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TM & © 2006 DC Comics. All Rights Reserved.

YOUR COMPLETE GUIDE TO

 

COMIC-CON INTERNATIONAL

SAN DIEGO • JULY 20-23, 2006

INSIDE: Details About 

the Biggest & Best 

Show of the Year!

PLUS: Exclusive Interviews 

with Special Guests  and 

Other Exciting Features 

NO.  2

  | 

2006

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FALLEN / COMICON REGISTRATION GUIDE

JOB#: ACN-106-11

BLEED: 6.875” X 10.375” / TRIM: 6.625” X 10.125” / LIVE: 6.25” X 9.75”

ART PREPARED BY: BLT & ASSOCIATES, INC. / 6430 SUNSET BLVD. 8TH FLOOR / HOLLYWOOD, CA 90028

IF YOU HAVE ANY QUESTIONS REGARDING THIS AD, PLEASE CALL 323-860-4000 AND ASK FOR JENNIFER BAIRD.

FINAL MECHANICAL 05-01-06

A NEW ABC FAMILY ORIGINAL MOVIE

TM & © ABC Family Worldwide, Inc. All Rights Reserved.

COMING AUGUST 2006

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COMIC-CON INTERNATIONAL: SAN DIEGO

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COMIC-CON INTERNATIONAL: SAN DIEGO

GOOD TO KNOW!

Here’s some important information that will help you 
make your visit to Comic-Con safe, fun, and more enjoy-
able!

• Important information about programs and events! 

All event and program rooms have limited capacity as set 
by the Fire Marshall. Even though your badge is needed to 
get into all events, 

it does not guarantee

 you access to any 

event if it has reached its capacity limit. We do not clear 
rooms between events. If an event or program interests 
you, we recommend you get there early. 

• No kidding . . . no smoking! 

No smoking is allowed in the Convention Center or at any 
Convention event at any time and in any location

. You are 

welcome to step outside to smoke, but please be consid-
erate of others when you do. This policy is in place not 
only for the comfort of attendees but also to comply with 
San Diego city ordinances prohibiting smoking at public 

events. Please comply with this policy; noncompliance 

may result in being ejected from the convention. The 
Convention Center has designated smoking areas out-

side which are indicated by the presence of canister 
ashtrays.

• Always wear your badge and hang onto it!

You will need your badge to attend any Convention 

function, including visiting the Hospitality Suite or 
going to Convention-sponsored parties. If you’re 

asked to show your badge, please do so.

Please do not give away your badge to people 

outside the Convention Center when you leave 

Comic-Con. You may think you’re doing someone 
a favor, but most of the badges given away end up 

being resold on the street, sometimes for an even 
higher price than what you would pay at Comic-Con. 

Hold on to your badge! 

• Sorry... no paging! Arrange a time and place 

to meet at the end of the day or if you get 
separated.

Please keep in mind that there can be no personal 
pages over the P.A. system. To get messages to 

people, leave them on the message area on the 

Information Board in the Main Lobby, Hall C.

• Holster that weapon, sheath that sword, 
power down that light saber!

If you wear a costume that includes a replica 

weapon, please keep it attached to the costume. 
Don’t draw it or aim it.

• Leave your pets at home, where they’ll be 

happier! 

If you have pets, including iguanas, parrots, boa 

constrictors, or other nonhuman critters, please leave 

them at home. The Convention Center will not allow ani-
mals into the building, except for service animals.

• Big wheel keeps on turning . . . but not in the Exhibit Hall!

Please be aware that hand carts, dollies, and oversized 
strollers are not allowed on the Exhibit Hall fl oor. 

• Turn off  the camera!

No video or audio recording is allowed at movie studio 
presentations. Each program and presentation has its own 
rules when it comes to what can and cannot be photo-
graphed or recorded. Please abide by those rules when 
they are stated. 

• Cell phones and pagers—use proper etiquette!

Please turn your cell phones and pagers off  or to vibrate 
when you’re in programming and events rooms. If you 
must take or make a call, please step outside. When asked 
to not photograph or record video in a programming 
room, these rules also apply to cell phones that contain 
cameras and video recorders.

FAST FACTS

Information to Help You Enjoy Comic-Con Even More!

July 20–23, 2006 (Prev

iew Night: July 19)

Hours:

Wednesday, July 19: 6:0

0-9:00 

PM

 (Preview Night)

Thursday, July 20: 10:00 

AM

 to 7:00 

PM

*

Friday, July 21: 10:00 

AM

 to 7:00 

PM

 *

Saturday, July 22: 10:00 

AM

 to 7:00 

PM

 *

Sunday, July 23: 10:00

 

AM

 to 5:00 

PM

*Additional nighttime e

vents and programming r

un until 

after midnight.

Where:

 San Diego Convention C

enter, 111 W Harbor 

Drive, San Diego, CA  92

101 (see page 56 for com

-

plete directions).

Comic-Con’s offi  cial hea

dquarters hotel is the 

Manchester Grand Hyat

t (1 Market Place).

 

Registration fees:

Four-Day Memberships

:

By June 7, 2006: Adults: $

55, Juniors/Seniors*: $27

By June 21, 2006 and at t

he door price: Adults: $6

5, 

Juniors/Seniors*: $30

*Children under 12 free w

ith PAID adult members

hip. 

Juniors are those 12–16 y

ears old; Seniors are tho

se age 60 

or older. Active military w

ill pay the Junior/Senior p

rice. 

This off er does not exte

nd to dependents.

One-Day Memberships: 

Available in advance on

ly online at 

www.comic-

con.org. 

They are also available o

nsite. 

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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

Director of Programming

Gary Sassaman

HR/Guest Relations

Sue Lord

Talent Relations

Maija Gates

Eisner Awards Administrator

Jackie Estrada

Exhibits Manager

Justin Dutta

Exhibits Sales

Rod Mojica

Exhibitor Registration

Sam Wallace

Professional Registration

Glenda Moreno

Anna-Marie Villegas

EVENTS

At-Show Newsletter

Chris Sturhann

Films

John Cassels

Games

Ken Kendall

Japanese Animation

John Davenport

Josh Ritter

Masquerade

Martin Jaquish

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

MISSION STATEMENT:

 

Comic-Con International is a non-

profi t educational organization dedicated to creating aware-
ness 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:

Superman by Adam Hughes. TM & © 2006 DC Comics. All 

Rights Reserved.

