 

Public Relations

David Glanzer

HR/Guest Relations

Sue Lord

Talent Relations

Maija Gates-Johnson

Director of Programming

Gary Sassaman

Eisner Awards Administrator

Jackie Estrada

Exhibit Manager

Justin Dutta

Professional Registration

Glenda Moreno

Anna-Marie Villegas

EVENTS

At-Show Newsletter

Chris Sturhann

Films

John Cassels

Games

Ken Kendall

Masquerade

Martin Jaquish

Japanese Animation

John Davenport

Josh Ritter

Technical Services

Tristan Gates

EXHIBITS

Art Auction/Artists’ Alley

Clydene Nee

Autograph Area

Katherine Forster Morrison

Exhibit Floor Manager

Andy Manzi

Convention Services

Taerie Bryant

OPERATIONS

Archivist

Eugene Henderson

Disabled Services

William Curtis

Hospitality Suite

Mikee Reynante

Logistics

Dan Davis

Materials Chief/Blood Drive

Craig Fellows

Registration

Frank Alison & John Smith

Volunteers

Luigi Diaz & Jennifer Diaz

Information Coordinator

Bruce Frankle

UPDATE

Richard Andreoli

Fae Desmond

Jackie Estrada

David Glanzer

Tommy! Goldbach

Scott Saavedra

Gary Sassaman

Dan “The Man” Vado

MISSION STATEMENT:

 

Comic-Con International is a nonprofit educational organi-

zation dedicated to creating awareness of, and appreciation for, comics and related 
popular art forms, primarily through the presentation of conventions and events that 
celebrate the historic and ongoing contribution of comics to art and culture.

ABOUT THE COVER:

 

Brian Bolland recreates the cover to 

Showcase

 #4, the 

first appearance of the Silver Age Flash. TM & © 2006 DC Comics. All Rights 

Reserved.

COMIC-CON INTERNATIONAL 2006 UPDATE #1

Published by Comic-Con International. All material, unless otherwise noted, is 

© 2006 Comic-Con International and may not be reproduced without permis-
sion. All other artwork is TM & © 2006 by respective owners. Printed in Canada.

Comic-Con International, P.O. Box 128458, San Diego, CA 92112-8458.

www.comic-con.org

Fax: (619) 414-1022, Comic-Con Hotline (619) 491-2475

CONTENTS

Preview Night: Beat. The. Rush. .........................................................................IFC
The Hot Sheet: Cosplayers Heat Up Comic-Con ..............................................2
Curious About Cosplay? ...........................................................................................3
The Hot Sheet: The Heat Is On at WonderCon .................................................4
WonderCon Host Hotel .............................................................................................5
The Hot Sheet: The Hottest APE Around ............................................................6
APE Hot Facts ................................................................................................................6
The Masquerade Unmasked ...................................................................................7
Masquerade Fast Facts ..............................................................................................9
Panels and Presentations: Programmed to Please .......................................10
Comic-Con International Fast Facts ...................................................................11
Let’s Talk Tinseltown ................................................................................................12
Anime and Films Rooms: Flights of Fantasy ...................................................13
The Silver Age’s Golden Anniversary: A Chat with Carmine Infantino ....14
Gaming: Roll of the Die ...........................................................................................16
Portfolio Review and Autograph Area: Under the Sails .............................17
CCI’s Independent Film Festival: In Focus with Hidetoshi Oneda ..........18
CCI’s Independent Film Festival: Do You Have What It Takes? .................19
The (Exhibit) Hall of Justice ...................................................................................19
Comic-Con Exhibitors 2006 .................................................................................. 20
Exhibit Hall Hours .....................................................................................................21
The Amazing Art Auction ..................................................................................... 22
What Is Disabled Services? ................................................................................... 22 
Brian Bolland: The Cover King ............................................................................. 23
Instructional Seminars: First-Hand Experience ............................................ 25
Blood Drive Moves to Marriott ............................................................................ 26
Comic-Con International 2006 Themes: Amazing Anniversaries .......... 27
The Gallery of Guests for Comic-Con 2006 .................................................... 28
Volunteers: We Want You! .................................................................................... 32 
2006 Eisner Awards ................................................................................................. 33
Eisner Awards Submission Information ........................................................... 34
Will Eisner Spirit of Comics Retailer Award: Call for Nominations ......... 35
Pre-Register Now ..................................................................................................... 36 
Registration Fun Facts ............................................................................................ 36
Multipurpose Form ................................................................................................. 37
Hotel Descriptions: Room Service! .................................................................... 38
Hotel At-a-Glance Chart ........................................................................................ 39
Hotel Reservation Form ......................................................................................... 40

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2

COMIC-CON INTERNATIONAL: SAN DIEGO

THE HOT SHEET

Cosplayers Heat Up Comic-Con

One of the most stunning sights at conventions is 
attendees wearing costumes from their favorite 
comic books, movies, or television programs. 
Whether it’s simple capes and wigs that have 
been thrown together that morning or elaborate 
creations that require months of preparation, hall 
costumes have long been associated with the 
fan convention experience. However, about ten 
years ago the term “cosplay” began popping up 
at Japanese animation events to describe people 
wearing anime costumes, and since then the 
moniker has been adopted by the larger costum-
ing community, making this the hottest trend for 
fans of all genres.

“Cosplay is short for ‘costume play,’ and my under-
standing is the term came out of Japan,” says Dany 
Slone, a cosplayer from San Francisco. The most 
common belief is that SF/fantasy/anime/videogame 
fans in Japan adopted the hobby after observ-
ing American attendees at Star Trek conventions 
donning Starfleet uniforms. They in turn began 
dressing up as their favorite anime and video game 
characters, calling it “cosplay,” and this “new” hobby 
eventually traveled back to the United States via an-
ime fan groups. “That’s probably why a lot of people 
connect the term to anime,” Slone observes.

It makes sense that fan conventions covering spe-
cific interests, such as a Star Wars show as opposed 
to an anime event, will have cosplayers dedicated to 
those particular themes. Comic-Con International, 
on the other hand, features a wide array of hall 
costumes because the convention itself covers so 
many topics.

“Comic-Con tends to be more 
about pop culture,” observes Oscar 
Chang, a cosplayer from the San 
Francisco Bay Area. “Comic-Con 
absorbs movies, American vid-
eogames, Dungeons & Dragons, 
comic books, and anime, too. So 
you see a whole different set of 
costumes which is really cool.”

But what, exactly, is the appeal 
behind cosplay? 

“I could just go to a convention 
and walk around and it would 
be fine, but having the chance to 

put together a costume and be [someone else] for a 
day is different,” says Slone. Certainly there is a rush 
in having people take your photo or marvel at your 
ability to craft a stunning outfit, but Slone also en-
joys the escapism involved. “For me, that’s exciting.”

While Slone often adopts a character persona de-
pending on the situation, such as whether she wants 
children to be enraptured by her costume versus 
when she is trying to communicate with adults in a 
more mainstream situation, Chang and his friends 
rarely take on character traits unless it’s while being 
photographed. Nevertheless, the general public 
often assumes that donning an alternate persona 
goes hand-in-hand with this hobby. The confusion 
stems from the “play” portion of the word, because 
it implies a 
performance 
of some sort, 
and while this 
element of 
cosplaying 
essentially 
depends on 
the person’s 
own taste 
or sensibil-
ity, across the 
board these 
fans stress that 
they are not 
live-action role 
players but re-
ally costumers 
at heart.

Heroes and villains are all perfect subjects for cosplaying at Comic-Con 
International.

K

. G

re

en © S

D

C

C

Alice  (from  American  McGee’s 
Alice)  and  Johnny  the  Homicidal 
Maniac shot by Oscar Chang at the 
2005 Comic-Con.

O

. C

h

an

g © S

D

C

C

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COMIC-CON INTERNATIONAL: SAN DIEGO

That said, some cosplayers adamantly believe that 
the term should only be applied to people dress-
ing in costumes inspired by anime or Japanese 
videogames. Similarly, there are those who believe 
that fans can’t really consider themselves legitimate 
cosplayers if they purchase their costumes. 

“I think it’s a fandom thing,” says Kyle Johnsen, 
administrator for Cosplay.com and whose primary 
interest in cosplay involves photographing attend-
ees. “When you are a fan of a specific genre of enter-
tainment you tend to defend that fandom. The word 
‘cosplay’ has more of a stigma of being about anime 
and manga, but I take a very neutral stance regard-
ing that on the site. Everybody is welcome. This is 
about people who want to dress up in costumes, 
have fun, and show off their stuff.” 

Most fans agree with 
this sentiment, saying 
that it’s only hardcore 
cosplayers who follow the 
strict anime definition. Even 
Chang, who began cosplay-
ing through anime, branches 
out into other areas as well. 

“I usually attend anime con-
ventions, but I make costumes 
based on if I like the show [or] 
movie and how challenging the 
costume is to make,” Chang 
explains. “One of the costumes I 
did for Comic-Con was Beast Boy 
from 

Teen Titans

. I had never done 

face paint before and also my 
friends were doing the group. So 
part of my interest was the chal-
lenge and part was because we 
all wanted to do the same series.”

“One of the things I’ve noticed while covering a 
convention in Japan this past summer was that 
over there cosplay is very tied in to modeling,” says 
Johnsen. “It’s more about appearing in a costume, 
posing for the cameras, and sharing a goofy hobby 
with everybody.”

This naturally raises the question of how one ac-
quires his or her wardrobe, but for those who can’t 
sew on their own, purchasing a costume is the only 
option. As Chang says, “At first I found clothes that 
looked like the costume I wanted to [wear], and 
when I couldn’t do that anymore I started mak-
ing them from scratch.” Now he creates all of his 
costumes, but “the general consensus is that you 
should never compete [in a masquerade competi-
tion] wearing a purchased costume, and as long 
as you’re truthful about how you got the costume, 
then it’s fine.”

Ultimately, some fans are reticent to dress up for a 
convention, but Slone stresses that if there was ever 
a safe place to try out cosplay, it’s at Comic-Con. 

“Comic-Con is a testing ground,” she says. “You go 
in, do it, and if you like it then by all means contin-
ue.” She points out that there is little room for fear, 
because among nearly 100,000 attendees, most 
costumes will be quickly forgotten. “But this is about 
having fun,” she stresses. “You’ll have only lost out if 
you don’t try.”

CURIOUS ABOUT 
COSPLAY?

Here are some sites for interested fans.

www.Cosplay.com

 – The largest cosplay site, 

with convention wrapups, photo hosting, and 
an interactive forum; currently, approximately 
450,000 images are in the photo gallery and the 
site has nearly 41,000 registered users.

www.CosplayLab.com 

– Another popular site 

with photo hosting, search capabilities, and 
member directories.

www.UsagiChan.com

 – Numerous convention 

photos, including some from Japanese events.

www.FansView.com

 – The administrator posts 

convention photos during events, offering as 
close to a live view as one can get.

Comic Market, aka “Comiket”

 – The largest 

costuming convention in Japan. Most of the site 
is in Japanese, but there is a small English sec-
tion. 

www.comiket.co.jp

Costume Con

 – This is the largest traveling con-

vention in the United States devoted to costum-
ing. While its roots are in the SF/fantasy worlds, it 
has expanded to include all areas of costuming. 

www.costume-con.com

At tendees  of 
every  age  get 
into  cosplaying 
at Comic-Con.

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4

COMIC-CON INTERNATIONAL: SAN DIEGO

THE HOT SHEET

The Heat is On at WONDERCON

Comic-Con International’s sister convention to the 
north—WonderCon to all you fans out there—is the 
premiere comics and pop culture event to attend in 
February. The 2005 show saw a staggering 14,500 
fans  and exhibitors descend on Moscone Center in 
beautiful downtown San Francisco, and 2006 will be 
even better as we pull out all the stops for Wonder-
Con’s 20th anniversary celebration!

GUESTS GALORE

WonderCon consistently features powerhouse 
guests from both the worlds of comics and movies. 
Making his triumphant return to WonderCon after a 
standing-room-only appearance last year, is 

Kevin 

Smith

, with another crowd-pleasing Q&A session. 

And when it comes to the world of comics, the 
superstar list begins with 

Frank Miller!

 The creator 

and co-director of 

Sin City,

 and currently writing 

DC’s best-selling 

All Star Batman and Robin the Boy 

Wonder,

 Frank makes his first WonderCon appear-

ance in 6 years.

The comics superstar list continues with the other 
All Star guy: 

Grant Morrison!

 Morrison revitalized 

both 

JLA

 and the 

X-Men,

 is taking on 

All Star Super-

man,

 and is attending WonderCon for the first time. 

Other creators include 

Eric Powell,

 who recently 

picked up Best Ongoing Series and Best Humor 
Publication honors at the 2005 Eisner Awards for 

The 

Goon,

 published by Dark Horse. You can also expect 

to see best-selling author 

Greg Rucka,

 who takes 

over 

Supergirl

 in 2006 and starts the new ongoing 

series 

Checkmate,

 both for DC Comics.

Want more action? 

Peter David,

 scribe of 

Friendly 

Neighborhood Spider-Man

 and 

X-Factor

 for Marvel 

Comics, will be on hand, as will 

Mark Waid

, the au-

thor who made The Flash run, revitalized the 

Legion 

of Super Heroes

 and earned kudos for 

Superman: 

Birthright

. Could Waid have the Scarlet Speedster 

racing up in his rearview mirror for 2006? Wonder-
Con attendees may be among

 

the first to know. 

For artists, WonderCon features 

Chris Bachalo

whose memorable career includes 

Sandman

 and 

Death: The High Cost of Living

Steampunk

 with writer 

Joe Kelly, and 

Generation X

 and the 

Age of Apoca-

lypse

 miniseries with Marvel, as well as his current 

gig drawing 

Uncanny X-Men

. The dynamic 

Frank 

Cho

 will discuss his recent work for Marvel

 

on 

Spi-

February 10–12 at San Francisco’s Moscone Center West

der-Man

 and his sexy stint on 

Shanna the She-Devil

Also bringing in powerful pens are 

Mike

 

and Laura 

Allred

; he’s one of the most popular artists working 

today, she’s one of the best colorists. Together they 
created 

Madman,

 have worked on numerous proj-

ects, and are currently producing 

The Golden Plates

a comics adaptation of 

The Book of Mormon

.

Comics of a different kind are in focus with 

Gahan 

Wilson

, whose work has appeared in magazines 

like 

Playboy

The New Yorker

, and 

National Lampoon

which ran his memorable strip about growing up 

Nuts;

 Wilson is making his first appearance at Won-

derCon and we’re thrilled to have him.

The publisher of Image Comics, 

Erik Larsen

, will 

discuss his hugely successful 

Savage Dragon

 series, 

projects new and old, and what it’s like being one 
of Image Comics’ founding fathers. Fan-favorite 

Mike Mignola

 will fill in attendees about the 

future of his hugely successful 

Hellboy

 comic book 

and movie. Likewise, indy writer/artist/publisher 
and all-around great guy 

Terry

 

Moore

 will be 

celebrating over 10 years of success with his series 

Strangers In Paradise.

Finally, long-time stars like writer/comics historian 

Mark Evanier

, fan-favorite artist and perennial 

guest 

Sergio Aragonés

, and legendary Silver Age 

artist 

Ramona Fradon

 will also be on hand to cel-

ebrate their work as well as the 20th anniversary of 
WonderCon itself. 

THE POWER OF PROGRAMMING!

This A-list talent coupled with crowd-friendly rooms 
and energetic attendees help make the programs 
at WonderCon really stand out. While many 
exciting plans are still in development for 2006, 
WonderCon’s positioning as the first major comics 
convention of the new year offers fans an advance 
look at many eagerly awaited projects. That means 
major companies like DC Comics, Dark Horse, Bongo 
Comics, and others will be on hand offering sneak 
peeks at their biggest projects, books, and creators 
of 2006. 

WonderCon also offers events like Scott Shaw!’s 
great Oddball Comics program and Scott Saavedra’s 
loopy Comic Book Heaven. Both programs deliver 
the fun side of comics while providing some histori-

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5

COMIC-CON INTERNATIONAL: SAN DIEGO

WONDERCON HOST HOTEL

cal—and hysterical—commentary on the medium. 
Also slated is Secret Origins of Good Readers, the 
groundbreaking educational program that shows 
teachers, librarians, retailers, and publishers how 
they can bring comic books into the classroom. 
And of course, WonderCon wouldn’t be complete 
without local Bay area TV legends 

Bob Wilkins

 

and 

John Stanley

 returning with their friends for 

another great Creature Features retrospective.