COMIC-CON INTERNATIONAL 2006 UPDATE #2

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

Comic-Con Fast Facts ................................................................................................1

Comic-Con: The Big Picture ....................................................................................3

LOST: Found at Comic-Con ......................................................................................4

Comics Programming ...............................................................................................8

Films .

9

Important Program Information ...........................................................................9

Comics Art Conference ...........................................................................................10

Star Wars Fan Wins Big! ...........................................................................................11

Japanese Anime ........................................................................................................12

Gaming .........................................................................................................................13

Masquerade ................................................................................................................15

Masquerade Fast Facts ............................................................................................17

Hollywood Programming ......................................................................................18

Comic-Con International Independent Film Festival ................................. 20

Comic-Con Film School ..........................................................................................21

Roger Corman ........................................................................................................... 22

Special Guests ........................................................................................................... 23

J. Michael Straczynski Interview ......................................................................... 30

Autograph Area ........................................................................................................ 33

George R. R. Martin Interview ............................................................................. 34

Andy Runton Interview .......................................................................................... 36

Eisner Award Nominations ................................................................................... 38

Eisner Award Judges’ Comments ...................................................................... 40

Attending Professionals ........................................................................................ 42

Exclusive Items .......................................................................................................... 44

Preview Night ............................................................................................................ 46

Freebie Tables ............................................................................................................ 46

Exhibit Hall ................................................................................................................. 47

Artists’ Alley ............................................................................................................... 47

Art Show ...................................................................................................................... 48

Art Auction ................................................................................................................. 48

Portfolio Review ....................................................................................................... 49

Child Care .................................................................................................................... 50

Disabled Services ..................................................................................................... 50

Volunteers ....................................................................................................................51

Hospitality Suite ........................................................................................................51

Registration ................................................................................................................ 52

Blood Drive ................................................................................................................. 52

Multi-purpose Form ................................................................................................ 53

Hotel Information .................................................................................................... 55

Directions .................................................................................................................... 56

Parking and Shuttle Map ........................................................Inside Back Cover

UPDATE

Richard Andreoli

Fae Desmond

Jackie Estrada

David Glanzer

Tommy! Goldbach

Scott Saavedra

Gary Sassaman

Dan “The Man” Vado

CONTRIBUTORS

Beth Accomando

Maryelizabeth Hart

Mysterious Galaxy

PHOTOS

Tom Deleon

Kevin Green

Bill McClelland

Phong Le

Kira Olson-Tapp

Sky King

Tina Gill

Krissy McClelland

Allen Barsody

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COMIC-CON INTERNATIONAL: SAN DIEGO

Remember the ancient parable about the six blind 
men who fi rst encounter an elephant? Each blind 
man touches a diff erent part of the animal, and 
each comes away with a diff erent thought on what 
the beast looks like. Comic-Con is a lot like that 
elephant. Everyone who visits it comes away with a 
diff erent view.

To many, it is still what it was in its formative years: 
one of the world’s leading comics conventions, with 
a dedication to a diverse guest list and publisher 
roster encompassing mainstream superhero comics, 
alternative self-published gems, comic strips, and 
the Golden and Silver Ages of comics; in fact, CCI 
can boast the largest gathering of industry profes-
sionals in the country. To others, it’s a celebration of 
the movies, with major Hollywood stars appearing 
to promote their latest fi lms, many times months in 
advance of the fi lm’s premiere. Comic-Con cel-
ebrates independent fi lm, too, with its own four-day 
Film Festival, a juried event with awards and prizes 
that has grown to be an important festival in and of 
itself.

Comic-Con is one of the only conventions that 
covers animation in detail, with programs devoted 
to everything from the hand-drawn charm of 

The 

Simpsons

 to the computer animated fi lms of Pixar

.

 It 

also celebrates the far-off  worlds of science fi ction 

COMIC-CON

and fantasy with guest appearances by some of the 
greatest authors and artists in those fi elds, including 
legends like Ray Bradbury, a staple here since 1970. 
Comic-Con off ers an extensive variety of artists and 
illustrators selling everything from original paint-
ings and sketches to specially prepared, limited 
edition sketchbooks. 

To anime and manga fans, Comic-Con is a destina-
tion for the very best of both worlds. For those into 
gaming, the event off ers a whole fl oor full of rooms 
to play in, plus additional space at the Manchester 
Grand Hyatt. Action fi gure fans and toy collectors 
have fl ocked to Comic-Con the past few years as 
major companies have set up shop with previews 
of upcoming products and special exclusive items 
available only at the event.

Over its 37 years, Comic-Con has evolved and grown 
to become an event that off ers many things to many 
people, serving as an umbrella for fans of all aspects 
of pop culture. So, yes, CCI is a lot like that elephant, 
a diff erent convention depending on your own 
personal perception, guided by what brings you to 
the San Diego Convention Center each and every 
year, be it Star Wars, Superman, or Inu Yasha. This 
publication will help you prepare for what’s to come 
in 2006. If this is your fi rst year here, prepare to be 
amazed. And if this is a return visit, welcome back.

THE BIG PICTURE

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COMIC-CON INTERNATIONAL: SAN DIEGO

FOUND AT COMIC-CON!

It’s a show that has become a phenomenon, spark-
ing Internet debate, water cooler arguments, and 
intensive downloading to itsy-bitsy iPod screens. 

Lost

 came out of nowhere, but as Comic-Con at-

tendees know, everything started right here in 
San Diego in July of 2004 when the convention 
presented the fi rst-ever look at the show, months 
before it debuted on ABC. 

Lost

 will be back again in 

Ballroom 20 on Saturday, July 22 for what just might 
be the show’s biggest presentation to date. Comic-
Con talked to executive producer/co-creator Damon 
Lindelof executive producer Carlton Cuse, and star 
Jorge Garcia (Hurley), for this exclusive interview.

CCI:

 

When you appear at Comic-Con in July you’ll be 

starting production on season three of 

Lost

. Is there 

anything you’d like to mention about this last season?

Carlton Cuse:

 We hope that we provided more 

answers in the fi nale this year than we did in season 
one. And I think, hopefully at the end of this year, 
we’ve instilled an exciting new mystery that will 
keep people tuning into the show next year. We’re 
sort of setting into motion a new story, which the 
audience hopefully is going to be very engaged in.

Damon Lindelof:

 And you know last year’s big 

question over the summer was ”What’s in the 
hatch?’ and there will be an equally compelling 
question that people will be asking, hopefully, this 
summer, and if we’ve done our job right, they’ll be 
hungry for the answer.

CCI:

 

Season two introduced a whole new tribe of 

survivors on the island. With a storyline that already 

Popular  TV  Show  Returns  for  Its  Third  Year!

Jorge Garcia stars in 

Lost

 as Hugo “Hurley” Reyes.

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COMIC-CON INTERNATIONAL: SAN DIEGO

included more than a dozen characters all vying for 
screen time, why introduce a whole second set of survi-
vors?

Carlton:

 I think the show has to constantly keep 

moving forward; it’s a story-based series, it’s not a 
franchise-based series. With any great epic story, 
you’re constantly going to meet new characters, 
and that’s just a part of the evolution of the story. 
There will always be new characters that will be 
joining the cast of 

Lost

Damon:

 And you’ll notice we sort of lost two to 

gain two. Ana Lucia and Mr. Eko were sort of the two 
main characters to incorporate from the tail section, 
although Libby and Bernard were sort of second-
tier characters. But those two characters actually 
ended up replacing Shannon and Boone. 

CCI:

 

There seems to be a real connection between 

Hurley and new cast member Libby (Cynthia Watros). 
Is it cool for your character to fi nally have a bit of a love 
interest on the show?

Jorge Garcia: 

It was very cool, especially because 

how often does a guy like me get an onscreen kiss?

CCI:

 

But there was that scene this season with Hurley 

in the mental institution and Libby sitting across from 
you. Is all of 

Lost

 just a fantasy in Hurley’s mind?

Jorge:

 You might think that if it was in Hurley’s 

mind there would be a lot more going his way. Seri-
ously. His girlfriend wouldn’t have been shot.

CCI:

 

The island of 

Lost

 seems to actually cure people. 

Locke walks again and Rose is cancer free. Is the island 
some kind of healing zone where the medical problems 
people arrive with are miraculously cured? 

Damon:

 That’s certainly a big part of the specula-

tion. As we don’t entirely know what Locke was 
doing in the wheelchair yet, that question is up for 
grabs. Certainly one could argue that Rose believing 
she’s healed does not necessarily mean that she is. 
So this is one of those places the show lives where 
we as storytellers fi nd it really interesting. Whether 
the island is doing that, or whether it’s a degree of 
their own faith in being on the island lies the rub, 
but you know, going into season three, that very 
question is something that will be a real central 
focus of the storytelling next year.

CCI:

 

Before 

Lost

 debuted, dramatic TV seemed to be 

going the way of the dinosaur. Now we’re seeing a 

plethora of intricately plotted, multi-storyline shows. 
Did 

Lost

 revive the drama series for network TV?

Carlton:

 I think it changed the paradigm. It sort 

of made it possible for shows with large casts, 
and story-based as opposed to franchise-based 
series, to be seen as highly viable. And I think it also 
opened the door for science fi ction. We see 

Lost

 as 

a show that is a character show with science fi ction 
embedded in it. The networks considered it pretty 
much a closed door for science fi ction before 

Lost

.

Damon:

 There was a similar thing when 

X-Files

 

became a hit. It spawned a whole series of 

X-Files

 

type spin-off s. These shows work for the same 
reason most shows work, because people really 
attached to the characters. There was something 
so compelling about Mulder and Scully. We don’t 
think that we’ve really reinvented anything, we’ve 
just sort of taken elements from shows and movies 
that we really love and put them all into one big pot 
and mixed it up. And hopefully that has allowed the 
networks to think a little more outside the box in 
terms of what a successful TV show can look like.

Jorge: 

I think it defi nitely had an impact just by how 

many pilots the year after 

Lost 

(debuted) had 

Lost

 

type qualities to them. I heard from Sam Anderson. 
who plays Bernard on the show, and he was talking 
about pilot season this year being full of shows that 
included fl ashbacks. For me, anything that gets 
more actors working is fantastic. So yeah, I’m glad 

Lost 

has had that infl uence.

 It’s also kind of cool that it seems to have put new 
energy and a little more risk into narrative drama 
series.

Executive  producer  Carlton  Cuse  and  executive 
producer/co-creator Damon Lindelof of

 Lost

.

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CCI:

 

What exactly is 

Lost

? Is it action, adventure, 

drama, mystery, science fi ction, fantasy, soap opera or 
all the above?

Carlton: 

I think it’s defi nitely all of the above. I think 

what Damon and I have really tried to do in the 
show is to never limit ourselves in terms of what 
types of stories we tell. Part of the process of making 
a series is you experiment and you discover what 
the bandwidth of the series is. We’ve discovered 
that 

Lost

 has a pretty wide bandwidth and can be 

really intense and dark at times, and yet have really 
comedic moments, and we’ve discovered they can 
exist side by side.

Damon:

 It’s hard really to sort of peg it into any 

specifi c genre. We really think of 

Lost

 as sort of in 

the spirit of the Indiana Jones movies. Those movies 
certainly operate in the fantasy realm, but it’s set 
sort of in the real world in terms of the adventure 
components of it. We like to think of it as sort of an 
adventure show, with all of the above.

Jorge: 

If I had to describe it, I’d say it was a charac-

ter-driven drama about survival. But to say that still 
leaves out the whole mythology and mystery of it. 