Two amazing Bay area comics-related museums 
are also offering programs this year. The Charles 
M. Schulz Museum will showcase its new exhibit, 
“Sugar and Spice: Little Girls in the Funnies. An 
Exhibition of Peanuts Girls and their Predecessors, 
Contemporaries, and Successors,” and the Cartoon 
Art Museum will utilize some of WonderCon’s 
special guests to discuss its current exhibit, “Gross, 
Gruesome and Gothic,” which features original 
art from 

Eric Powell, Chris Bachalo,

 and 

Gahan 

Wilson

HOLLYWOOD’S GOT HEAT!

WonderCon once again becomes Hollywood North 
with an incredible array of studio programs focus-
ing on some of the biggest movies of 2006. Which 
studios? What stars? Which movies? We can’t say 
without getting in heaps of trouble, but past years 
included Tobey Maguire and 

Spider-Man 2

, Christian 

Bale and 

Batman

 

Begins,

 and Joss Whedon with the 

cast from 

Serenity, 

just to name a few,

 

so you know 

this year will be chock full of stars and behind-the-
scenes info on all the hottest upcoming TV and film 
releases.

Take all that programming and combine it with our 
new celebrity autograph area, and you can be sure 
that you have the best access possible to the hottest 
people and projects for 2006.

ANIME, GAMING, & MASQUERADE!

In addition to all that great comics and movie 
programming, a special Friday night event is slated 
for 2006. Likewise, WonderCon offers three days of 
great anime screenings that include classic pro-
grams, hot new titles, and a couple super surprises 
tossed into the mix. 

Gaming at WonderCon is also smokin’, with smaller 
sized campaigns so newcomers can learn the ropes, 
experienced players can dig in for intense play, and 
everyone can have an all-around good time. Lots 
of demos and other neat perks are already in the 
works.

But wait, there’s more! Last year’s inaugural Mas-
querade was a huge success, with 30 entries enter-
taining over 600 attendees. Contestants for 2006 are 
already lining up; if you want to participate, you can 
get an advance entry form via fax, mail, or e-mail 
(

cci-info@comic-con.org

). You can also find out the 

latest info at 

www.comic-con.org

.

San Francisco Marriott

55 Fourth Street, San Francisco, 94103

Reservation line:

 1-800-228-9290 or 

415-896-1600

Reservation fax:

 415-442-0141

Tell them you’re attending WonderCon to 
receive the convention rate!

Group room rates:

Single/Double $139.00 + tax (14%)
Triple $159.00 + tax
Quad $179.00 + tax

Due to the limited number of rooms 

the cut off 

is

 

January 18, 2006

. If you’re booking after this 

date, rooms may still be available, but not neces-
sarily at the convention rate. Call the Marriott 
to find out the latest information, or check out 

www.comic-con.org.

REGISTER  FOR 

WONDERCON

 

With endless fun in store you you’ll want 

to experience the entire three days of the 

show. Register online or find out where to 

buy tickets at your local Bay Area comics 

store by visiting the WonderCon area of 

the Comic-Con website: 

www.comic-con.

org

. Be sure to look around the website 

for updated guest information and a 

complete schedule of events after you 

register.

NOW

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6

COMIC-CON INTERNATIONAL: SAN DIEGO

THE HOT SHEET

The  Hottest  APE  Around

Forget King Kong, APE 
(Alternative Press Expo) is 
king of the alternative and 
indy comics jungles in the 
United States! This two-day 
event celebrates the indelible 
spirit of self-publishing with 
an Exhibit Hall featuring new 
and old independent comics, 
minicomics, ’zines, art books, 
original art, and much more. 
Self-publishers and individual 
cartoonists display their work 
alongside publishers such as 
Fantagraphics, Drawn & Quar-
terly, SLG, Top Shelf, and AiT/
Planet Lar, to name a few. This 
isn’t your typical anime-toys-
gaming-superhero conven-
tion; this is all about stepping 
outside the mainstream and 
into a world of progressive literary delights.

Adding to the exciting is the list of Special Guests for 
APE 2006!

JUSTIN GREEN

Best known for his classic 

Binky Brown Meets the Holy 

Virgin Mary,

 Justin Green is one of the great under-

ground comix artists. His work has appeared in nu-
merous anthologies, including 

Arcade,

 

Bijou Funnies,

 

and 

Young Lust

. Most recently, Last Gasp collected 

his popular series of “Music Legends” strips from 
Tower Records’ 

Pulse

 magazine into book form.

KEITH KNIGHT

This popular Bay Area cartoonist just celebrated the 
10th anniversary of his strip 

The K Chronicles

, which 

has been collected into four books. Knight has also 
published 

Red, White, Black & Blue

, featuring his 

single-panel strips, a 

(th)ink

 anthology, and most 

recently, 

The Beginner’s Guide to Community-Based 

Art

. His work has also appeared in 

Mad

 magazine, 

and he is a regular contributor to 

ESPN

 magazine.

ALEX ROBINSON

Alex Robinson’s Eisner Award-winning turn on 

Box 

Offi  ce Poison

 positioned him as one of the new indy 

creators to watch. His latest graphic novel, 

Tricked,

 

proves he’s got what it takes, debuting to great sales 
and critical raves across the board.

RAINA TELGEMEIER

Cartoonist Raina Telgemeier 
received rave reviews for her 
minicomic 

Takeout

 and her 

online strip 

Smile.

 She has 

been nominated for numer-
ous awards and her fi rst major 
work, a comics adaptation of 
the popular book series 

The 

Baby-Sitters Club

, debuts in the 

spring from Scholastic Books’ 
Graphix line.

CAROL TYLER

Carol Tyler has been a highly 
acclaimed professional car-
toonist for over 20 years, 
appearing in Robert Crumb’s 

Weirdo, Wimmen’s Comix,

 and 

Drawn & Quarterly

 magazine. 

Her latest work, 

Late Bloomer

 

from Fantagraphics Books, marks Tyler’s return 
and proves that she is still one of the most skillful, 
caustic, and emphatic cartoon storytellers of her 
generation.

Alternative comics lovers: Don’t miss this year’s 
APE—visit 

www.comic-con.org

 for all the latest 

news.

APE HOT FACTS

April 8–9, 2006
Saturday 11:30 

AM

 – 

7:00 

PM

 

Sunday 11:30 

AM

 – 6:00 

PM

The Concourse at Exhibition Square in San 
Francisco

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COMIC-CON INTERNATIONAL: SAN DIEGO

Comic-Con International’s Masquerade is one of the best-known costuming competitions among conven-
tion goers, with entries ranging from funny to fabulous and all skill levels being welcome. We decided to sit 
down with four of 2005’s most memorable contestants and ask them about their wins.

appreciates us for our 
creativity, for our crafts-
manship. The detail in 
our costumes really gets 
me going, and the fact 
that there is [someone] 
judging you on detail 
is the best thing in the 
world for me. 

DAVID: 

And the [attend-

ees] are very apprecia-
tive of your work.

 

WHY DO YOU THINK 
“JACK & ZERO” 

WORKED SO WELL?

DAVID:

 We rendered it into our 

own style. People are scared to 
take liberties with the design, 
thinking they have to stick 
completely to the comic book or 
show image, which is really hard 
if you’re not three feet tall or 100 
pounds. [Costumers] need to take 
a chance.

PALOMA:

 I used to make cos-

tumes straight from an image 
like that, [but] it’s so much more 
fulfilling to make something your 
own. If you want to sew every-
thing by hand, do 
it. If you want to 
go to the hard-
ware store and 
attach crazy stuff 
any way you can, 
make anything 
out of anything, 
then do it. Don’t 
hold yourself 
back. 

THE MASQUERADE

2005 Winners Discuss Their Work

U N M A S K E D

ENTRY:

 Van Helsing at the Vam-

pire Ball

PARTICIPANTS:

 MaryAnn Cappa, 

Kent Elofson, Danica Lisiewicz, 
Nicole Roberts, David Rose, Dawn 
Rose, and Sa Winfield

AWARD:

 Judge’s Choice

HOW DID YOU COME TO COM-
PETING LAST YEAR?

KENT ELOFSON: 

Although I 

have been a costumer for over 
two decades, I rarely entered 
competitions. I was asked to join 

Lord of the Rings

 group for the 

2004 Masquerade and thought 
the experience might be valu-
able. Speaking for the rest of the 
group, this was the first Masquer-
ade for them.

YOU ARE INVOLVED WITH 
COSTUME COLLEGE. WHAT IS 
THAT?

KENT:

 Costume College is an 

annual seminar sponsored by the 
Costumer’s Guild West. It takes 
place in Van Nuys [California] 
and offers scholarly courses on 
all manner of costuming topics. 
I have been participating as an 
instructor for many years. Their 

ENTRY:

 “Jack & Zero” from 

The 

Nightmare Before Christmas

PARTICIPANTS:

 Paloma and 

David Candelaria

AWARD:

 Best In Show

WHAT GAVE YOU THE IDEA TO 
DO JACK AND ZERO?

DAVID CANDELARIA:

 I’m a stop-

motion animator, and every year I 
see these Jack and Sally costumes 
[at conventions] that drive me 
crazy. [Jack] is a puppet, so I 
thought it would be awesome if 
we made a giant Jack, but only 
as a puppet, and then place him 
with Zero because they are iconic 
characters together. And the only 
way to do Zero was if he was a 
marionette. Paloma designed the 
costumes for us and I figured out 
the puppets.

WHY DO YOU LOVE PARTICI-
PATING AT COMIC-CON?

PALOMA CANDELARIA: 

Comic-

Con is the only venue that really 

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COMIC-CON INTERNATIONAL: SAN DIEGO

website is 

www.costumecol-

lege.org

.

WHY DO YOU GUYS LOVE COS-
TUMING?

SA WINFIELD: 

I love to play 

dress-up, I always have. [Trans-
forming] beautiful materials into 
even a more beautiful garment is 
very satisfying. 

DANICA LISIEWICZ:

 It’s that darn 

imagination of mine getting me 
in trouble again. I love to wear 
costumes—always have. What’s 
more, I love costumes that look as 
if they were clothes, not cos-
tumes. Cheap, ready-made things 
[don’t] interest me at all. I’m ter-
ribly proud of the way all the Van 
Helsing costumes look. 

TELL US ABOUT YOUR PRESEN-
TATION.

KENT:

 [Our] group all had 

legitimate performance experi-
ence, we were all dancers, so we 
employed the concept of making 
our presentation an abbreviated 
ballet. No dialog, no lip-synching, 
just movement to music telling a 
simple story and showing off our 
costumes. We took a somewhat 
serious tone (rare for a masquer-
ade) and threw in one sight gag 
for laughs.

DO YOU HAVE ANY ADVICE FOR 
POTENTIAL CONTESTANTS?

KENT:

 [Don’t] rely on words 

(sung or spoken) to dominate 
your entry unless your recording 
is of a very professional quality. 
Poor-quality recordings have 
ruined many otherwise good 
entries.

SA:

 Make sure you all get along. 

This is a lot of work, and there is 
no room for dissent. Not making 
[your entry] too esoteric is also 
a good idea; nobody enjoys an 
inside joke. These Masquerades 
are also about theater, [so] having 
one person in your group “direct” 
is a very good idea. Everyone can 

certainly have input, in fact they 
should, [but] creating an overall 
vision from start to finish is very 
important. 

DANICA:

 Good presentations 

are hard to come up with. Just 
remember that it is a “show” and 
utilize your sense of drama.

ENTRY:

 The HCC Rose of Versailles

PARTICIPANTS: 

A. J. Wu, Judy 

Grivich, Aimee Steinberger, and 
Cheryll Del Rosario

AWARD:

 Most Beautiful

WHAT ORIGINALLY BROUGHT 
YOU TO COMIC-CON?

A. J. WU & JUDY GRIVICH: 

The 

driving force turned out to be 
that our group, The One Ring 
Circus, wanted to perform in the 
[2003] Comic Con Masquerade. 
We’ve participated in the Mas-
querade every year since then.

HOW DO YOU COME UP WITH 
YOUR IDEAS?

A. J. & JUDY: 

We pick our skits 

based on what we think the 
audience will enjoy and our 
costumes based on what we’re 
interested in. For how much 
effort we put into our projects, 
there has to be a lot of love for 
said project or it’s just not fun. 
We also try to choose really 
different costumes and presenta-
tions from year to year to keep it 
interesting. The year before last, 
we tackled armor (Easterlings 
from 

Lord of the Rings

), while this 

past year it was elaborate histori-
cal costumes.

WHY DO YOU ENJOY THE MAS-
QUERADE?

A. J. & JUDY: 

It’s a great way to 

express our love of the material, 
be it comic books, movies, or 
other media. We’ll never be comic 
book artists (we can’t draw our 
way out of a wet paper sack), but 
we happen to know a few things 

about sewing. 
and we show 
our appreciation 
through that. And 
yes, we know it’s 
dorky, but it’s a lot 
of fun.

WHAT ADVICE 
WOULD YOU 
GIVE PROSPEC-
TIVE CONTES-
TANTS?

A. J. & JUDY: 

The audience can 

be large and intimidating. If you 
go out there, have fun and love 
what you do, and the audience 
will love you for it. And remember 
[to bring] munchies! It’s a long 
night backstage.

ENTRY:

 Disney Princesses

PARTICIPANTS: 

Lynleigh, Angela, 

Jean, Jenn, Maryssa, Lisa, Briana, 
Ashley, Wendy, Cindy, Kimberly, 
Lily, Rebecca, Emily, Mike, Tony, 
Andy, Flo, and Kevin

AWARD:

 Most Humorous

WHY THE DISNEY PRINCESSES?

LYNLEIGH:

 The idea came 

randomly while walking through 
Comic-Con 2004 [and] before 
I knew it, an entire routine 
popped into my mind. But 
honestly, having such a large 
group wasn’t my original inten-
tion. I was aiming to have just 
the core roles filled, with a few 
nonprincess roles to balance it 
out. Soon the skit turned into 
a record-breaking amount [of 
participants]. Who would of 
thought that all my friends were 
long-time Disney fans, each with 
their own inner princess?

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COMIC-CON INTERNATIONAL: SAN DIEGO

COMIC-CON INTERNATIONAL MASQUERADE FAST FACTS

HOW DID YOU PULL IT ALL 
TOGETHER?

 

LYNLEIGH:

There was a lot of 

meticulous and strategic plan-
ning. From past experiences with 
costuming groups, I knew the 
importance of [resembling] the 
characters you were portraying. 
I wanted everyone to appear 
as if they came right out of the 
movie or Disneyland. With the 
help of Ashley (Wendy) and Jean 
(Pocahontas), we cast friends as 
specific core Princess characters 
based on their favorite movies 
and whom they most looked like 
before moving on to the other 
main heroines.

As roles were 
being filled, 
I created a 
LiveJournal.
com com-
munity for 
the group. 
This way, I 
could keep in 
contact with 

all the skit members, post updates 
on changing roles, convention 
information, and costume details. 
About 6 months before the con-
vention, I posted information on 
what example fabric types every-
body should use and that the style 
should stay faithful to the original 
animation and/or the Disneyland 
face characters. With this we were 
able to keep all the costumes con-
sistent for the final presentation.

Last, [we] worked on the actual 
script, song lyrics, and dance rou-
tine. I had the entire idea in my 
head for months, but none of it 
was finalized yet, only tweaked as 

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What is it?

The Masquerade is on-stage 
costume competition in which 
contestants display original 
designs as well as amazing re-
creations from comics, movies, 
fantasy art, anime, and more. 
The event has been held for 32 
years and there’s no stopping 
us now.

When is it?

Saturday, July 22, 8:30 

PM

Are there prizes?

You bet. Impressive trophies 
are bestowed in a variety of 
categories by a panel of guest 
judges, and there are generous 
cash and merchandise prizes 
bestowed by a dozen participat-
ing companies.

roles were filled. Considering the 
type of audience at Comic Con, I 
thought that it would be amusing 
to have the Princesses not act 
so Princess-y, but a bit wild and 
naughty, as to make fun of Dis-
ney. Using the song “Barbie Girl,” I 
changed the title to “Disney Girl” 
and the lyrics to fit the theme of 
Disney gone wrong. 