Carlton: 

We get asked a lot more questions about 

the mythology, but at the core we’re really making 
a character show, and the mythology is the icing on 
the cake. But it’s obviously the thing that captivates 
and engages people and leads to the sort of Thurs-
day morning water cooler conversations. 

Damon:

 We’re really doing two shows in one. The 

fi rst show is about these people on this island and 
what they’re doing there, and the second show is 

who they were before they came to this island. And 
obviously it’s the latter that gives the show its real 
character drive.

CCI:

 

Speaking of characters,

 

do you think Hurley is the 

luckiest man in the world, or the unluckiest man in the 
world?

Jorge: 

(Laughs) I guess now I’ve got to go with he’s 

actually quite unlucky. I mean, he won the money but 
there’s so much bad connected to that money that I 
don’t know how you can consider that being lucky.

CCI:

 

The fans have embraced 

Lost

 and you seem to 

listen to them. How do you react to all the fan theories 
about what the show is really about?

Damon:

 You know there are obviously a lot of 

theories out there, some incredibly intricate. And 
the reality is some theories have pieces that are ac-
curate and pieces that are wildly off  base. For us it’s 
sort of a fun guessing game for the fans to continue 
to play, but at the end of the day we have to stay 
on point and we cannot allow the fans’ theorizing 
refl ect on what our master plan is for the show, or to 
aff ect our storytelling.

It’s always cool to see them land relatively close 
to center but then go scurrying off  in the wrong 
direction again. And you know as far as the big meta 
questions of 

Lost,

 that is where we really can’t be 

interactive. There is a gripe about maintaining that 
balance between mythological answers and frustra-
tion, which we can always sort of course-correct, but 
Carlton and I were just talking about this the other 
day and the reality is it’s sort of a catch-22. Either the 
porridge is too hot or the porridge is too cold. 

The cast of 

Lost

.

 Which ones will be at Comic-Con? You’ll have to come to the show to fi nd out!

© A

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COMIC-CON INTERNATIONAL: SAN DIEGO

CCI: 

Jorge, how do fans react to you in public these 

days, and what’s it like going from relative unknown to 
being constantly recognized?

Jorge: 

It’s interesting, really. You kind of have to 

think twice about going to the supermarket in cut-
off  sweats and a stained shirt. I mean, especially in 
some parts of Hawaii, there’s a lot of people who 
just happen to have their cameras on them and they 
take a lot of pictures. But yeah, it’s cool. It’s kind of 
nice. Terry O’Quinn (Locke) put it best when he said 
it really feels good when you can make someone’s 
day by just showing up.

CCI:

 

Pop culture references abound in 

Lost,

 and your 

legion of fans scurry to fi gure out every arcane men-
tion. While we know sometimes a banana is just a 
banana, do these references off er real clues?

Carlton:

 They do. I think part of what makes 

Lost

 

special is that it’s kind of an interactive experience. 
The fans can participate, and they can sort of ferret 
out what the meaning is of certain things and they 
can dig up the Easter eggs that we embed in the 
show. Then they can go online and share those with 
others and they can become sort of proxy storytell-
ers, and I think that’s something we really enjoy. 

CCI: 

Hurley since the beginning of the show has been kind 

of a happy- go-lucky guy. Now he’s probably one of the 
richest characters in the cast when it comes to his back-
story. How does this challenge you as an actor, Jorge?

Jorge: 

I think it’s fantastic. I think this show gives me 

many  opportunities to show more sides of my talent 
than I think I might normally be allowed to show. You 
know, up until this, I’ve played characters that have 
always been just kind of the funny guy. But with this 
show I’ve been able to get some real emotion and 
sensitivity, and it’s a very cool opportunity.

CCI:

 

This is your third year at Comic-Con, and your fi rst 

appearance at the event was before 

Lost

 even debuted.  

Why Comic-Con, and what do you get from your yearly 
visits here?

Carlton:

 We view Comic-Con as our core fan base, 

and it’s really become a gathering place for more 
than just comics. It’s sort of the ground zero for 
popular culture these days. We just feel that we love 
being able to go back at the beginning of each new 
season and reconnect with the fans who are most 
passionate about our show.

Damon:

 We’re also really fanboys ourselves. It’s very 

exciting to see what other panels are down there, and 

all the stuff  that’s at Comic-Con really speaks to our 
sensibility as storytellers. The idea of going back to 
Comic-Con every year, where it all began, is because 
one of the fi rst audiences to ever see the show 
outside of the network was the Comic-Con audience. 
We screened the pilot there and we were met with 
such a warm reception that we just want to sort of 
continue to give back to our fans. We feel the experi-
ence at the panel this year is going to be especially 
interesting with some of the stuff  we’re planning.

CCI:

 

Finally, which page should we start this article on: 

4, 8, 15, 16, 23 or 42?

Jorge: 

(Laughs) Ah, great question! I would have to 

say I’ve always been very partial to 8 in my own life, 
so I say 8. 

Damon: 

(laughs) You should break it up over all of 

them.

Carlton:

 Yeah, it can run over all those pages.

Who will appear at ABC’s 

Lost

 presentation at 

Comic-Con? Check 

www.comic-con.org

 for more 

details as we get closer to the event.

(An extended version of this interview appears on the 
Comic-Con website.)

Cast of characters:

Damon Lindelof 

started in TV as a writer on 

Nash Bridges.

 He was executive producer and 

story editor on 

Crossing Jordan

 and recently 

added comic book writer to his résumé with his 
work on 

Ultimate Wolverine vs. Hulk 

for Marvel 

Comics

He’s the co-creator and an executive 

producer of 

Lost.

Executive producer 

Carlton Cuse

 started as 

a writer on 

Crime Story

. He is the co-creator of 

the fondly remembered 

Adventures of Brisco 

County Jr.,

 starring cult favorite Bruce Campbell 

as a bounty hunter in a show that can best be 
described as a science fi ction western action 
adventure comedy series. Cuse also created 

Nash Bridges,

 the long-running series about a 

San Francisco cop starring Don Johnson and 
Cheech Marin. 