In order to make this skit fun and 
stress free, the choreography was 
arranged to keep it extremely 
simple, easy to learn, and left lots 
of room for improvising. By Friday 
night of [Comic-Con], everyone 
knew the routine.

AND IT LOOKED AMAZING.

LYNLEIGH:

All of [us] were sur-

prised by the audience’s reaction. 
Awards and prizes are great, but 
to hear people talking about 
your skit when it’s all over is the 
real reward! I’m pleased that the 
Disney Princesses skit rekindled 
the Disney in all of us.

Who hosts it?

Returning as Master of Ceremo-
nies is comic book writer and 
artist Phil Foglio. He not only 
keeps the show moving along 
but deftly handles a room full of 
crazy fans with ease.

So it’s big?

No, it’s huge. Last year the 
ballroom was filled to 4,200-
person capacity and an overflow 
audience of over 1,500 watched 
via giant video screens in other 
rooms.

Can anyone attend?

Yep, and it’s free for anyone with 
a Comic-Con membership. Details 
on how to attend will be posted 
in the next Update.

Can we take pictures?

Photographers interested in 
reserving a spot at our off-stage 
photo area should write to the 
Masquerade Coordinator; info 
on how to do that is below.

Can anyone participate in the 
Masquerade?

Definitely, but last year all the 
contestant slots were filled a 
month before the convention, 
so sending in an Entry Form 
early is highly recommended! 

How do we do it?

To obtain complete Masquer-
ade rules and an entry form, fill 
out the Multipurpose Form on 
page 37 and return it t via fax or 
mail, or visit 

www.comic-con.

org

.

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COMIC-CON INTERNATIONAL: SAN DIEGO

The Exhibit Hall is fun, anime and films are awesome, 
gaming scores big, and the Masquerade is tops, but 
when it comes to events that get posted on web-
sites and blogged about all year long, nothing beats 
Comic-Con International’s programming schedule. 
The 2005 show featured over 300 special events, fill-
ing the San Diego Convention Center and encom-
passing almost every aspect of pop culture. And yet 
attendees still couldn’t get enough! Luckily, the slate 
for 2006 will be just as fun-filled and exciting as ever.

A KINGDOM OF COMICS

Comic-Con International’s mission includes creating 
an awareness of and appreciation for comic books 
and related popular art forms, so programming 
focuses heavily on those topics. The process begins 
with inviting industry heavies as special guests to 
participate in discussions and retrospectives on 
their careers. In 2006 that lineup includes such con-
temporary figures as Daniel Clowes, George Pérez, 
Howard Porter,

 

Robert Kirkman,

 

and

 

Andy  Runton 

opposite classic creators Carmine Infantino, Sheldon 
Moldoff, Everett Raymond Kintsler, and Jim Mooney 
and international stars Brian Bolland, John Wagner, 
and Yoshihiro Tatsumi. A list of special guests is 
located on page 28, and though some additional 
famous folks will be added between now and July, 
it’s clear that this is going to be a year to remember.

Companies are also on hand to meet the fans and 
promote their upcoming projects. In 2006, head 
honchos from such majors as DC, Marvel, Dark 
Horse, and Image will sit alongside such indepen-
dent and alternative publishers as SLG, Bongo, 
IDW, Oni Press, and more. And with manga being 
such a huge phenomenon in the States, Comic-
Con wouldn’t be complete without featuring Viz, 
TOKYOPOP, Seven Seas, and many other publishers 
of Japanese comics. 

Beyond current titles, companies, and stars, pro-
gramming also salutes the Golden and Silver Ages 
of comics. First in focus are Comic-Con’s titanic anni-
versary topics, which can be found on page 27 and 
include milestones for Dick Tracy, The Flash, Space 
Ghost and more. Then dedicated panels covering 
comics history are presented by the same women 
and men who made this industry a reality; these fine 
folks not only regale audiences with their stories but 
offer a perspective on where comics are headed in 
the future.

EDUCATION, ANYONE?

The Comic Arts Conference, the leading academic 
conference focused on the comics medium, returns 
to Comic-Con in 2006 with new topics for interested 
attendees. Likewise, Comic-Con’s highly successful 

PROGRAMMED  TO  PLEASE

CCI’s Panels and Presentations Score Big in 2006

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COMIC-CON INTERNATIONAL: SAN DIEGO

COMIC-CON INTERNATIONAL 

FAST FACTS

Preview Night for Pre-registered Full Members 
and Professionals Only!

Wednesday, July 19
6:00 

PM

 – 9:00 

PM

Thursday, July 20 – Saturday, 
July 22
10:00

 

AM

 – 7:00 

PM

Sunday, July 23
10:00 

AM

 – 5:00 

PM

Don’t miss out on any of the 
excitement! For more information, visit 

www.comic-con.org.

“How To” seminars feature programs on becoming 
a professional in various industries. While the article 
on page 25 specifically discusses the illustration 
panels, other presentations include writing for com-
ics, novels, TV shows, and movies; coloring comics; 

 Legendary stop-motion animator Ray Harryhausen.

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self-publishing your own work; and business-related 
topics, such as legal issues and marketing your own 
product. 

NO, WE’RE NOT DONE!

But we are running out of space in this Update. Just 
know that in the coming months programs will be 
added that cover comic strips, costuming, all manner 
of gaming, dedicated Kids’ Day programming on 
Sunday, and some absolutely amazing science fic-
tion/fantasy writers and artists as special guests. It’s 
a world of fun for everyone, and that’s just one of the 
reasons that Comic-Con International is the largest 
comics and pop culture convention in North America.

Cartoonist Lalo Alcaraz thrilled fans at the 2005 Comic-Con. 

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COMIC-CON INTERNATIONAL: SAN DIEGO

There are hundreds of comic book and science 
fiction conventions in the United States, but 
none has a stronger Hollywood presence than 
Comic-Con International. From previews of new 
television shows and upcoming blockbuster movies 
to Academy Award–winning celebrities answering 
questions from eager fans, San Diego is a must-hit 
hotspot for TV and film fanatics everywhere.

MOVIE MAGIC

In 2005 attendees were thrilled by the world pre-
miere of Lion’s Gate Film’s 

The Devil’s Rejects

 and 

delighted to learn about the future of 

Star Wars

 

directly from executives at Lucasfilm. The year’s big-
gest movies also came into focus with such films as

 

The Chronicles of Narnia: The Lion, The Witch and the 
Wardrobe;

 

King Kong; Harry Potter and the Goblet of 

Fire; Serenity; 

and

 Tim Burton’s Corpse Bride

.

 

Mean-

while, sneak peaks of movies scheduled for 2006 

included 

Super-

man Returns, Ghost 
Rider, Underworld: 
Evolution, 

and many 

more

.

 

These types of 
presentations 
naturally delivered 
huge names, includ-
ing producer Joel 
Silver, writer/direc-

tor Joss Whedon, 
and directors Bryan 
Singer and David 
Cronenberg. But 
let’s talk celebrities! 

Where else could you find Charlize Theron, Jamie 
Foxx, Adrian Brody, Natalie Portman, Rachel Weisz, 
Kate Beckinsale, The Rock, Scott Speedman, Maggie 
Grace, Jessica Biel, Josh Lucas, and Naomi Watts all 
under one roof? Or an amazing set by Tenacious 
D comedians/musicians Jack Black and Kyle Gass? 
(Okay, that was a rhetorical question, but if you’re 
playing along we’ll give you a hint: 

CCI.

 )

TV TERRITORY

Looking to the smaller screen, television networks 
connect with fans of all backgrounds by premier-
ing their new series and offering cast appearances 
at Comic-Con, so every year promises something 

special. In 2005 that included an advance screening 
of the WB Network’s 

Supernatural

 pilot episode, ABC 

delivering 

Invasion 

and 

Nightstalker

, and Fox bring-

ing 

Bones 

along with stars

 

Emily Deschanel and 

David Boreanz. And speaking of cast appearances, 
actors from 

Veronica Mars, Lost,

 

Battlestar Gallactica,

 

Stargate SG-1,

 

Stargate: Atlantis,

 and 

The 4400

 all 

showed up to meet their peeps as well.

AWESOME ANIMATION

The world of animation has always found a home at 
Comic-Con. Superheroes launched the excitement 
with panels on 

The Batman

,

 Justice League Unlimited

 

and an exclusive 

Teen Titans 

live event featuring an 

actual script read-through session. Jetix’s original 
animation offered 

Super Robot Monkey Team Hyper-

force Go! 

and previews of 

Get Ed. 

Cartoon Network 

presented sessions on 

Adult Swim

The Boondocks, 

and

 Toonami’s 

first original series

 IGPX

, while Nickel-

odeon brought out 

Catscratch, The X’s,

 

Skyland, 

and

 

Avatar: The Last Airbender

.

AND IN REEL TIME . . .

All of these events and appearances are just part of 
the norm, and they kept every room buzzing, es-
pecially the magnificent 6,500-seat Hall H. But now 
that the 2006 show is zooming into view, the Comic-
Con offices are littered with production schedules, 
tentative release dates, and studio phone numbers, 
so you can count on this summer in San Diego once 
again being the focal point for what’s pumping in 
Hollywood. The discussions have already begun, 
and while we can’t reveal any exciting surprises just 
yet, trust us when we say that 2006 will be our most 
dazzling show to date.

LET’S TALK TINSELTOWN

Hollywood Hits San Diego in 2006

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The cast and crew from 

Battlestar Gallactica

 brought 

in a packed audience during the 2005 Comic-Con. 

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Director Bryan Singer flew in 
from  Australia  to  talk  about 
his  new  film, 

Superman 

Returns

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COMIC-CON INTERNATIONAL: SAN DIEGO

While most comics conventions relegate screenings of Japanese animation to extremely cramped quarters 
or consider classic and contemporary cinema as unimportant to the attendees’ overall experience, Comic-
Con International loves to spotlight anime and films every year . . .,  and the fans appreciate it.  In 2005, 
attendance for these two cornerstone programming areas went through the roof, and the 2006 show looks 
to be just as exciting.

THE ANIMATION NATION

In three dedicated rooms, attendees 
could view over 145 Japanese animation 
programs all day and well into every 
night. The 2005 show featured perennial 
fan favorites like 

Oh! My Goddess

Ghost 

in the Shell

Urusei Yatsura

 and 

Full Metal 

Alchemist

 as well as special screenings 

that included the U.S. premiere of 

Karas

an advance screening of the upcoming 

Di Gi Charat Nyo

 TV series, special screen-

ings of the full-length 

Steamboy

 movie, 

and the Studio Ghibli film 

Pom Poko.

 

Anime companies also knocked on CCI’s 
doors with previews from TOKYOPOP, 
ADV, Viz, Bandai, Genoeon Entertain-
ment (Pioneer) and more. And that was 
only the beginning.

These totally unique experiences wowed 
the crowds, and organizers are already in 
talks with major anime companies and 
studios to make the 2006 show another 
blockbuster year to remember.

FILM FUN FOR EVERYONE

The energy was palpable as film fans dove straight into Middle Earth on Thursday for the 

Lord of the Rings

 

trilogy screening in the beautiful Manchester Grand Hyatt. Imagine, a room packed with devotees enjoying 
those epic adventures once more, back to back. That same sense of excitement was continually generated 
throughout the entire Comic-Con weekend.

While the Convention Center featured digital releases, the evenings-only screenings at the Hyatt retained a 
classic cinema sensibility. Daytime showings of super-hero fare such as 

Spider-Man 2 

and

 Blade: Trinity

 were 

complimented by Friday night’s horror movie freak fest, while fan favorites like 

Napoleon Dynamite, This is 

Spinal Tap, 

and 

Amazon Women on the Moon

 kept attendees coming back for more. Even young attendees 

got in on the act during Sunday Kids’ Day screenings of 

Lilo and Stitch 2 

and 

The Muppets Wizard of Oz

, mak-

ing this one of the most all-inclusive years to date.

The 2006 convention promises more exciting screenings for both the Convention Center and the hotel, and 
an amazing schedule is already in the works. What’s more, four-day pre-registered members will be able 
to score a sneak peak at the complete films schedule a couple weeks before the event, allowing them to pre-
pare for their weekend in advance. Everyone else has to wait until they receive their Events Guide onsite—
how sad for them. So pre-register now to save time and money for next year’s show. You’ll be glad you did.

FLIGHTS OF FANTASY

The  CCI  Anime  and  Films  Rooms 

Experience  Largest  Turnout  Ever!

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COMIC-CON INTERNATIONAL: SAN DIEGO

You can’t discuss the Silver Age 
of comics without bringing 
up Carmine Infantino’s name 
right at the start. He is the art-
ist who redesigned the Flash, 
reintroduced Batgirl, took Adam 
Strange into orbit, and helped 
rescue Batman from cancella-
tion—and that was all before 
being named editorial director 
and publisher of DC Comics. 
With this year marking the 
Flash’s 50th anniversary, it only 
made sense to invite Infantino 
as one of Comic-Con’s special 
guests. We took a minute to 
chat with him about his place as 
a creative legend.

COMIC-CON INTERNATIONAL: HOW DID YOU 
GET HOOKED ON COMIC BOOKS?

Carmine Infantino:

 As a kid, I used to love the 

movie serials, and in those days for ten cents you 
got to see two fi lms, three serials, and about four 
cartoons. I guess that instilled something in me. I 
highly enjoyed the medium and then got hooked 

on comic books. I started reading Superman 
moved up to Batman, then on up the scale.

WHEN YOU WERE REVAMPING CHARACTERS 
LIKE THE FLASH, DID YOU HAVE ANY IDEA IT 

WOULD BECOME SUCH A HUGE MOMENT IN 
COMICS HISTORY? 

No, not at all. They were experimenting with ev-
erything in those days—mystery, westerns, science 
fi ction—hoping to get something to break through. 
I had created a character called Captain Wiz, and all 
these villains called the Covenant of Evil. I tried to 
sell it to Joe Simon and Joe said, “Carmine, super-
heroes aren’t selling these days.” So I put it in the 
drawer. Then two years later Julie [Schwartz] called 
and said, “We’re going to try superheroes again.” 
I said, 

“Oy vey, zmir.”

 I wasn’t thrilled about doing 

it, but it was work. So he says we’re going to bring 
back the old Flash, but he was silly looking with that 
helmet. So I brought in my Captain Wiz, which is 
now The Flash. And then I had all these villains like 
Gorilla Grodd, Captain Boomerang, and so on. 

[Robert] Kanigher wrote the fi rst one, I penciled it, 
and Joe Kubert inked it. Then the numbers came in 
and they didn’t believe them, so we did a second 
one. About the third issue we knew we had some-
thing going. And that’s how we would work. I’d cre-
ate a cover, bring in one of my old villains, put him 
on the cover with the Flash, and they’d write stories 
around it. And the thing took off  like a rocket, but 
nobody at the time knew it was going to work. 

CARMINE INFANTINO

The Silver Age’s Golden Anniversary

A Chat With

J. David Spurlock and Carmine Infantino

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COMIC-CON INTERNATIONAL: SAN DIEGO

WHEN YOU LOOK BACK, WHICH OF THOSE 
CHARACTERS DID YOU REALLY ENJOY WORK-
ING ON?

Adam Strange I liked very much. I didn’t create 
Adam Strange, by the way; that was Gil Kane. He did 
the first cover and Mike Sekowsky penciled the first 
one. Detective Chimp is my favorite actually. Didn’t 
sell very much but it’s my favorite. 

WAIT, “DETECTIVE CHIMP”? YOU HAVE ALL 
THESE MAJOR CHARACTERS AND YOU CHOOSE 
DETECTIVE CHIMP?

Well, you had to be diverse. We worked on 

The Flash

Adam Strange

, my little 

Detective Chimp

, and then 

[Harry] Donnenfeld said, “

The Batman

 is dying. You 

guys have six months to bring it back.” So he gave it 
to Julie and me, and the book started to move. But 
in fairness, the TV show popped and the thing went 
crazy. I don’t know if [the comic] would have gotten 
that strong without the TV show. I suspect not.

HOW DID BATGIRL COME OUT OF THAT PE-
RIOD?

The show’s creator, [William] Dozier, wanted some 
female characters, so Julie says to me, “Do you have 
any more characters at home?” I had two of them. 
One was Poison Ivy and the other was The Silver 
Fox. Julie liked them both, so I said, “Let’s make [The 
Silver Fox] The Batgirl.” We tried them on the books 
first, and they both sold well. So we told Dozier and 
that’s how Batgirl came about.

HOW DID YOU BECOME A BIGWIG AT DC?

I ended up becoming the editor because we were 
getting killed by Marvel at the time, and Donnenfeld 
loved the covers I was creating and said he wanted 
to hire me as a cover artist and just do covers. Noth-
ing else. Which I did in the beginning. But [when 
DC Comics] got married to Time Warner, he left the 
company. I went to Jack Liebowitz, who was running 
the place at the time, and I said, “Who do I report 
to now? Who’s running this thing?” And he said, 
“You do it.”

WHEN YOU WERE RUNNING DC YOU WERE 
INSTRUMENTAL IN CREATORS RECEIVING 
ROYALTIES AND ORIGINAL ARTWORK BE-
ING RETURNED TO ARTISTS. HOW DID THAT 
COME ABOUT?

We were moving from Lexington Avenue to 
Third Avenue, [and] as we were moving I 
walked into the office and our produc-
tion guy was tearing up artwork and 
throwing it away. Wonderful artwork 

like Jack Kirby, Curt Swan, putting them in barrels. I 
stopped him cold. We had made money that year so 
I put out a memo to all the creative people [saying] 
you’re not only getting paid for your reprint rights 
but your artwork will be returned. They all loved the 
idea and it helped me out, too. 

With me it was the best of all worlds, the worst of 
all worlds. I did some good things, I did some bad 
things. When you run a company that’s what hap-
pens.

WHAT WOULD YOU SAY WAS A HIGHLIGHT OF 
YOUR TIME AT DC?

Getting the 

Superman

 movie sold.

HOW’D THAT COME DOWN?

Mario Puzo had written a script and it was terrible. 
The plot was absurd: some villain trying to kill the 
Pope. What the hell does this have to do with Super-
man? 

So I went out to California. Mario, myself, and the 
producers sat down and hashed out Superman I and 
II. They were [also] trying to get a name actor for 
Superman. I said, “You guys are crazy. You get him, 
and suppose there’s a number two or three movie. 
You’re not going to get him back. Get an unknown 
and put a contract around him.” So they did. They 
got Marlon Brando as the father, Gene Hackman as 
the villain. and that’s how it went.

To find out more about Carmine Infantino’s life in 
comics, check out his book 

The Amazing World of 

Carmine Infantino 

(Vanguard Productions) and visit 

San Diego this summer for Comic-Con International.

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COMIC-CON INTERNATIONAL: SAN DIEGO

Time was, when a fan mentioned gaming the fi rst 
thing everyone thought of was multisided dice, 
dungeon masters crouched behind well-worn 
books, and players taking on alternative personas 
for hour-long campaigns into mystical lands. But 
a simple visit to the Mezzanine level of the San 
Diego Convention Center shows how those things 
have evolved: video and trading card games battle 
alongside miniature fi gure competitions, live-action 
demonstrations, and company-sponsored tourna-
ments featuring cash and merchandise awards.

So where have all the denizens of dice gone? To the 
Manchester Grand Hyatt.

“The main gaming feature here is RPGA,” explains 
Tom Kee, the fi gurative NPC* covering gaming at 
the Hyatt. He says that most of the role-playing 
campaigns involve Dungeons and Dragons

 

3.5 edi-

tion games, but occasionally other systems are also 
featured. “Additionally, some of the space is used for 
open gaming, which means anyone can come and 
run any game they wish,” he says.

Whereas the 
Convention 
Center’s 
gaming setup 
predomi-

nately involves 

long rows of fans sitting at tables and 

facing off  over stacks of cards, gaming at the Hyatt 
off ers a more traditional sensibility: round tables 
where players use rule books to reference various 

attacks and 
countermea-
sures, pen and 
paper to track 
their imagi-
nary journeys, 
and miniature 
fi gures to help 
keep character 
positioning straight. These games run on a regular 
schedule—approximately every fi ve hours—and 
while participation in most games is pre-registered 
before the convention, Kee and his team do every-
thing they can to cover walk-in players as well.

Gaming at the Hyatt is also run in conjunction 
with the Role-Player’s Gaming Association (RPGA), 
which “is mostly a volunteer organization that 
arranges for the [hosting] of role-playing games 
around the world,” says Kee. “These campaigns 
allow [attendees] to play characters, gain experi-
ence, and then play the characters again at the 

next RPGA event, which could be 

anywhere in the world.”

That ability to connect cam-
paigns at the Hyatt with the 

larger gaming community is unique, 

setting Comic-Con apart from other 

conventions.

“These are organized role-playing 
games,” Kee emphasizes. “While 

they’re common for gaming conven-

tions, for a media/comic convention 

it’s fairly unusual to have such a large 

gaming presence.”

The 2006 convention is promising more 

exciting campaigns at the Hyatt. Sessions 

run into the wee morning hours and allow 

fans to fully enjoy the gaming experience. 

Whether you’re a newbie or a long-time 

afi cionado, there are always worlds of fun to 

be found in CCI’s gaming.

Want to learn more about the RPGA? Visit 

www.wiz-

ards.com/rpga

Interested in gaming at Comic-Con? 

Visit 

www.comic-con.org

 and stay tuned to the next 

Update for more info.

ROLL OF THE DIE

Role-Playing  Games  Continue  to  Thrive  at  CCI

*NPC means Non-Playing Character. That was a little 
inside joke for us gaming geeks out there.

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COMIC-CON INTERNATIONAL: SAN DIEGO

PORTFOLIO PRIORITIES

Let’s face it, a lot of you folks want to become pro-
fessionals in the comic book industry, and Comic-
Con International has a long-standing reputation 
for being the place where companies seek out new 
talent. In the packed Portfolio Review Area artists of 
all skill levels have their work examined by profes-
sionals and make contacts that may lead to future 
employment. 

Although some companies perform reviews at their 
exhibitor booths, during the 2005 show Comic-Con 
provided space for 20 companies to check out at-
tendee portfolios. Sessions ran from 11 

AM

 until close 

every day and included representatives from such 
comics companies as Dark Horse, Marvel, Disney 
Publishing Worldwide, TOKYOPOP, and Platinum 
Studios, as well as from gaming and entertain-
ment companies such as Lucas Licensing, Disney 
Animation, Midway Games, Wizards of the Coast, 
High Moon Studios, Impact Books, CinemaGraphix 
Entertainment, and more.

Comic-Con will dedicate a large section of the 
Sails Pavilion for Portfolio Reviews in 2006. Visit 
the website, 

www.comic-con.org

,

 

closer to the 

convention to see which companies will be present 
and whether there are any special requirements you 
need to meet. But most important, start working on 
your material now so that your work will really stand 
out under the sails in 2006.

UNDER THE SAILS

Portfolio Review and Autograph 

Area  Offer  Strong  Showing

ASTOUNDING AUTOGRAPHS

Meeting a favorite creator or celebrity at Comic-
Con is always an amazing experience, and while 
signings happen all across the show, the Auto-
graph Area is truly a focal point for the entire 
weekend. 

In 2005 over 150 talented individuals made their 
presence known, including such creators as anima-
tor J. J. Sedelmaier (

Saturday Night Live’s Saturday 

TV Funhouse

), director David Cronenberg (

A History 

of Violence

), and author Ray Bradbury (

Fahrenheit 

451

). Group signings also drew huge crowds, 

including those for 

Veronica Mars, Threshold, The 

4400, 

and actors from the classic 

Superman 

mov-

ies, while individual sessions with folks like author 
Orson Scott Card, actor/author Bruce Campbell, 
cartoonist Lalo Alcaraz, and comic book legend 
Stan Lee featured a more intimate atmosphere.

No other convention offers the diversity and num-
ber of signings as Comic-Con. To make the most 
of your 2006 convention experience, visit 

www.

comic-con.org

 or check the onsite Events Guide 

for a schedule of signings. You never know what 
surprises may be in store under those Convention 
Center sails.

K

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Stan  “The  Man”  Lee  is  only  one  of  many  comic 
book  legends  to  sign  autographs  at  Comic-Con 
International. 

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COMIC-CON INTERNATIONAL: SAN DIEGO

Born in New York City and raised in New 
Jersey, writer/director Hidetoshi Oneda 
attended Art Center College of Design in 
Pasadena, California. Following graduation 
he worked for Dentsu, the largest advertising 
agency in Japan, but he came to our atten-
tion after winning the Best Science Fiction/
Fantasy Film award at the 2005 Comic-Con 
International Independent Film Festival. 

His entry, 

La Belle Dame Sans Merci,

 is based 

on the John Keats poem of the same name. 
In the fi lm, a shipwrecked navigator (John 
Mycroft) encounters a knight of old (Jack 
Donner) who recalls a tale of regret about a 
mysterious lady (Natassia Malthe) with whom 
he fell in love, then lost due to his own fears. Oneda, 
who currently lives in Tokyo, Japan, spoke with us 
about his winning submission. 

CCI: WHY DID YOU START MAKING FILMS? 

Hidetoshi Oneda: 

One day, I wanted something 

to watch on a Sunday afternoon but I could not 
fi nd [anything] that hit the right spot. I realized 
the kind of fi lms I wanted to see, for one reason or 
another, had not been made. Then I had a crazy 
thought—why don’t I make them? I left a job that I 
was perfectly happy with [at Dentsu] so that I could 
fi ll those empty slots in my DVD collection.

HAD YOU ATTENDED COMIC-CON BEFORE?

This was my fi rst time. My fi lm, 

La Belle Dame Sans 

Merci,

 was co-written 

with Mark Smylie, who 

writes and draws a 

comic book called 

Ar-

tesia

. Mark has been 

going to Comic-

Con regularly. He 

brought the festival 

to my attention 

and thought that 

the Comic-Con 

audience might be 

a good one for my 
short, as it has ele-

ments of fantasy and a touch of horror, even though 
it’s based on a Keats poem.

WHAT DID YOU THINK OF THE CONVENTION 
EXPERIENCE?

I was completely blown away by the number of peo-
ple attending the show sharing a common passion 
for what is generally, and unfortunately, a misun-
derstood art form. The second thing that amazed 
me [was] the passion itself. For some, it bordered on 
unbridled religious fervor, and I must admit it was 
overwhelming at times! What impressed me was 
how comics had crossed over from being a paper 
booklet to every media form that exists, so much so 
that at times it felt as though comics were bystand-
ers at their own wedding.

HOW DID IT FEEL TO WIN YOUR CATEGORY?

[I was] fl oored. There were so many great works 
that I was honored just to be invited. Being in the 
fi rst juried festival at the convention, I was doubly 
honored. Most of all, it was the fi rst time since I left 
my job that I had solid feedback. I will never regret 
my decision to make fi lms, but it helps every now 
and then for someone to tap you on your shoulder 
and say, “Hey man, I liked your work.” And for me to 
return a heartfelt, “Thank you.”

You can learn more about Oneda and La Belle Dame 
Sans Merci at 

www.celophaine.com

.

CCI’S INTERNATIONAL

 

FILM  FESTIVAL

In  Focus  with  Hidetoshi  Oneda

Writer/director Hidetoshi Oneda.

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COMIC-CON INTERNATIONAL: SAN DIEGO

DO YOU HAVE WHAT IT TAKES?
The CCI-Independent Film 
Festival Returns in 2006!

Coming off its first big year as 
a juried event, the Comic-Con 
International Independent Film 
Festival is now accepting submis-
sions for 2006. 

Last year, the selection commit-
tee screened nearly 60 films and 
bestowed awards in six of the 
seven categories, including the 
festival’s “Judges’ Choice” award 
to the entry deemed best in 
show. The 2005 judges were Mark 
Altman, editor of 

CFQ Magazine,

 

and Scott Zakarin of Cre-
ative Light Entertain-
ment; judges for 2006 
have been chosen and 
will be announced once 
judging is completed.

The CCI:IFF accepts films 
in the following genre categories:

• Action/Adventure
• Animation
• Comics-oriented
• Documentary (limited to genre 
and pop culture topics)
• Horror/Suspense
• Humor/Parody
• Science Fiction/Fantasy

SUBMISSION DEADLINE: 
March 1, 2006

Submissions should be no longer 
than 95 minutes and should be 
appropriate for an all-ages audi-
ence. At least one member of 
the filmmaking crew should be 
present at Comic-Con to discuss 
the film, and all entries must be 
in their final form; no rough cuts, 
trailers or works-in-progress 
will be accepted. The submitted 
project should have a completion 
date within the last three years 
(2003–2006). Complete submis-
sion guidelines and the required 
official entry form are available at 

www.comic-con.org.

One of the most exciting areas at Comic-Con International is the 
Exhibit Hall. No matter what their interests,  attendees all passed 
through those giant gray doors to take in the over 460,000 square 
feet of fun space. In 2005 alone, that included over 104,000 enthu-
siastic fans checking out all of the 1,000+ individual exhibitors; that 
included over 140,000 enthusiastic fans, exhibitors and professionals 
making the 2005 show the largest and most exciting comic and pop 
culture event in the United States.

So what can be found inside those hallowed halls? You fans of new 
comics and graphic novels can expect booths from the major comics 
companies, including DC, Dark Horse, and Image; lots of alternative 
comics publishers, such as Fantagraphics and Drawn & Quarterly; 
the Small Press Pavilion featuring numerous self-publishers; and the 
Independent Publishers Pavilion featuring cool alternative comics 
companies. In Artists’ Alley you can meet creators from the Golden, 
Silver, and current comics ages, while you can find some of the 
biggest names in SF/Fantasy art in the Illustrators Pavilion and the 
Fantasy Illustrators Pavilion. As you wander through the hall you’ll 
run into booths set up by the National Cartoonists’ Society, anima-
tion companies, movie studios, and TV networks. And for you gam-
ing fans, you can expect major gaming companies offering demos on 
their latest video, card, and role-playing game releases.

Oh, and did we mention shopping? Obviously Comic-Con is the 
ultimate destination for comic books and graphic novels—there is 
even a pavilion specifically dedicated to Golden and Silver Age comic 
books—but there are also booths devoted to Japanese manga and 
animation, vintage and modern toys, action figures, statues, trading 
cards, DVDs, movie posters and memorabilia, clothing and jewelry, 
and tons of other cool stuff to constantly surprise and delight visitors.

The next couple of pages list exhibitors that have signed up for the 
2006 show. Take a peak, start saving your cash, and get ready for 
another awesome year at Comic-Con International!

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The SciFi Network always wows the crowds with its amazing booths 
at Comic-Con. 

THE  (EXHIBIT)  HALL  OF  JUSTICE

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20

COMIC-CON INTERNATIONAL: SAN DIEGO

A & G Comics
A-1 Comics
Abismo/Nerve Bomb
Ablaze Media
About Comics
Harry  N. Abrams
Abstract Studios, Inc.
ACME
Action Figure Authority, Inc.
Action Figure Xpress
Activision
Adventure Retail/Atlas Games/Steve  
 

Jackson

AiT/Planet Lar
AK Comics
AKA Comics
Albert Moy Artworks
AlcatrazHigh.com
AlexRossArt.com
Alias Enterprises
Alien Entertainment Company
The Aliens Legacy
Allen Spiegel Fine Arts
Altair 4 Collectibles
Amazing Adventures
Amelia Rules/Buzzboy/ WJHC
Amy Brown Signature Series
Android 8
Animationmentor.com
AnimEigo, Inc.
Anime Depot
Anime Link
Anime Pavilion
AnimeEd.com
Antarctic Press
Anthony’s Comic Book Art
Anti-Ballistic Pixelations
Applehead Factory, Inc.
Sergio Aragonés
Arcade Comics
Arcana Studios
Archaia Studios Press
Art Asylum
Artbox Entertainment
ASIFA- Hollywood
Aspen MLT, Inc.
The Asylum
Asymmetric Publications, LLC
Atomic Age Collectibles
Atomic Art & Music
Atomic Monkey Inc.
Attaboy’s Yumfactory/Hifructose
Atticus Clothing, Inc.
Avatar Press. Inc.

Backbone Entertainment
Badali Jewelry Specialties, Inc.
Bag of Chips/Blank Label Comics
Kyle Baker Publishing
Bakshi Productions, Inc.
Jim Balent’s BroadSword Comics

COMIC-CON  EXHIBITORS  2006

It’s early in the game but 
an amazing diversity of 
exhibitors have already 
signed up for  the 2006 
Comic-Con Internation-
al. Check it out!