Jorge Garcia 

stars in 

Lost

 as Hugo “Hurley” 

Reyes, the unluckiest lucky man in the world. 
Garcia’s other TV work includes 

Curb Your Enthu-

siasm

 and a recurring role on the sitcom 

Becker.

 

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8

COMIC-CON INTERNATIONAL: SAN DIEGO

You can spend your entire Comic-Con visit in the 
Exhibit Hall, but a whole other world awaits you if 
you wander upstairs in the San Diego Convention 
Center. Up that long escalator you’ll find room after 
room filled with great programs and events. 2006 is 
shaping up to be another great year in the wonder-
ful world of programming at Comic-Con!

COMICS LEAD THE WAY

First and foremost, Comic-Con is a comics conven-
tion. But unlike at other conventions, you’ll find 
programs that encompass the entire comics world: 
mainstream superheroes, alternative and indie co-
mix, comic strips, webcomics, manga, comics’ early 
history, collecting—you name it, we’ve probably 
done a panel on it at some point in time!

You can expect breaking news all weekend long 
from such major comics publishers as DC Comics, 
Marvel, Image, Dark Horse, and more. The alterna-
tive scene is represented with presentations by 
Fantagraphics, SLG, and Drawn and Quarterly, 
among others. Comic-Con features spotlights on all 
of our special guests, ranging this year from Golden 
Age greats like Jerry Robinson and Shelly Moldoff to 

such stalwarts of the Silver Age as Carmine Infantino 
and John Romita, and from the current mainstream 
(Robert Kirkman, Howard Porter) to the alternative 
scene (Dan Clowes, Andy Runton). The National 
Cartoonists Society will again be leading the charge 
on the syndicated strips front. And Comic-Con is 
one of the rare conventions to invite and showcase 
international guests like Jean-Claude Mézierès and 
Yoshihiro Tatsumi. 

As he’s been doing for several years now, noted 
comics writer and historian Mark Evanier will head-
line a number of panels on comics and animation. 
You can look forward to the return of “Quick Draw,” 
the popular cartoon improv event that includes 
the world’s fastest cartoonist, Sergio Aragonés. 
Evanier will also moderate a series of panels with 
our Golden and Silver Age guests and the annual 
panel about Jack Kirby. A convention in and of 
itself, Evanier’s panels are must-see events for many 
Comic-Con attendees.

Comic-Con continues its educational mission with 
the 14th annual Comics Arts Conference, offering 
numerous panels over all 4 days of the show. (For 

GET

WITH

THE

Comic-Con Offers More Programs and 

Events  than  Any  Other  Convention

PROGRAM(S)!

Bob Schreck, Bill Willingham, Greg Rucka and Jim Lee appear on a panel devoted to everyone’s favorite Caped 
Crusader at Comic-Con 2005.

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9

COMIC-CON INTERNATIONAL: SAN DIEGO

more info on the CAC, see the article on page 10). 
“Secret Origin of Good Readers,” the groundbreak-
ing program that shows how comic book shops 
and schools can work together to use comics in 
the classroom, will be back. In addition, hands-on 
workshops will allow attendees to get great expo-
sure to such topics as writing, drawing, inking, legal 
matters (noted attorney Michael Lovitz returns with 
his popular “Comic Book Law School” series), self-
publishing, webcomics, and much more.

TO INFINITY AND BEYOND!

Science fi ction and fantasy have always played a big 
part in Comic-Con’s programming schedule. You 
will not want to miss  legendary writer Ray Brad-
bury, along with his friends Forrest J Ackerman and 
Ray Harryhausen, in an exclusive panel discussion 
on Saturday, July 22. Noted sf/fantasy/horror author 
George R. R. Martin  will be on a number of panels, 
as will 

The Last Unicorn

’s Peter S. Beagle and fantasy 

wunderkind Christopher Paolini.  And many more 
writers and artists will be on hand to talk about 
futuristic, alternative, and fantasy worlds.

TIP OF THE ICEBERG

While comics programming makes up the bulk of 
the Comic-Con program schedule each year, there’s 
still room for an eclectic mix of workshops, panels, 
and seminars on such wide-ranging topics as action 
fi gures, mold-making, costuming, gaming, video 
games, voice-acting, fi lmmaking (see the feature 
article on Comic-Con’s Film School on page 21). 
Our special Kids’ Day programming on Sunday, July 

23 will once again feature a plethora of hands-on 
drawing workshops plus great movie and studio 
presentations devoted to the wee folk. 

Your best bet? Check online at 

www.comic-con.org

 

about 2-3 weeks before the event for a complete day-
by-day programming schedule. The onsite Events 
Guide is your offi  cial schedule once you get to the 
show. The last line of defense against changes in the 
schedule is the room signs that stand outside of each 
and every room. There you’ll fi nd the fi nal word on 
what’s happening at Comic-Con! 

9

COMIC-CON INTERNATIONAL: SAN DIEGO

Sitting up late and watching movies with a bunch of like-minded fellow fans is a convention staple ,and 
Comic-Con has you doubly covered! With fi lms rooms at both the Convention Center and the Manches-
ter Grand Hyatt, you can look forward to an eclectic and entertaining round of screenings to top off  your 
Comic-Con night. While the fi lms schedule remains “top secret” until right before the event, we 

can

 reveal 

that part of the nighttime screenings will be devoted to celebrating indie director/producer Roger Corman’s 
50th anniversary in fi lms (see page 22 for more details). 

This year the fi lms department goes 100% digital, with high-quality, pristine DVDs and big-screen video 
projection in both locations. Pre-registered attendees can get a look-see at the schedule early online, by 
checking out the “log-in area” page on 

www.comic-con.org,

 clicking on the “Attendees” link, and entering 

the proper info, as we get closer to the event.

S P E L L B O U N D 

Films Department Provides Nighttime Viewing at Two Locations

IN DARKNESS

All event and program rooms have 

limited capacity as set by the Fire 

Marshall. Even though your badge 

is needed to get into all events, it 

does not guarantee you access to 

any event if it has reached its ca-

pacity limit. We do not clear rooms 

between events. If an event or 

program interests you, we recom-

mend you get there early.

Important 

Information About 

Programs and 

Events!

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10

COMIC-CON INTERNATIONAL: SAN DIEGO

SCHOLARS 

AT WORK

Comic Arts Conference 

Celebrates Its 14th Year at 

Comic-Con

Each year, an intrepid band of 
scholars descends on San Diego 
to dissect, examine, study, and 
discuss one of their favorite topics: 
comics! Now in its 14th year as an 
integral part of Comic-Con’s pro-
gramming, the Comic Arts Confer-
ence gathers presenters from 
around the world for in-depth 
analysis of comics. We talked to 
co-founders Randy Duncan and 
Peter Coogan about the event.

Who’s in charge here?

Randy Duncan

 is a professor of 

communication who specializes 
in Comics as Communication, 
Rhetorical Theory, and Movie 
Appreciation. He has a Ph.D. in 
communication from Louisiana 
State University. Duncan has 
taught at Henderson State Uni-
versity since 1987. 

Peter Coogan

 is a writing spe-

cialist at Fontbonne University, 

a small Catholic university in St. 
Louis. He has a Ph.D. in American 
Studies. His book, 

Superhero: The 

Secret Origin of a Genre

, will debut 

at Comic-Con this summer. 

How did the CAC start?

Pete:

 The Comics Arts Con-

ference started because of a 
scheduling conflict at the Popular 
Culture Association in 1991. I was 
presenting the results of a “Survey 
of Comics Scholars” and Randy 
had to miss the panel. We later 
got to talking about how great it 
would be to have a comics-only 
conference and to involve profes-
sionals. The easiest way to do that, 
we realized, was to hold it at a 
comic book convention.

Randy:

 I had a contact with 

Will Eisner from a talk he gave 
at Henderson, and I contacted 
Comic-Con and we got a confer-
ence room at the Marriott. The 

first year the conference was 
small—only nine presenters, four 
pros and five scholars (including 
us!)—but of magnificent quality: 
Will Eisner, Scott McCloud, R. C. 
Harvey, Steve Bissette, and Leon-
ard Rifas. 

Pete:

 And the only “audience 

member” was Scott’s wife Ivy!

Why are comics worthy of study?

Randy:

 Comics scholars have 

started to get ornery about this 
question and refuse to provide 
elaborate justification for their 
field of study. They think the 
justification is self-evident in the 
work being produced by Chris 
Ware, Craig Thompson, Grant 
Morrison, Dan Clowes, etc., and 
in the quality of the scholarship 
being written about comics. To 
borrow a phrase from Stan, “’nuff 
said.”

What happens at the CAC panels?

Randy:

 There is no one typi-

cal CAC panel. They can range 
from individual presentations of 
research, to lively group discus-
sions, to slide presentations on 
forthcoming books on comics. 
The sessions are definitely not 
just for academic types. 

Pete:

 One of the unique things 

that happens at the CAC is the 
involvement of the public. At 
most conferences the audience 
is made up of other academics 
who are specialists in the field. 
At the CAC the audience is made 
up of Comic-Con attendees, and 
they get to respond and discuss 

CAC co-founder Peter Coogan lectures at a 
recent session during Comic-Con.

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11

COMIC-CON INTERNATIONAL: SAN DIEGO

11

COMIC-CON INTERNATIONAL: SAN DIEGO

the presenters ideas. Audience 
members often ask for copies 
of the papers, and we now off er 
each year’s proceedings on a CD, 
available during the panels.

Why are the panels an important 
part of Comic-Con?

Randy:

 We hope that people will 

leave the panels with new ways 
of thinking about the medium 
they love, and a greater depth of 
appreciation for the complexity 
and importance of some of the 
great work being done in comics. 

Pete:

 We also help Comic-Con 

fulfi ll its education mission and 
to help change the image of the 
comics scholar by presenting 
scholarship in a public forum. 
The combination of the CAC and 
Comic-Con is important in that 
sense.

Why Comic-Con?

Randy:

 The conference brings 

together comics scholars, prac-
titioners, critics, and historians 
who want to be involved in the 
dynamic process of evolving an 
aesthetic and a criticism of the 
comics art form. We wanted to 
have the conference in conjunc-
tion with a comics convention in 
order to facilitate involvement of 
comics professionals. And clearly 
Comic-Con was the obvious 
choice.

Pete:

 Comics professionals 

who have participated in the 
CAC include Will Eisner, Heidi 
MacDonald, Jessica Abel, Steve 
Bissette, Mark Waid, Michael 
William Kaluta, Steve Englehart, 
Paul Levitz, and many more. 
We could never get that level of 
participation from the pros at just 
a regular academic conference, 
so Comic-Con is crucial in bring-
ing scholars and professionals 
together to discuss comics in a 
public forum.

Kari Souza is a life-long 

Star Wars

 

fan who attended Comic-Con 
with her son, Matthew, on Friday, 
July 18, 2005. While visiting the 
Lucasfi lm Pavilion, she signed up 
for a contest with 3 Day Blinds for 
the “Ultimate Star Wars Bed-
room,” a $5000 prize of cool stuff  
all related to Kari’s favorite movie 
series. Todd Uglow of 3 Day 
Blinds called her on Sunday, July 
20 with the good news that she 
had won. Kari is proof-positive 
that anything can—and does!—
happen at Comic-Con!

So, ‘fess up, Kari. What did you 
get? 

3 Day Blinds let me choose two 
sets of blinds of the size and 
design of my choice. My son 
picked the design with the clone 
troopers standing in a line for 
his room, and I got a set with the 
words 

Star Wars

 with an X-Wing 

going through it for my guest 
bedroom. I actually got a bed 
and all the 

Star Wars

 bedding, 

a Darth Vader bubblegum ma-
chine, a stack of 

SW

 books and 

comics, action fi gures, four wall 
hangings, a Darth Vader bas-
ketball jersey, Anakin’s FX light 
saber, a huge Yoda bouncing 

ball, several 

SW 

pajama sets, a 

Vader bank, a wood chest. There 
was so much good stuff  that I 
can’t remember it all!