Basement Comics
BBI/Merit International LLC
Bedrock City Comic Co.
The Behemoth
Bennettblacklite.com
Big Wow Art
Bijou
Bill Cole Enterprises
Black Cat Comics
Black Gold Comics & Graphics
Blacksmith Entertainment
Blackwater
Blick Art Materials
Bliss On Tap
Bloodfire Studios
Bloody Mary
Bongo Comics Group
Brand Fury/Yolk /Blacklava
Break Point Books
Brian’s Toys, Inc.
Bro Hawk Studio
Broadview Graphics
Broccoli Books/Synch Point
Brom
Brota Oroian
Bud Plant/Hutchison Books
Bud Plant Comic Art
Buenaventura Press
Build-A-Rama
Bob Burden

Jim Calafiore, Mark McKenna, Mike  
 

McKone, Mark Sparacio

Calcom
California Comics
California Hot Shots
Capcom Entertainment, Inc.
Cards and Comics Central
Cartoon Passion
Cas Iberia
Caveman Robot
Century Guild
Chessex Manufacturing
Chimera Publishing
Chimni
Mark Christiansen
Christopher Reeve Paralysis   
 

Foundation

Cine-East
Circus Punks
Ciruelo—Fantasy Art
Claypool Comics
Club Coconut
Coastline Comics
Cobblestone Books
Cold Cut Presents: Indy Island
Collectibles Insurance Agency
College for Creative Studies
College University, LLC
Com Station Z
Combustibleorange.com/   
 

Mwtfunny.com/stuffsucks.com

Comic Base/Atomic Avenue
Comic Book Legal Defense Fund
The Comic Cellar
Comic Collector Shop
Comic Gallery
Comic Heaven
Comic Images
Comic Madness

Comic-Central.com
Comicquest Original Art
Comics Buyers Guide
Comixwave Inc.
ConDor Conventions
Conjecture V
Consumer Systems Co.
The Contemporarier
Cool Stuff/Reel Art
Coollines Art
Corgi USA, Inc.
Craig Elliott/Aristata Publishing
Crazy Cat Comics
Creation Entertainment
Creatus Maximus
Critterbox, LLC
Crush County Studios/Rankinstein  
 

Multimedia/The Gute Produc- 

 

tions

Crystal Caste
CrystalEtching.com

D.F. Productions
D7 Studios, Inc.
Dale Roberts Comics
Dark Horse Comics, Inc.
Das Illustration
Dave Nestler Pinup Art
David Haug DVDs
David’s Doodles/Jim VanDerKeyl Prod.
Dayfree Press
DC Comics
Roger Dean
Design Studio Press
Devil’s Due Publishing
Diamond Comics Distributors
Diamond Select Toys & Collectibles
Digital or Not
Digital Webbing
Disguise, Inc
Disney Consumer Products
DKE Toys/ Distributoys
Donato Arts
Dreamworks
DrShroud.com
Drunken Master
Drawn & Quarterly
Dumbrella

e frontier
Echobase Toys
Scott Eder/Comicbookart.com
Electric Tiki Design, Inc.
Steve Ellis Illustration
Elmore Productions
Emily the Strange
Emotes by Evergrow
Endless World
The Entertainment Art Academy
Entertainment Earth
Epic Proportions
Every Picture Tells a Story
Exhibit A Press

Fantagraphics Books
Fantasia Toys
Fenickx Productions
Film School Confidential 
First Second Books
Flapjack Toys

Flesk Publications
Flight Comics
Flopdoodle, Inc.
Forcewerks 
Fred Glogower/Paper Gallery
Freedom-of-Teach
Fun Toys

Gaetano De Augustino
Gagne International 
Galaxy Press
Gama-Go
Game Rave
Gary Ham/Dean Yeagle/Scott 
Tolleson
Gencon LLC
Genesis West
Gentle Giant Studios
Geoffreys Comics
Gianni, Keegan & Schultz
Giant Robot
GiftsBySmallFry.com
Gnome International, Inc.
Go Daddyo’s Comic Book Hideout
Golden State Sports
Good Duck Military Art
Graham Crackers Comics, Ltd
Graphic Collectibles
Graphitti Designs/View Askew

Sid Haig
Ham Entertainment Comics
Happy Pencil
Harley Yee Rare Comics
Hasbro, Inc.
Hash, Inc.
Haunted Memories
Rich Henn/Club 408 Graphics & 3 
Finger Prints
Heritage Comics
Hermes Press
Heroes
Heroes & Dragons
Highgradecomics.com
Highlander Films, LLC
Himani Productions
Hite Studios
Sam Hiti/La Luz Comics
Hollywood Book & Poster Co.
Holzheimer’s Distribution
Honeck Sculpture
Hook-Ups
Hot Wheels
Hungry Tiger Press/Eric Shanower

IKV Stranglehold
Illusive Arts Entertainment
Illustration House
Image Comics
Imaginary World Comics
Imaginism Studios Inc.
Imaginosis
Impact Books
Imperium Comics
Inkworks
Insight Studios

J-List
Jada Toys
Jamie Graham, Inc.

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COMIC-CON INTERNATIONAL: SAN DIEGO

Janesko Fine Art LLC
Jay Company
JHV Associates
Jones Bones
JoyRide Entertainment
Jpntoys.com
Jpop House/Jhouse Rock Entertain 
 

ment

Julio’s NonSport Depot

K & J Non-sport Cards
Ka-Ching! Brands
Katzenjammers
KC Art
Keenspot Entertainment
Khepri Comics/Khepri.com
Killer Pumpkins
Killer Tomato Entertainment, Inc.
Kinokuniya Bookstores
Kleeman and Mike
Knife-N-Eye
Linda Knight
KOALA Express
Komic Company
Konsequential Studios
Koop’s Comics
Kotobukiya Co.
Krankin’ Komix

LA Williams Art Studio
Lantor, Ltd. 3D Lenticular Development
Last Gasp
Last Kiss Entertainment
Lee’s Comics
Lego Systems, Inc.
Steve Leialoha
Leith Adams Movie Posters
Lewis Gallery
Lightspeed Fine Art, Inc.
Lions Gate Films
Little Cartoons
Live Action Jackson
Loconauts by Evergrow
Aaron Lopresti/Terry Dodson
LosCon 33
Lost in the Dark Press
Loter, Inc.
Lucasfilm, Ltd.

Maddox Productions
Majestic Studios
Mammoth Art Supply
Man Of Action
Manx Media
Margaret Weis Productions, Ltd.
Mark’s Non-sport Cards
Marty Hay - Comics
Master Replicas, Inc.
Mathew Bamberger
Matt’s Cavalcade of Comics
Mattel, Inc
Maverix Studios
Max Toy Company
Maximum PC
Mayamo
McFarland & Company, Inc., Publishers
Sean McNelis and Co.
Tara McPherson
Media Blasters
Angel Medina
Memorabilia Ltd
Mercury Studio and Heartbreakers
Metropolis Collectibles, Inc.
MGA Entertainment

Mile High Comics
Mindzeye Studios
Minion For Hire, LLC
Miss Mindy & CJ Metzger
Andrew J. Mitchell
Monogram 
Moonstone
Morse, Mahfood, Huddleston, Seda
Motor City Comics, Inc.
Moviegoods, Inc
MP Collectibles
Mr. C’s Comics
Mr. Green’s Comics
Mu Press/Carnal Comics
Munky King
Myriad Publishing
Mysterious Galaxy/Penguin USA
Mystic Revolution/Paradigm Shift
Myth
Mythic Entertainment

Ted Naifeh
Naked Fat Rave
National Cartoonists’ Society
NC Soft
Neal Adams Transcontinuity
Neat Stuff Collectibles
Neca
Neko Press
Neth Creatures
New England Comics Press
New Line Home Entertainment
Nichibei Anime
NightmareToyStore.com
Nintendo of America, Inc.
Ninth Circle Studios
Nite Owl Comix
W. W. Norton
Nostalgic Investments
Novaris Entertainment

Official Pix
Offworld Designs
One Stop Hobby Shop
Oni Press
Optic Demolitionist

Pamelina’s Studio/Baxa Art
Patchwork Studios
PCB Productions
Peanuts
Pendragon Costumes
Penny Arcade
Andrew Pepoy
Pez & Pals
Picture Windows Books
Pix Poster Cellar
Piximix
Plan B Toys
Platinum Studios
Bill Plympton
Mark Poole - Artist
Popular Naughty
PosterParty.com
Posterpop, Inc.
Eric Powell
Pra International
Prehensile Press
Prism Comics
Privateer Press, Inc.
Protech Products, Inc.

Quality Comix LLC

Radio Comix, Inc.
The Rakish Blade
Ravenwing Wearable Art
Red Tango
Redbeard’s Book Den
Reel Art Studios
Region Free—Japan Artist Network
Rhythm Section
Rising Sun Anime
Rockin’ Seams
Ronin Studios
Rubies Costume Co.
Steve Rude
Rue Morgue/Marrs Media Inc
Ruth Thompson’s Tarnished Images

S4 Studios
Sabertooth Games
Stan Sakai
Sam & Max /The Unmentionables
San Diego Comics
Sarka-Navon/Montalbano Illustration
SCA - Iron Brigade
Scheiman’s Comix
Schylling
Score Entertainment
Scott Hudlow Comics
Senti
Serve Man Press
SG-Command.net
Sherlock’s Stuff
Shocker Toys LLP
Shout Factory
Shrine
Sideshow Collectibles
Sigh Co. Graphics
Jim Silke/Hot Chocolate
Silver Age Comics
Silver Comics
Silvertoons, Inc.
Six Guns
Skellramics
Slave Labor Graphics
Smiles for Diversity
Sofawolf Press/Griffin Park Studios
Sony Computer Entertainment
SOTA Toys
Soundtrack Movie Memorabilia
Southern California Comics
Southern Island LLC
SOZ Studios
Space Debris, Inc./Unique Visions
Spazzmania Entertainment
Speakeasy Comics
Spike & Mike’s Sick & Twisted
Splash Page Comic Art
Splastic
SQP, Inc.
Square Enix, Co., Ltd
StarBase Toys/Dollman Collectibles
Stickman Graphics
Stormbringers
The Strange Adventures of H. P. Lovecraft
StrangeCo
Streamline Illustrations
Steven Streich
William Stout, Inc.
Stuart Ng Books
Stuffe & Nonsense
StylinOnline.com
John P. Suarez/Jay Bejot
Sun Magico, Inc.
Super 7
Superhero Toys Inc.

Superworld Comics
Surf City Comix
The Sword and the Stone

TableStar Games, LLC
Talkin’ Sports
Ten Ton Sudios
Douglas R. TenNapel, Inc.
TerriSoppRae.net
Terry Stroud
Terry’s Comics
Thomas Gianni/Kurt Mitchell
The Those Guys
THQ
3 Boys Production/Students of the  
 

Unusual

Thrill Books
Tiger Eye Entertainment
tokidoki
TOKYOPOP
Tony Raiola
Too Much Coffee Man
Top Cow Productions, Inc.
Torpedo Comics
Toy Hungry
Toy Qube
Toy Tokyo
Troma Entertainment
TwoMorrows Publishing

UCC Distributing Inc.
Underground Toys
Unkl Brand
Unshelved/Overdue Media
Upper Deck
Urban Ministries, Inc.
Urban Vision Entertainment

Van Eaton Gallery
Vanguard Productions
Vash Designs
Viper Comics
Viz Media, LLC
Vuduberi

Weiser Books
Wiggity Bang Games, LLC
Wildcard Ink
William Wu
Willow Jewelry
Chris Wisnia
Wizard Entertainment
Wizards of the Coast
Wizkids, Inc.
World’s Best Comics & Toys

X-treme Toys

Yamato
Dave Yaruss
Yellow Nightmares Press
Yesanime, Inc.

Zeleznik Illustration

Exhibit Hall Hours

Preview Night: 
Wednesday 6:00 

PM

 

– 9:00 

PM

Thursday–Saturday 10:00 

AM

 

– 

 

7:00 

PM

Sunday 10:00 

AM

 

– 5:00 

PM

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COMIC-CON INTERNATIONAL: SAN DIEGO

Auctions have long been used to raise funds for 
worthwhile projects, and Comic-Con International’s 
annual Art Auction is just such an event. As a means 
of raising money to help attendees with special 
needs through the Disabled Services Department, 
the Art Auction features pieces from leading comic 
and sf/fantasy artists working in the industry today. 
These skilled professionals produce their work live 
on stage in front of many eager fans; the art is then 
auctioned off during the weekend.

“Each of the artists has their own style,” observes 
Clydene Nee, the Art Show/Artists’ Alley Coordinator. 
“Some of them attack the canvas or paper, doing big 
strokes and you don’t see what’s happening. Then, 
as if it comes out of nowhere, there’s a face, a body, 
a mountain.” Conversely, Nee recalls the year artist 
Charles Vess participated and “he sat there just making 
these tiny little strokes. Then all of a sudden you saw 
from his little strokes this giant tree and this faerie 
descending from it. It was a really miraculous event.”

Although primarily industry professionals are invited 
to participate, on Thursday and Friday fans can some-
times get in on the action as well. Interested visitors 
must show their portfolios to Nee or her assistant 

Comic-Con International is dedicated to serving 
all of our attendees; as such the Disabled Services 
department was established to offer a hand to visi-
tors with special needs. What does that entail?

• A rest area for the disabled, the elderly, expectant 
mothers, and parents with small infants
• An enclosed nursing area for mothers with infants
• Runners to go upstairs and register your mem-
bership if you are unable to wait in line
• Cold storage of medications
• Wheelchairs for loan in two- to three-hour incre-
ments on a first-come, first-served basis; all you 
need is an ID and a $20 cash deposit
• American Sign Language interpreters for the 
hearing-impaired at large panels and the Mas-
querade
• Special limited seating for large programming 
events and the Masquerade

Comic-Con wants to make your visit fun and enter-
taining, but this show is so big that even Super-

THE AMAZING ART AUCTION

Jean Goddin and, 
if accepted, will be 
allowed on stage; 
Comic-Con offers 
the supplies free of 
charge to partici-
pants. Attendees are 
welcome to watch 
throughout the 
weekend and bid on 
the items during the 
Saturday and Sun-
day auctions, and 
for serious collectors 
it’s one of the hot-
test places to score 
works from names like Jim Lee, Joe Chiodo, Monte 
Michael Moore, Jerry Vandersteldt, and more.

Whether as a participating professional, an observer, 
or one of the lucky bidders, you’re what makes the 
Comic-Con Art Auction function. The 2006 event is 
already set with some top name artists, so stop by 
throughout the weekend and become a part of this 
fun and worthy cause. The Art Auction is located in 
the Exhibit Hall.

man or The Mighty Thor would have a tough time 
tackling all the challenges. As such, we have a few 
limitations. For example:

• Programming rooms fill up quickly, and all 
seating is on a first-come, first-served basis, so 
special seating may not be available if the disabled 
services department is notified at the last minute. 
Please read your Events Guide and plan your day 
accordingly, keeping in mind the popularity of 
certain events.

• Special autograph sessions are always limited to 
the first 100 to 200 people in line no matter who 
the attendee is; you can make arrangements to 
have someone within your group save a spot for 
you in line, but Disable Services cannot guarantee 
any seating, autographs, or giveaways.

The Disabled Services team is here to help; by 
working together we can make this an enjoyable 
convention experience for everyone.

WHAT IS DISABLED SERVICES?

Wonderful pieces of art, like 
this Batman by Stuart Sayger, 
are  available  at  the  Comic-
Con Art Auction.

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23

COMIC-CON INTERNATIONAL: SAN DIEGO

British artist Brian Bol-
land has a long history of 
impressing fans with his 
gorgeous drawings. From 
his early work on 

Judge 

Dredd

 in the UK magazine 

2000 AD

 to his numerous 

covers for 

Animal Man, Bat-

man Gotham Knights, Won-
der Woman,

 and 

The Flash

his clean lines and attention to 
detail boldly stand out amid a sea of 
other superhero images

.

 In anticipation of 

Bolland’s return to Comic-Con as a special 
guest in 2006, we spoke with him about his 
life in comics.

COMIC-CON INTERNATIONAL: YOU 
STARTED DRAWING AT A VERY YOUNG 
AGE. WHAT DID YOUR FAMILY THINK 
ABOUT YOU WANTING TO BE AN ARTIST?

BRIAN BOLLAND: 

They were supportive 

but I don’t think they understood it. My 
father was a farmer, and to his credit he was 
prepared to pay for my art school time even 
though he didn’t really know much about it. 
He didn’t have any interest in it. I think he as-
sumed that it would lead to a paying career, 
which is not always the case.

 (He laughs.)

 But 

at least I had that degree of support.

WHEN YOU WENT OFF TO SCHOOL, DID 
YOU WANT TO BE A COMIC ARTIST?

I was mad keen on dinosaurs and there was a 
Dell comic in 1960 called 

Dinosaurus!

, which 

was a comic book of a Jim Danforth mov-
ie—he was a [stop-motion animator like] Ray 
Harryhausen but not as good. My grand-
mother bought me this comic, which really 
started me off buying comics and getting me 
wanting to do that kind of thing. 

AND LOOK AT YOU NOW.

 It’s quite a life. I could have been something 
that paid really well. I could have been a 
Captain of Industry! I could have been a 
diplomat!

WHAT DO YOU CONSIDER YOUR FIRST BREAK-
OUT JOB?

I did a lot of one-off illustrations for very little 

money. Back in the late 60s, early 70s, we had the 
alternative youth culture underground maga-

zines and I did quite a few drawings for them. But 

for proper comic book work I did a thing called 

Powerman,

 which was published in England but 

distributed in Nigeria. Dave Gibbons and I did al-
ternate issues, so that was my first two years worth 
of continual work.

THE COVER KING

Brian Bolland Comes to Comic-Con

©  2006  DC  Comics.  All  Rights  Reserved.  TOP  OF  PAGE: 
Self-portrait © 2006 Brian Bolland

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24

COMIC-CON INTERNATIONAL: SAN DIEGO

 
Then I started doing 

Judge Dredd

 in 

2000 AD

 in 

England, and that was a great leg up because he 
turned out to be a really popular character. So I 
was kind of hitched to a very popular character, 
which didn’t do me any harm at all.

WAS THAT HOW YOU STARTED DOING SO 
MANY COVERS FOR U.S. COMICS?

The first work I did on 

2000 AD

 that had Judge 

Dredd was all cover work. I did quite a lot of the 
covers before I started doing regular interior work. 
But the cover work for DC really came as a result 
of doing [the maxiseries] 

Camelot 3000

, which was 

another 280 pages or something, and then I did 

The Killing Joke

.

BETWEEN YOUR ART, ALAN MOORE’S WRIT-
ING, AND WHAT HE DID WITH THE CHARAC-
TERS—SUCH AS HAVING THE JOKER PARA-
LYZE BARBARA GORDON, AMONG OTHER 
THINGS— 

KILLING JOKE

 BECAME AN INSTANT 

HIT. WHAT HAPPENED FOR YOU AS A RESULT?

I got a lot of work offers, but I obviously hadn’t got 
time to do all that work because I’m quite slow. 

So they said, “If you can’t do the interiors can you 
do the cover?” So the cover work came as a result of 
that. I was more able to find time to do covers than I 
was to do a 25-page comic book regularly.

YOUR RUN DOING THE 

WONDER WOMAN

 COV-

ERS WAS WONDERFUL.

Really? That’s very, very nice of you to say. I always 
thought she was sexy, I thought the costume was 
very sexy.

WHICH COVERS HAVE BEEN YOUR FAVORITES 
TO DRAW?

I’m a DC fan so I always enjoy drawing the DC char-
acters that I read when I was a kid. I really enjoyed 
drawing the covers on this short-lived 

Tank Girl

 

series because I like that spiky and dark humor that 
was on 

Tank Girl

. I found myself with loads of ideas 

for those covers. I do like a kind of surreal humor to 
creep into the work and there isn’t always that much 
scope for it because a lot of the [superhero] charac-
ters you have to take very seriously. I enjoy drawing 
Batman. There’s something about the Joker, I could 
draw him until the cows come home. And the Pen-
guin, actually, I like him. 

DO YOU HAVE A DREAM JOB YOU’D LIKE TO 
DO NOW THAT YOU CAN SORT OF PICK AND 
CHOOSE YOUR PROJECTS?

I’ve got a number of projects that pop into my 
mind. I do quite enjoy drawing stuff that I’ve written 
myself, and I’d like to do that not because I think I’m 
a good writer. I always believe that there is some-
thing about the medium of comics where if you 
could devise the whole thing you could entwine the 
visuals with the writing in such a way that a writer 
who is not also drawing it wouldn’t be able to do. So 
a dream job for me would be something I devised 
myself. 
 
I did a story in 

Batman Black and White

 where I was 

able to write and draw the thing, and it didn’t have 
to be colored so that was a dream job for me.

WHEN DID YOU FIRST ATTEND COMIC-CON?

I was there in 1977 but as a paying customer. I was 
there in 1982 as a professional artist. I hear it’s 
changed quite a bit. I think in the old days it was just 
a comic convention, now it’s a proper professional 
trade fair, isn’t it? I’m excited to come.

You can hear more from Brian Bolland at the 2006 
Comic-Con International.

A MAN AND HIS MOAT: When not illustrating some 
of the most popular covers in comics, Brian Bolland 
spends his free time cleaning the moat around his 
home.

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25

COMIC-CON INTERNATIONAL: SAN DIEGO

How do you become a professional in any given 
industry? At Comic-Con, that question rages through 
the minds of many attendees who hope to become 
the next Neil Gaiman, Alex Ross, or even Stephen 
Spielberg. To help attendees realize their dreams, 
Comic-Con has a long-standing tradition of offering 
programming in which professionals from numerous 
fields present the concrete steps one can take to be-
come a writer, artist, inker, self-publisher, filmmaker, 
cartoon voice actor, costumer, and more. And among 
the most useful sessions offered during the four-day 
convention are Comic-Con’s hands-on panels.

“It’s like going to a play,” says Jeff Watts of the 
Watts Atelier School in San Diego, who presents 
“Life Drawing” and “Painting From Life” seminars 
at Comic-Con every year. “You get to actually see 
someone put their credibility on the line and pro-
duce a painting right in front of you as you learn. 
That’s kind of cool.”

Housed in 
Convention 
Center meet-
ing rooms, the 
most common 
hands-on 
seminars focus 
on art and 
illustration. 
Instructors 
generally 
work at easels, 
via overhead 
projectors, or 
with computer 
hook ups to 
demonstrate the various styles and techniques 
being discussed. Larger panels offer more basic 
instruction, whereas limited-seating events allow 
the instructor to offer more specific suggestions and 
critiques to attendees. In cases like Watts’ Life Draw-
ing seminar, live models are even brought in to help 
students learn the importance of translating reality 
into their artwork.

“People like myself didn’t have these types of classes 
in this field,” explains Billy Martinez, publisher of 
Neko Press Comics. Martinez, an invited guest for 
Comic-Con 2006 who also runs an art school in San 
Diego, offers the jam-packed “How To Draw Manga 
Style” as well as other seminars. “These kids are the 
industry’s next professionals, so it’s important they 
have the right tools. It’s [also] beneficial to the par-
ents so they can see what we do and know it’s a valid 
art form. It’s about getting the awareness out there.”

These events are open to all skill levels, though sem-
inars like Martinez’s are dedicated toward younger 
attendees for Sunday’s Kids’ Day programming. 
But both he and Watts stress that these are low-key 
programs meant to teach while having fun. 

“People are welcome to sit and sketch and observe, 
and some will just do a drawing from the model 
along with us,” explains Watts, a working artist 
who teaches the atelier method, which is an ap-
prenticeship style of training that was common in 
turn-of-the-century Europe. “We’ll come around, 
give advice, and sometimes do a tracing layover for 

FIRST-HAND EXPERIENCE

Attendees  See  Long-term  Benefits  from 

Comic-Con’s  Instructional  Seminars

Erik  M.  Gist,  instructor  at  Watts  Atelier  of  he  Arts, 
conducts a 25-minute life drawing demonstation with 
model  Marlo  Meekins  at  a  Comic-Con  instructional 
seminar. Materials are charcoal pencil on newsprint.

Jeff Watts

Ph

o

n

g L

e © S

D

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26

COMIC-CON INTERNATIONAL: SAN DIEGO

The Robert A. Heinlein Blood Drive is a major event 
at Comic-Con International. Last year alone saw 
855 people offering to donate their blood, with 
590 being able to complete the process, making 
Comic-Con the second largest donating organiza-
tion in San Diego after the Chargers. And with 
2006 marking the Blood Drive’s 30th, some really 
exciting changes are in store.

As in the past, all donors will receive a San 
Diego Blood Bank T-shirt and a bag of fun stuff 
contributed by Comic-Con’s generous exhibitors. 
A raffle will also be held so donors can score 
some higher-end items, and talks are underway 
for other super cool surprises; last year that 
included Diamond Select Toys contributing an 
exclusive “T1” unpainted Spike action figure 

from Season 5 of 

Angel

 to the first 500 donors, so 

who knows what might come along for 2006.

Also making headlines is the Blood Drive’s move 
to the gorgeous Marriott Hotel & Marina next door 
to the Convention Center. In this beautiful new 
location, visitors will discover a much more relaxed 
atmosphere in which to offer up their arms, allowing 
the Blood Bank to process even more donors while 
also ensuring a pleasant experience overall.

The Blood Drive booth will still be located in the 
Sails Pavilion on the Convention Center’s top floor 
for all your on-site questions. You can look for 
further information on this amazing anniversary at 

www.comic-con.org

 and in future issues of Update. 

We look forward to draining you dry next summer!

BLOOD  DRIVE:  MOVES  TO  MARRIOTT

Annual Event Celebrates 30th Anniversary

them, but it’s really an unintimidating thing. It’s just 
drawing from life.”

Watts does occasionally meet attendees who won-
der why they need to learn life drawing in order to 
become comic book artists, but his answer is simple. 
“If you’ve got really stiff figures that are anatomi-
cally incorrect and don’t have any feeling of form 
because the lighting is not correct on them and you 
don’t understand edges and value, then how are 
you going to tell a story?” he asks. “It’s impossible.”

Being both a working artist and a comics publisher, 
Martinez also teaches panels on the business side of 
the industry, skills that many prospective profes-
sionals ignore. As he explains, “People come to 

shows who want to be comic artists but they don’t 
know how to put a portfolio together, how to look 
you in the eye and talk properly at an interview. I 
explain common etiquette, what you need to do in 
this business, and how you need to conduct yourself 
as a person.”

Ultimately, though, both Watts and Martinez say 
that the way for attendees to get the most out of 
these panels is by showing up and giving them a 
shot. “I think for people coming in it’s important to 
just keep an open mind and enjoy the process.”

You can find out more about Billy Martinez at www.
nekopresscomics.com and Jeff Watts through www.
wattsatelier.com.

Staff proudly display the 2005 Blood Drive T-shirt. 

K

. G

re

en © S

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27

COMIC-CON INTERNATIONAL: SAN DIEGO

Special events are always worth remembering, which is why Comic-Con International eagerly celebrates 
anniversaries from the comic book and pop culture universes. Through dedicated programs at the Con-
vention Center or artwork and articles inside the free CCI Souvenir Book, we remember these important 
moments in fan history. The 2006 show is no exception, with a wide variety of themes to excite enthusiasts 
of all ages and backgrounds.

DICK TRACY’S 75TH ANNIVERSARY 

Entertaining readers since 1931, Chester Gould’s 

Dick Tracy

 strip grew out of the lawless Depression era, 

when such real-life fi gures as Al Capone and John Dillinger ruled the headlines. The world’s greatest comic 
strip detective has since conquered movies, TV, and cartoons and remains one of the most thrilling charac-
ters ever published.

GUMBY’S 50TH ANNIVERSARY

He was once a little green slab of clay . . .

 but 

now he’s 50, dammit! Hard to believe the 
little green guy (not to mention his pony pal, 

Pokey, too) is celebrating a half-century of pop 

culture popularity.

THE FLASH AND THE SILVER 

AGE OF COMICS’ 50TH 
ANNIVERSARY

We can argue this point until the cows don 

bright red suits and dash home faster than 
the speed of sound, but some fans regard 

the 1956 re-creation of The Flash in 

Show-

case #4

 as the “offi  cial” beginning to the 

Silver Age of Comics; either way, it’s cause 

to party.

SPACE GHOST’S 40TH AN-
NIVERSARY

Before he went “Coast to Coast,” Space 

Ghost was a popular 1960s Saturday 
morning cartoon character. Comic-Con 
International honors the enduring appeal 

of a character who not only survived against cosmic villains but went on to become a Cartoon 

Network “talk show host” and the star of his own DC Comics miniseries!

THE ORIGINAL STAR TREK’S 40TH ANNIVERSARY

From its humble beginnings on network television, Gene Roddenberry’s 

Star Trek

 franchise went on to 

become a juggernaut, producing multiple TV series, a score of feature fi lms, and more merchandise than 
a cargo hold full of tribbles. Now it’s time to celebrate the 40th anniversary of the original 

Enterprise

 crew, 

who continually fulfi lled its mission to, “Boldly go where no man has gone before …”

JOIN IN ON THE FUN

More anniversaries and special programming themes are coming, and Comic-Con welcomes articles and 
artwork based on these titanic topics for the 2006 Souvenir Book. So if anything on this list strikes your 
fancy, or to fi nd out more information on these events, visit 

www.comic-con.org/cci/cci_progbk.shtml

.

AMAZING ANNIVERSARIES

Special  Themes  Announced  for  Comic-Con  2006

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28

COMIC-CON INTERNATIONAL: SAN DIEGO

Comic-Con International’s invited guest list con-
tinues to grow, adding creators from across the 
popular arts universe.

nominated for an Academy Award. 

Art School Confi-

dential

, Clowes’s newest film based on his 

Eightball

 

stories, will be released in 2006.

BRIAN FIES  

JUST ADDED

Freelance writer, journalist, and cartoonist Brian Fies 
lives in Northern California with his wife and twin 
daughters. His online series, 

Mom’s Cancer

, based 

on his mother’s diagnosis and treatment for lung 
cancer, won the 2005 Eisner Award for Best Digital 
Comic. The 

Mom’s Cancer

 graphic novel is being 

published by Abrams Books this spring.

BASIL GOGOS  

JUST ADDED

The dean of American monster mag cover artists, 
Basil Gogos is best known for his incredible run of 
covers on Forrest J. Ackerman’s 

Famous Monsters of 

Filmland.

 His vibrant and evocative paintings made 

FMoF

 literally pop off the newsstand racks, and 2006 

marks his first appearance at Comic-Con Interna-
tional.

CARMINE INFANTINO  

JUST ADDED

You can’t celebrate the Silver Age Flash’s 50th an-
niversary without the man who redesigned and 
redefined him! We spoke with Mr. Infantino and you 
can read all about it on page 14.

THE GALLERY OF GUESTS

For  Comic-Con  2006

PETER S. BEAGLE  

JUST ADDED

An accomplished novelist, songwriter, and 
screenwriter for both television and feature 
films, Peter S. Beagle is best known for his 
wonderful fantasy novel 

The Last Unicorn

. Other 

novels include 

Tamsin, The Unicorn Sonata,

 and 

The Innkeeper’s Song

, while his movie and TV 

projects include scripts for the animated ver-
sions of 

The Last Unicorn

 and 

Lord of the Rings,

 

plus the “Sarek” episode of 

Star Trek: The Next 

Generation.

WHAT ARE YOU CURRENTLY READING?

“There’s usually a book open in every room of the 
house, and in the car as well.  My father advised 
me very long ago, “Always bring a book.  You nev-
er know.”  Currently I seem to read more history 
than fiction, more mysteries than science fiction 
or fantasy, more poetry than I have since I was a 
good deal younger.  At the moment I’m reading, 
pretty much simultaneously, James Shapiro’s 

Year in the Life of William Shakespeare: 1599

James Lee Burke’s 

Crusader’s Cross

; Stephen 

Becker’s 

The Last Mandarin

, Jerome Charyn’s 

Savage Shorthand: The Life and Death of Isaac 
Babel

, [and I] just finished Alan Furst’s World War 

II novel 

Red Gold

 this morning while waiting for 

the coffee to brew.”