Of all those cool things, what’s 
your absolute favorite item? 

The three Code 3 metal replicas. 
They were the fi rst items I found 
a home for: a place of honor on 
top of my living room bookcase. 
I’ve always loved the Millennium 
Falcon and the X-Wings and had 
looked at the replicas many times 
online! My son’s favorite is the 
light saber.

How long have you been coming 
to Comic-Con? 

Last year was our second time. 
We were only able to go for one 
day each year. That wasn’t nearly 
enough time!

Are you coming back this year? 

Wouldn’t miss it! We’ve already 
got hotel reservations and tickets 
for all four days and plan on 
starting the fun at Wednesday’s 
Preview Night. Last year was a 
dream come true for this die-hard 

Star Wars

 fan!

THE FORCE IS STRONG WITH THIS ONE!

Star Wars Fan Hits  the Jackpot at Comic-Con!

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12

COMIC-CON INTERNATIONAL: SAN DIEGO

It’s one of the fastest-growing aspects of Comic-Con: Japanese animation, better known as anime. Screen-
ings continue to gather record-setting crowds, and when it comes to Comic-Con, that’s a lot of screenings!

The Comic-Con anime staff is looking at a 2006 schedule that will include over 130 different titles, including 
popular fan favorites, newer releases, and sneak previews of titles that aren’t even available yet! Some of the 
newer titles tentatively on the boards for this year include 

Mythical Detective Loki Ragnarock, Nanaka 6/17, My 

Hime, Eureka 7, Gunsword, Elemental Gelade, Animation Runner Kuromi, Samurai 7,

and 

Ah! My Goddess

. Back by 

popular demand are 

Jubei Chan 2,

 

Full Metal Panic Fumoffu, Samurai Champloo, Full Metal Alchemist, Ghost 

in the Shell,

 and 

Inu Yasha

. And 2006 marks the 25th anniversary of the anime classic 

Urusei Yatsura,

 with 

special screenings added to the schedule to help celebrate. 

Once again Comic-Con will provide a handy guide to the schedule, containing room locations and brief 
synopses of the titles being shown. The complete Anime schedule also appears in the onsite Events Guide 
and on 

www.comic-con.org

, as we get closer to the event. 

Be a part of the growing world of Anime at Comic-Con, one of the many cool aspects of CCI that give it its 
“International” flavor!

FROM JAPAN, WITH LOVE!

Three Rooms+Four Days+130 Titles=Sheer Bliss

Urusei Yatsura ©Rumiko Takahashi/Shogakukan, Kitty, Fuji TV, AnimEigo; 

image provided as a courtesy by AnimEigo, Inc. ©2002 Fugi Creative/All-

Purpose Cat Girl Nuku Nuku ©ADV Films/Chobits ©GENEON/Galaxy Angel Z 

©Bandai/Full Metal Panic Fumoffu ©ADV Films

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13

COMIC-CON INTERNATIONAL: SAN DIEGO

COMIC-CON GAMING

CONQUERS THE UNIVERSE!

Over the past few 
years, gaming at 
Comic-Con has 
grown by leaps 
and bounds. Cur-
rently, gaming oc-
cupies the entire 
mezzanine level 
of the San Diego 
Convention Center 
and has estab-
lished a not-so-far-
off outpost at the 
Manchester Grand 
Hyatt, where you 
can play until the 
wee hours on 
Thursday, Friday, 
and Saturday 
nights.

The Comic-Con 2006 gaming 
schedule will once again include 
live-action demos, premieres 
of new games and products, 
and, most important, company-
sponsored tournaments featur-
ing prizes including cash and 
merchandising.

Comic-Con also offers gaming in 
a relaxed atmosphere (so relaxed 
that many visitors spend their 
entire day in the gaming rooms!), 
where both the newbie and the 
old hand can learn new games as 
they play. Many companies offer 
live demos on the Exhibit Hall 
floor, and some include playing 
areas in their booths where you 
can get both beginning training 
and advanced tips on how to play 
various games. 

The 2006 gaming schedule is still 
being worked on as of press time. 
A complete schedule will appear 
in the onsite Events Guide and on 

www.comic-con.org

 as we get 

closer to the event.

The Upper Deck booth’s demo and playing area, where fans can learn the 
newest games and play against each other.

We don’t know about you, but we’re thinking she won.

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15

COMIC-CON INTERNATIONAL: SAN DIEGO

It’s one of Comic-Con’s most popular events. Each 
year over 4,000 fans pour into Ballroom 20 on Satur-
day night for the Masquerade, while an additional 
1,000 or so watch the festivities on big screens in 
other parts of the Convention Center. Now in its 
32nd year, the Masquerade showcases the incred-
ible creativity and talent of some of our attendees. 
It also celebrates the undeniable influence and 
inspiration of costumes in pop culture. 

In 2005, the Masquerade featured 59 entries, solo 
and in groups with a shared theme. By the end of 
the evening, 138 different costumes crossed the 
stage, featuring original designs and amazing 
recreations from comics, movies, fantasy art, 
anime and more.

This year, impressive trophies and 
prizes once again await the winners. 
The Masquerade isn’t a dance or 
party, like the name might imply. 
Master of Ceremonies 

Phil Fo-

glio

 of Studio Foglio (

Girl Genius

presides over an incredible parade 
of costumes and creativity, all with 
their eyes on the prize.
 
In addition to the awarding of 
Comic-Con’s own trophies, 14 
participating companies will 
present generous cash and 
merchandise prizes to winners 
that they select. 

DC Comics 

will present 

$300

 

to the finest entry portray-
ing a DC Comics character or 
characters.

Lucasfilm Ltd.

 will once 

again reward the best Star 
Wars costumers with special 
awards from their Licensing Ar-
chives. The best entry or entries from the Star Wars 
galaxy will be selected by a Lucasfilm representa-
tive, and the costumers will receive limited-edition 
collectibles.