BRIAN BOLLAND  

JUST ADDED

One of Great Britain’s most respected comic artists, 
Brian Bolland has made a huge mark with American 
audiences as well. Check out his interview with 
Comic-Con Update on page 23.

DANIEL CLOWES

Dan Clowes’s incredible body of work includes 23 
issues of 

Eightball

 (published by Fantagraphics) and 

several collections, including 

David Boring, Carica-

ture

, and 

Pussey

. His most recent book is 

Icehaven

 (a 

reformatted version of the award-winning 

Eightball 

#22

) published by Pantheon. 

Ghost World

, his most 

popular work, was made into a movie starring Thora 
Birch and Scarlett Johanson; the screenplay was 

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COMIC-CON INTERNATIONAL: SAN DIEGO

EVERETT RAYMOND KINSTLER

Everett Raymond Kinstler’s artistic career began 
with illustrating comics like 

Hawkman

 and 

Zorro

 

and pulp novels featuring 

The Shadow

 and 

Doc 

Savage

. He went on to become one of the world’s 

leading portrait artists, painting such celebrities as 
Tony Bennett, Carol Burnett, Katharine Hepburn, 
and James Cagney. Kinstler also holds the record for 
painting the most government cabinet officers of 
any artist, and his artistic renderings of Presidents 
Ford and Reagan are official White House portraits.

ROBERT KIRKMAN

Robert Kirkman is one of the hottest and fastest-ris-
ing writers in comics today. His work on 

Invincible

 

and 

The Walking Dead

 for Image Comics has brought 

him industry-wide attention. For Marvel, Kirkman 
has written 

Gravity,

 and he is working on an upcom-

ing 

Invincible/Spider-Man

 team-up.

JAMES KOCHALKA

James Kochalka’s disarmingly charming art has 
made him one of the most recognized cartoon-
ists working in indy comics. Best known for his 
ongoing sketchbook diary,

 American Elf

, and his 

latest book, 

Super F*ckers,

 his past credits include 

Monkey vs. Robot, Peanutbutter & Jeremy, Fancy 
Froglin,

 and 

Fantastic Butterflies. 

In addition to 

cartooning, “James Kochalka Superstar” has built 
a cult following for his music.

JAMES KOCHALKA, WHAT ARE YOU
READING?

Here’s my recent reading list:

Invincible

 by Robert Kirkman

Giant Robot

 magazine

The Summer Book

 by Tove Jansson

Knuffle Bunny

 by Mo Willems

Acme Novelty Library

 by Chris Ware

The Golden Plates

 by Michael Allred

Barlowe’s Guide to Extraterrestrials

 by Wayne 

Douglas Barlowe

B.J. and Da Dogs

 by Ben Jones

 

ROGER LANGRIDGE

Roger Langridge was born in New Zealand and 
moved to London in the early 1990s to try his 
hand as a professional cartoonist. He is best 
known for his work on 

Knuckles the Malevolent 

Nun 

(Antipodes Publishing) and 

Fred the Clown 

(Fantagraphics Books). Fred’s adventures also 
appear online as 

Hotel Fred.

 

ROGER LANGRIDGE, WHAT’S ON YOUR “TO 
READ” LIST?

Fiction:

The Vesuvius Club

 by Mark Gatiss

Thud!

 by Terry Pratchett

Nicholas

 by René Goscinny (translated by Anthea 

Bell)

The Closed Circle

 by Jonathan Coe

Nonfiction:

London 1945

 by Maureen Waller

Surviving the Sword: Prisoners of the Japanese 
1942-1945

 by Brian MacArthur

Men of Tomorrow: Geeks, Gangsters and the Birth 
of the Comic Book

 by Gerard Jones

How Mumbo-Jumbo Conquered the World

 by 

Francis Wheen

Comics & Graphic Novels:

Blankets

 by Craig Thompson

The Gumps

 by Sidney Smith—picked up a 1970s 

hardback collection recently off eBay. Ludicrous 
melodrama but great fun.

BILLY MARTINEZ  

JUST ADDED

Artist, publisher and educator Billy Martinez has 
been teaching comics illustration in the San Di-
ego area for over 12 years, but he’s more widely 
known among fans for his comics company, 
Neko Press, which recently celebrated its 5th an-
niversary. Martinez’s creations include 

Wildflower

 

and 

Kickass Girl

, and his work has appeared in 

Heavy Metal

 magazine and on the SCI FI Channel 

show 

The Chronicle.

WHAT’S ON YOUR CURRENT READING LIST?

Flight

  (Image) These collections of short stories 

are not just entertaining but amazing to the eye.

Teenage Mutant Turtles

- Artobiography (Heavy 

Metal) This collection of Kevin Eastman’s works 
on the turtles is a treat for any aspiring artist. 
This 296-page book will inspire any artist to keep 
drawing and get to work!
Jim Mahfood’s classic 

40 oz. Comics

 (Image) This 

collection dates back to some of Jim’s early work 
before his workings with [Brian Michael] Bendis 
and Kevin Smith. It’s a great journey from page 
to page.

JEAN-CLAUDE MEZIERES 

JUST ADDED

French artist Jean-Claude Mézières first came to 
the attention of comics readers after a reunion with 
his childhood friend Pierre Christin, who in 1966 
wrote a script for him to draw for 

Pilote

. Mézières 

´

`

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30

COMIC-CON INTERNATIONAL: SAN DIEGO

subsequently illustrated scripts by Fred, Reiser, Lob, 
and Goscinny. Then in 1967 he and Christin started 

Valérian,

 which soon became one of the most popu-

lar French science fiction series. Mézières produced 
a number of color short stories for 

Métal Hurlant

 

in the late 1980s, and he continued working with 
Christin on such graphic albums as 

Lady Polaris

 and 

Canal Choc

.

SHELDON MOLDOFF  

JUST ADDED

One of the Golden Age’s greats, Sheldon Moldoff 
returns to Comic-Con after a few years’ absence. 
Moldoff co-created the original Hawkman and had 
a long run ghosting the art on many Batman titles 
into the 1960s. Today, fans eagerly seek out full-
color re-creations of Moldoff’s popular work.

JIM MOONEY  

JUST ADDED

With a career dating back to Timely Comics in the 
1940s, Jim Mooney is one of the most beloved 
artists of the Golden and Silver Ages of comics. 
While he is known for working on 

Tommy Tomor-

row

 and 

Superboy

 at DC and 

Spider-Man 

at Marvel, 

he is probably best recognized for his work on 

Supergirl

CHRISTOPHER PAOLINI  

JUST ADDED

Christopher Paolini penned his first novel, 

Eragon,

 

while living in Paradise Valley, Montana, with his 
parents and younger sister. After reading his work, 
his family self-published the book, promoting 

Eragon

 across the U.S. until it came to the attention 

of publisher Alfred A. Knopf Books for Young Read-
ers. Knopf subsequently released 

Eragon

 in August 

2003, and it became a best-seller. 

Eldest

, book two 

in the 

Inheritance Trilogy

, was published by Knopf in 

August 2005.

GEORGE PÉREZ  

JUST ADDED

One of comics’ most beloved artists, George Pérez 
has drawn a veritable who’s-who of A-list characters 
to ever appear in print. From his 1980s co-creation 
of the 

New Teen Titans

 with Marv Wolfman to his 

mega-successful 

JLA/Avengers

 crossover miniseries 

with Marvel and DC, Pérez’s work has thrilled comics 
fans for over three decades.

HOWARD PORTER  

JUST ADDED

Howard Porter’s vibrant and action-packed 
layouts make him one of the most exciting art-
ists working in super-hero comics today. He has 
drawn the 

Fantastic Four

 for Marvel and 

The Ray

 

for DC, but it was his revitalization of 

JLA

 with 

writer Grant Morrison that took the comics world 
by storm. Porter’s latest work includes a run on 
the 

Flash

 comic with writer Geoff Johns.

BESIDES GETTING EVERY DC COMIC, WHAT 
ELSE IS HOWARD PORTER READING?

“I look for anything Hellboy—[Mike] Mignola. 
I recently discovered the Acme Novelty comic 
stuff and try and find anything I can by Chris 
Ware. I also really enjoy finding self-published 
books when I go to conventions, particularly the 
really old school ones that have been made with 
a copier and stapler.”

ANDY RUNTON

Andy Runton’s 

Owly,

 published by Top Shelf, 

has charmed critics and readers alike and was 
nominated for Best Publication for a Younger 
Audience in the 2005 Will Eisner Comic Industry 
Awards. In his series of 

Owly

 books, Runton’s 

nearly wordless storytelling showcases both his 
gift for characterization and his love of wildlife 
and the outdoors. 

ANDY, TELL US WHAT YOU’RE CURRENTLY 
READING.

For comics and more:

Where Hats Go

 by Kurt Wolfgang

Beach Safari

 by Mawil

Spiral Bound

 by Aaron Renier

Calvin and Hobbes

 by Bill Watterson

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31

COMIC-CON INTERNATIONAL: SAN DIEGO

SHAG  

JUST ADDED

Pop artist “Shag” is the alter ego of Josh Agle, who 
created the moniker using the last two letters of his 
first name and the first two of his last. He began his 
professional career as an illustrator/designer but 
soon found his original paintings garnering consid-
erable attention from galleries and collectors. Shag’s 
colorful and playful retro style consistently charms 
fans, and a major book on his work, 

Shag: The Art of 

Josh Agle

, debuted in 2005.

YOSHIHIRO TATSUMI  

JUST ADDED

Known as the grandfather of alternative manga 
in Japan, Yoshihiro Tatsumi is highly regarded by 
cartoonists—and fans—all over the world. Tatsumi’s 
work predated the advent of the literary graphic 
novel movement in the United States by 30 years, 
and it has finally made it into English translation 
with the publication of Drawn and Quarterly’s 

The 

Push Man and Other Stories,

 which reprints classic 

tales from the artist’s 1960s period; 2006 marks his 
first appearance at Comic-Con International.

Rover

 by Michael Foran

Flight

 by the Flight crew

Moo-Cow Fanclub

 children’s magazine by Becky 

Ances and Ryan Wilson

And for children’s books:

Lyle, Lyle Crocodile

 by Bernard Waber

Paddington Bear

 by Michael Bond

Make Way for Ducklings

 by Robert McCloskey

Curious George

 by H. A. Rey

Babar

 by Jean De Brunhoff

Stellaluna

 by Janell Cannon

JOHN WAGNER

Born in the U.S. but a resident of the U.K. since 
he was 13, writer John Wagner is best known as 
the co-creator of 

Judge Dredd

 with artist Carlos 

Ezquerra, and he continues to work on the series 
almost 30 years after its creation. Wagner also 
scored raves for his work on 

Batman

Button Man

and

 The Bogie Man

, the United Kingdom’s best-

selling indy comic. Most recently, director David 
Cronenberg adapted Wagner’s graphic novel 

History of Violence

 into a movie that has received 

great critical acclaim.

WHAT IS JOHN WAGNER READING?

“At the moment I’m reading 

Blue at the Miz-

zen,

 the last of Patrick O’Brian’s excellent Jack 

Aubrey naval stories (

Master & Commander

), 

and sorry I’ll be to see them go. Also 

The Book of 

Heroic Failures,

 a collection of often spectacular 

un-successess, by Stephen Pile, and a similar 
volume, 

Man Suffocated by Potatoes, 

by William 

A. Marsano.”

SCOTT WILLIAMS

One of the most popular inkers working in comics 
today, Scott Williams is best known for his work with 
Jim Lee. His projects include inking the best-selling 

Batman: Hush

 and 

Superman: For Tomorrow

 story 

arcs, and he is currently inking DC’s 

All Star Batman 

and Robin the Boy Wonder

.

Don’t miss out on any of the action! For the latest con-
vention news and information on newly added special 
guests visit 

www.comic-con.org.

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32

COMIC-CON INTERNATIONAL: SAN DIEGO

Though they 
remain most-
ly unseen by 
convention 
attendees, 
the back-
bone of 
Comic-Con 
International 
is the volun-
teers. These 
fine folks 
help keep 
everything 
running 
smoothly, 
and in 2005 
over 1,100 
people served in every department. We need you 
to join that team in 2006.

REQUIREMENTS

All the assigned tasks are pretty basic but volun-
teers . . .
• Must be 16 years of age or older.
• Should possess a positive attitude and a willing-
ness to help.

WHAT YOU GET

Some amazing perks, including . . .
• A chance to work on the greatest comics and pop 
culture convention in the world!
• Free entrance into that very same convention for 
the day you volunteered, which means no waiting 
in line.
• A free 
volunteer T-
shirt like the 
one pictured 
here, but 
only after 
completing 
a specific 
number of 
tasks for the 
department.
• The oppor-
tunity to at-
tend Preview 
Night, so you 

can check out 
the Exhibit 
Hall before it 
opens to the 
general public 
(this perk is for 
pre-registered 
volunteers 
only).
• The opportu-
nity to attend 
the CCI Vol-
unteer Picnic 
in June if you 
pre-register to 
volunteer by 
May 25. At this 
festive event 

you get to meet fellow volunteers, introduce your-
self to department heads, possibly get recruited into 
the department you want to work for, 

and

 win cool 

door prizes; now how much fun is that? 

HOW YOU DO IT

It’s super easy, but pay attention to the fine print!
• Pre-registration forms must be postmarked by 
June 23, 2006, and if you want to attend the picnic 
you need to sign up by May 25.
• To secure a form or obtain more info, contact 
the Volunteers Department via mail, fax, or e-mail 
(

volunteers@comic-con.org

) or by marking the 

appropriate space on the Multipurpose Form in 
this booklet and mailing it. You can also download 
everything you need at 

www.comic-con.org

• You can reg-
ister onsite, 
but make the 
Volunteer 
Desk your first 
stop when 
landing at the 
Convention 
Center. Just 
remember, if 
you don’t pre-
register, there 
will be no 
Preview Night 
for you.

WE WANT YOU!

The 2005 T-shirt front

 . . .

 

 . . . and back. 

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33

COMIC-CON INTERNATIONAL: SAN DIEGO

Entries are now being accepted for the 18th annual 
Will Eisner Comic Industry Awards, to be given to the 
finest publications and creators of 2005. 

Publishers can submit any comic, graphic novel, or 
comics-related periodical or book that was shipped 
to retailers between January 1, 2005 and December 
31, 2005.  The deadline for submissions is March 10.

The submitted items will be considered by a blue-
ribbon panel of judges, who will select the final 
items to appear on the Eisner Awards ballot. This 
year’s judges, who have been chosen by Awards 
Administrator Jackie Estrada, are:

Christopher Allen,

 managing editor for Comic-

BookGalaxy.com. He has written for 

The Comics 

Journal,

 MoviePoopShoot.com, NinthArt.com, and 

other websites. He is also into the fifth year of his 
Breakdowns column for ComicBookGalaxy.com.

John Gallagher, 

cartoonist, self-publisher, and 

award-winning designer. Under the Sky-Dog Press 
banner, Gallagher has written and illustrated his on-
line and printed graphic novel series 

Buzzboy

 since 

1998, and he has run his own award-winning design 
and custom comics studio since 1994. Gallagher 
organized, edited, and published 

More Fund

 (2003) 

and 

Even

 

More Fund

 (2004) comics anthologies, 

which raised thousands of dollars to benefit the 
Comic Book Legal Defense Fund. He is a member of 
the SPX Steering Committee and sits on the Balti-
more Comic-Con advisory board. 

Nisha Gopalan

, comics editor at 

Entertainment 

Weekly.

 As a staff editor at EW, Gopalan also works 

on the News and Notes and music sections. Prior to 
joining EW, she was employed at 

Premiere

 maga-

zine, where she was pretty much the only comics 

enthusiast in the office and used that distinction to 
interview any comics creator she could get on the 
phone. 

Robert Randle, 

purchasing brand manager for 

Diamond Comic Distributors. A graduate from the 
Maryland Institute, College of Art in 2001 with a 
BFA in Illustration, Randle has completed freelance 
art assignments for a variety of clients, including 
published works in the comic book industry. He has 
been a buyer for Diamond since 2002 and is respon-

2

0

0

Judges Named, Entries Sought

Je

ss

ic

a W

et

h

in

g

to

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ea

n © E

is

n

er A

w

ar

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s

EISNER

A

W

A

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34

COMIC-CON INTERNATIONAL: SAN DIEGO

sible for the promotion and distribution of various 
large, mid-range, and small publishers, reviewing 
new submissions for acceptance into the 

Previews

 

catalog, and writing reviews for comics in the Staff 
Picks section of 

Previews

Robert Scott, 

owner/operator of Comickaze Comics 

Books and More in San Diego. An avid reader of 
comics in his early teens, Scott has continued his 
love of the medium as a fan, retailer, writer, and/or 
publisher (AFC Studio) for the last 25 years. He is 
also the founder of The CBIA (Comic Book Industry 
Alliance), an industry trade forum. Scott previously 

EISNER AWARDS SUBMISSION 

INFORMATION

Publishers submitting entries for consideration should send one copy each of the comics or books 
to be considered and include a cover letter indicating what is being submitted and in what catego-
ries. The tentative categories include best single issue, best short story, best serialized story, best 
continuing comic book series (at least two issues must have been published in 2005), best limited 
comic book series (at least half of the series must have been published in 2005), best new series, 
best title for a younger audience, best anthology, best graphic album—new material, best graphic 
album—reprint, best archival collection, best humor publication, best U.S. edition of foreign mate-
rial, best webcomic, best writer, best writer/artist, best penciler/inker (individual or team), best 
painter (interior art), best lettering, best coloring, best comics-related book, best comics-related 
periodical, and best publication design. The cover letter should also include both a mailing address 
and an e-mail address.

Publishers may submit a maximum of five items for any one category, and the same item or person 
can be submitted for more than one category. Each imprint, line, or subsidiary of a publisher may 
submit its own set of entries. There are no entry fees.

Creators can submit materials for consideration if: (a) their publisher is no longer in business; (b) 
their publisher is unlikely to participate in the nomination process; or (c) they have severed con-
nections with the publisher or have similar reasons for believing that their publisher is unlikely to 
consider nominating them or their work.

All submissions should be sent to Jackie Estrada, Eisner Awards Administrator, 4657 Cajon Way, San 
Diego, CA  92115, before the deadline of March 10. The nominees will be announced in April, and 
ballots will go out in May to some 5,000 creators, editors, publishers, distributors, and retailers. The 
results will be announced by celebrity presenters at the gala awards ceremony on the evening of 
July 21 at Comic-Con International in San Diego. 

The full Call for Entries information can be found in the Eisner section of the CCI website: 

www.

comic-con.org.

co-owned The Comic Alternative in San Diego dur-
ing the early 1980s and reentered comics retailing 
with Comickaze in 1992; the store was recently 
named San Diego’s Best Comic Store for 2005 by San 
Diego City Beat.

“The judges are chosen for their knowledge about 
comics, their wide-ranging tastes, and their im-
partiality,” says Estrada. Because all publishers and 
creators have the opportunity to submit their work 
for consideration, the judges are able to look at the 
full spectrum of material published in the previous 
year.

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36

COMIC-CON INTERNATIONAL: SAN DIEGO

REGISTRATION FUN 

FACTS!

Longtime convention attendees will attest that the 
fastest and easiest way to attend Comic-Con Inter-
national is by pre-registering. Doing so can save 
you cash, get you early entrance into the Exhibit 
Hall during Wednesday’s Preview Night, and bestow 
super powers on the first 100 people to sign up!

Okay, that bit about super powers was a lie. But pre-
registration can make your life a heck of a lot easier, 
and here’s how it works.

Just fill out the Multipurpose 
Form on page 37 and fax or mail 
it in with the appropriate pay-
ment. It’s that simple. You’ll be 
sent a confirmation receipt; bring 
that receipt (along with a picture 
ID) to the pre-registration badge 
pickup at Comic-Con Internation-
al 2006, and you’ll receive your 
badge, holder, Souvenir Book, 
and Events Guide.

Seriously, you’d be hard-pressed 
to find a smoother way to begin 
your convention experience.

And don’t forget about Preview 
Night! Absolutely 

no

 Comic-Con 

memberships will be sold on Pre-
view Night (Wednesday, July 19), 

PRE-REGISTER NOW

And Make Life Easy!

Here’s your handy guide to all things registration. 

PRE-REGISTRATION PRICES

 

for full 4-day Memberships Only

Postmarked by April 19, 2006

Adults: $50
Juniors (12–16)/Seniors (60+): $25

Postmarked by June 7, 2006

Adults: $55
Juniors (12-16)/Seniors (60+): $27

Postmarked by June 21, 2006

Adults: $65
Juniors (12-16)/Seniors (60+): $30

• All prices are subject to change. Children 11 and 
under are free with a PAID adult membership.
• Active Military with ID can pay the Junior/Senior 
Price. This deal does not extend to dependents.
• Pre-registration memberships are transferable or 
refundable until June 21, 2006.

ON-SITE HOURS

Wednesday, Preview Night: 3:00 

PM

 to 8:00 

PM

*

Thursday–Saturday: 9:30 

AM

 to 6:00 

PM

Sunday: 9:30 

AM

 to 4:00 

PM

No on-site registration, preregistered members only

But you 

don’t understand… I’M HIS FATHER!

Man, I told you to 

pre-register!

so only those attendees who have pre-registered for 
a full four-day membership can gain admittance to 
that special night.

Sure, you could just hold off until the convention, 
stand in line to register, and pay full price—but 
why? When things are this easy, you should really 
take advantage of them. You’ll save time, save 
money, and be able to enjoy Comic-Con Interna-
tional that much sooner.

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SAN DIEGO

 

JULY 20-23, 2006

Please send me information on exhibiting

in the Art Show.

Please have your Disabled Services

Department contact me about my special

needs.

Please send me a volunteer application

and information.

Please send me information about

participating in the Masquerade.

BADGES WILL NOT BE MAILED OUT IN ADVANCE.

All pre-registered badges will be available for pickup at
Attendee Pre-Registration in the Convention Center's
Sails Pavilion (Upper Level), beginning Wednesday,
July 19 at 4:00 p.m.

Please make checks and money orders

payable to COMIC-CON INTERNATIONAL.

Check or Money Order        Visa         MasterCard          American Express

Credit Card Number                                                                    

 Expiration Date (mm/yyyy)

Do not write below this line - Office use only

Payment Type

2006 Badge #
Check #
Total Amount $

Company Name

Address

City

Phone

Fax

State

Zip

Country Code (if not USA)

Country (if not USA)

Check One

         Adult            Junior (12-16)           Senior (60+)

Note: All prices subject to change. *Children under 12 free with PAID adult membership.

Forms postmarked or faxed after

June 21, 2006 will

NOT BE PROCESSED

.

No e-mail registration will be

accepted.

Sorry, 

NO REFUNDS 

after

June 21, 2006.

Only 4-day pre-registered members can attend Preview

Night. No onsite registration will be available for Preview

Night—only badge pickup for pre-registered full members.

-the

Adults

$65.00

Juniors (12-16) & Seniors (60+)

$30.00

Full Membership At

-Door Prices

Pre-Registration Prices

 

(check one)             

Need Info?

 

(check as needed)

ONLY ONE
MEMBERSHIP PER
FORM PLEASE.
THIS FORM MAY
BE COPIED.

First Name

Last Name

Signature                                                                   

Active Military with ID can pay the Jr/Senior price. This deal does not extend to dependants.

Must be postmarked by JUNE 7, 2006

Adults

$55.00
$27.00*

Juniors (12-16) & Seniors (60+)

Must be postmarked by JUNE 21, 2006

Adults

$65.00
$30.00*

Juniors (12-16) & Seniors (60+)

Must be postmarked by APRIL 19, 2006

Adults

$50.00
$25.00*

Juniors (12-16) & Seniors (60+)

Must be postmarked by JUNE 8, 2006

Adults

$55.00

Juniors (7-16) & Seniors (60+)

$27.00*

Must be postmarked by JUNE 20, 2006

Adults

$65.00

Juniors (7-16) & Seniors (60+)

$30.00*

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38

COMIC-CON INTERNATIONAL: SAN DIEGO

Here are some brief descriptions of hotels for Comic-
Con International: San Diego 2006. All of these 
locations are on the convention shuttle route and 
offer special rates through the Comic-Con Travel and 
Housing desk.

Manchester 
Grand Hyatt

Comic-Con headquarters

First-rate luxury hotel 
with outdoor pool, ten-
nis courts, health club, 
and spa. Hosts Comic-
Con hospitality suite, 
films, and gaming.
 

Westin Horton Plaza

Full-service deluxe hotel with spa and outdoor pool. 
Next door to the exciting Horton Plaza shopping 
and entertainment complex.
 

Wyndham Emerald Plaza

Ultra-modern deluxe hotel with lap pool and fitness 
club.
 

Hilton Gaslamp Quarter

Located in the heart of the historic Gaslamp District 
in Downtown San Diego. Features an outdoor pool 
and fitness room, and is within walking distance to 
shopping, restaurants, and the Convention Center.
 

Omni San Diego

Located directly across the street from the San Di-
ego Convention Center. Guestrooms are decorated 
in elegant contemporary style and offer spectacular 
views.  Hotel has an outdoor pool and fitness room.
 

Radisson Hotel Harborview

Newly renovated moderately priced hotel with a 
heated pool. Most rooms have balconies and cof-
feemakers.

Embassy Suites San Diego Bay

Full-service, all-suite property with indoor pool and 
made-to-order breakfast daily.
 

Holiday Inn on the Bay

Full-service moderately priced hotel located on San 
Diego Bay with an outdoor pool and health club.
 

ROOM SERVICE

Places to Stay for Comic-Con 2006

Marriott Hotel & Marina

First-rate luxury hotel with a lagoon-style outdoor 
pool and tennis courts.
 

Bristol Hotel

Moderately priced hotel with a fitness room.   Lo-
cated across the street from Horton Plaza shopping 
complex.

Best Western Bayside Inn

This moderate hotel offers complimentary continen-
tal breakfast and has an outdoor heated pool.
 

Sheraton Suites

Deluxe all-suite property featuring 264 suites, busi-
ness center, health club with heated indoor pool 
and upscale lobby bar and restaurant.
 

Horton Grand

A full-service Victorian-era hotel in the heart of the 
Gaslamp District.
 

W San Diego

A unique deluxe hotel located downtown within 
walking distance of the Gaslamp Quarter, Little Italy, 
the Convention Center and the Bay. The hotel offers 
24-hour gourmet room service, an outdoor pool, a 
fitness center and a spa.

Westgate

Luxury hotel with elegant 18th-century French 
decor. Located across the street from Horton Plaza 
shopping and entertainment complex.

Hotels at Comic-Con International are always hot 
commodities, and some book up early. That said, in-
ventory is constantly monitored for availability and 
updated frequently, so check out 

www.comic-con.

org

, or call the Comic-Con Travel and Housing desk 

at 877-55-COMIC. Outside the U.S. please call 212-
532-1660. The reservation deadline for Comic-Con 
special member rates is June 8, 2006.

The Comic-Con Travel Desk opens 

for reservations on 

February 15 at 9:00 a.m. PST.

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39

COMIC-CON INTERNATIONAL: SAN DIEGO

Marriott Mission Valley

4 miles

NO

$139

$139

$139

$149

$159

$12 self/$17 valet

Sheraton SD Hotel & Marina

1/2 mile

NO

$179

$179

$179

$199

$219

$16 self/$22 valet

Hotel 

Distance to 

Shuttle 1 bed/1 person 1 bed/2 people 2 beds/2 people 2 beds/3 people 2 beds/4 people Parking Per Day

Convention Center

sgl rate

dbl rate

twin rate

tpl rate

quad rate

(Subject to Change)

Note:

 While most hotels on the list are on shuttle routes, hotels added in the future may not be. Please 

check with the Travel Desk. Hotel rates for hotels with shuttle routes include a $5 per night reimbursement 
to Comic-Con to help defray shuttle costs. Hotels not serviced by shuttle routes do not charge shuttle fees.
San Diego city blocks are small compared to other cities and take 2-3 minutes to walk.

Important Information

 (Please read carefully)

All reservations require an advanced deposit equal to one night’s room and tax. Deposits can be made by 
credit card, check, or money order. The hotels will process advance credit card deposits on June 8, 2006. 

*Deposits are nonrefundable beginning June 8, 2006.

 Reservations made after June 8, 2006 will require 

the deposit at the time of booking. The deposit is nonrefundable. 

The Comic-Con Travel Desk opens for reservations on February 15 at 9:00 a.m. PST.

To Make Reservations

Make reservations online at 

www.comic-con.org

 or by phone at 1-877-55-COMIC (1-877-552-6642) or 212-

532-1660, M-F 9:00 a.m.-7:00 p.m. EST. 

 Please do not call or fax prior to February 15, 9:00 a.m. PST.

 

To make 

changes/cancellations:

 Call the Comic-Con Travel Desk at 1-877-55-COMIC. Changes must be received 14 

days prior to arrival; changes are on a request basis and are subject to availability/discretion of the hotel. 
Responsibility and liability: Comic-Con International and/or its agents act only in the capacity as agents for 
customers in all matters pertaining to hotel accommodations and transportation whether by railroad, motor 
car, airplane or any other means, and as such are not responsible for any damage, expense, or inconvenience 
caused by train or plane arrivals or departures, or by any change of schedule or condition from any loss, 
injury, or damage to any person or property from any cause whatsoever. Baggage handling throughout the 
program is entirely at the owner’s risk. The customer agrees that show management and/or its agents shall 
not be held responsible in the event of any error or omission in any promotional material. 

HOTEL AT-A-GLANCE CHART

Best Western Bayside Inn

1 mile

YES

$139

$139

$139

$149

$149

$7.00 self

Embassy Suites

5 blocks

YES

$180

$180

$190

$210

$230

$22 valet

Hilton Gaslamp

Across street

YES

$188

$188

$188

$208

$228

$24 valet

Holiday Inn on the Bay

13 blocks

YES

$158

$158

$158

$173

$188

$18 self/$22 valet

Horton Grand

3 blocks

YES

$175

$175

$175

$195

$215

$20 valet

Manchester Grand Hyatt

2 blocks

YES

$189

$189

$189

$214

$239

$18 self/$24 valet

Marriott Hotel and Marina

Adjacent

YES

$219

$219

$219

$239

$259

$18 self/$24 valet

Omni San Diego

Across street

YES

$188

$188

$198

$218

$238

$24 valet

Radisson Harbor View

13 blocks

YES

$145

$145

$145

$155

$165

$12 self

Sheraton Suites

10 blocks

YES

$147

$147

$157

$177

$197

$20 self/$23 valet

W San Diego

6 blocks

YES

$279

$279

$289

$309

$329

$26 valet

Westgate

7 blocks

YES

$174

$174

$194

$214

$214

$22 valet

Westin Horton Plaza

6 blocks

YES

$160 before 

4/20/06 / $176 

after 4/20/06

$160 before 

4/20/06 / $176 

after 4/20/06

$170 before 

4/20/06 / $186 

after 4/20/06

$190 before 

4/20/06 / $206 

after 4/20/06

$210 before 

4/20/06 / $226 

after 4/20/06

$25 valet

Wyndham Emerald Plaza

8 blocks

YES

$157

$157

$157

$177

$197

$20 self/$23 valet

HOTELS WITH CCI SHUTTLE SERVICE

HOTELS WITHOUT CCI SHUTTLE SERVICE

ALL HOTELS HAVE LIMITED AVAILABILITY; PLEASE CALL THE COMIC-CON TRAVEL DESK FOR MORE INFORMATION .

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SAN DIEGO 

JULY 20-23, 2006

E-mail address

First Name

Last Name

Company Name

Address

City

Phone

Fax

State

Zip

Reservation Guarantee: 

All Comic-Con reservations will require an advance deposit equal to one room night and tax.

Deposits can be made by credit card, check, or money order. The hotels will process the advance credit card deposits on

June 8, 2006. The deposit is nonrefundable beginning on June 8,

  2006. Reservations made after June 8,2006 will require

the deposit at the time of booking and are nonrefundable at that point. If paying by check, please call the Travel Desk

for reservations and deposit instructions.

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Comic-Con International

PO Box 128458
San Diego, CA 92112-8458
www.comic-con.org

NONPROFIT ORGANIZATION

US POSTAGE PAID

COMIC-CON INTERNATIONAL

Comic-Con International Update #1 • 2006