C O M I C - C O N ’ S

MASQUERADE

32  Years  of  Costumes,  Competition  and  Fun!

Eowyn, Lady of Rohan, from 

Lord of The Rings

, costume 

made and worn by Jennifer Smith.

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COMIC-CON INTERNATIONAL: SAN DIEGO

The Comic Gallery Stores

 

of San Diego

 

will present 

$100 

cash to the entry they select as their favorites 

and 

$50

 to their favorite Young Fan costume.

Century Guild 

will present a 

$200

 cash prize 

or up to $500 credit in their booth at the 
convention for what they consider the best 

costume portraying the elements of Fan-

tasy or Art Nouveau.

The Testmarket Evolution

 will award 

$300 

in prizes: $100 for the best anime 

costume as selected by their anime 

division, $100 for the best video game 

costume as chosen by their video game divi-

sion, and $100 for the best costume portraying 
food.

L.A.con IV

,

 

this year’s SF 

Worldcon

, will pres-

ent a prize of two free memberships (a 

$350

 

value) to what they select as the best costume 

in a science fiction genre (either re-creation 
or original design). The 2006 World Science Fic-
tion Convention will be in Anaheim, California, 

August 23–27. (www.laconiv.org)

ConDor & Conjecture,

 San Diego’s annual 

science fiction conventions, will present a “Con-
Tour” prize to the best first-time solo entry. The 
prize will be memberships to 

Conjecture V

 on 

Sept. 29–Oct. 1, 2006, to 

ConDor

 

XIV

 on March 

2–4, 2007, and to 

Comic-Con International

 in 

July of 2007, plus 

$100 

in cash. 

AgentSakur9 Entertainment

, dedicated to 

providing the very best coverage and highest 

quality images of cosplay and costuming, will 

bestow a 

$200 

award and a trophy to their choice 

for Most Outstanding Costume.

San Diego FX Studio, Inc.

 will present an award of 

$200

 to the costume entry they judge as best utiliz-

ing makeup. (sandiegofxstudio.com)

PRA International’s 

entertainment division, 

which wholesales/distributes collectible toys, will 
award a 

$150

 gift certificate for use at its website 

Winner of the “Most Humorous” award at the 2005 Masquerade, “Disney Princesses” was made and worn by 
Angela, Jean, Jenn, Maryssa, Lisa, Briana, Lily, Rebecca, Emily, Mike, Tony, Andy, Flo and Kevin.

Operator  7G,  from  the  mecha-genre  anime  series 

Megazone 23

,

 constructed and worn by Blair Heald, 

one of many larger-than-human entries in last year’s 
show. 

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17

COMIC-CON INTERNATIONAL: SAN DIEGO

(www.webpra.com) or its conven-
tion booth to their favorite anime-
related entry.

Anime Pavilion

 

will present, for 

their favorite anime costumes, 

$150

 booth credit for first place, 

$50

 credit for runner-up, and 

$40

 credit for the best Young Fan 

anime costume.

Lynn Perry

 of 

DarkestDesires.

org

 

will award

 

$150

 to the best 

costume inspired by the horror 
or other dark genres, such as 
vampires, demons, creatures of 
the night, and so on.

Committed Comics

, the pub-

lishing division of Committed 
Entertainment (www.commit-
tedcomics.com), will present 
two prizes totaling 

$300

: A 

$200 cash award to what they choose as the best 
Young Fan portraying a comic book character, 
and to reward promising new costumers, a $100 
prize to what they deem the best first-time entry 
in the show.

Dreamers and Schemers

, a new film production 

company, will present a 

$400 

prize,

 

and a teaser 

poster from their new film

for what they choose 

as the best re-creation of a movie character or 
characters.

When & Where:

  Saturday, 8:30 

PM

, in Ballroom 

20 of the Convention Center. Doors open at 7:45 
for audience seating (but the line starts much 
earlier!).

Tickets are required for ballroom seating, and are 
given out 

free

 beginning at 4:30 

PM

 to people 

waiting in line, until all tickets have been distrib-
uted.

Running late? Don’t like crowds? No ticket? No 
problem! You’ll find overflow seating in Room 6A 
and in the Sails Pavilion, where the show will be 
simulcast.

Program participants, press, and exhibitors can 
get their tickets before Saturday afternoon at 
the Masquerade Desk, located near Ballroom 20. 
Reserved seating is available for special guests of 
the convention, and for the disabled. 

No flash photography is allowed at the event!

 

Personal cameras are welcome, but all pho-

Alien  (Winner  of  Dark  Horse  prize),  made  and  worn  by  Matthew 
O’Connor.

Masquerade Fast Facts

tos and video taken must be for personal use 
only. Flash photography is allowed only in the 
off-stage Photo Area, where contestants pose 
after leaving the stage. Photographers who 
wish a reserved spot in this area should write to 
the Masquerade Coordinator, as space will be 
limited.

How do I participate?

Last year all the contestant slots were filled a 
month before the convention, so get that entry 
form in now! For anyone with a Comic-Con 
membership, it’s free to be in the show, or just 
watch from the audience; however, seating is 
limited.   

To obtain complete Masquerade rules and an 
entry form, mark the Masquerade box on the 
multi-purpose form on page 53, or download 
the form at 

www.comic-con.org.

  To contact 

the Masquerade Coordinator, e-mail 

cci-info@comic-con.org.

 Please type “Mas-

querade” in the subject line of your e-mail.

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COMIC-CON INTERNATIONAL: SAN DIEGO

Hollywood has discovered Comic-Con in a big way, 
and 2006 is shaping up to be another incredible 
year. Just a sneak peek at some of the movies that 
the major studios are discussing for this year’s show 
will have you reeling:

Ant Bully, Barnyard, Casino Royale, Chronicles of Nar-
nia 2, Clerks 2, The Covenant, Eragon, Fearless, Flushed 
Away, Ghost Rider,  Grind House, Grudge 2, Happy Feet, 
Hood of Horror, Hot Fuzz, Open Season, Pathfinder, The 
Reaping, Snakes on a Plane, Spider-Man 3, Stardust, 
Surf’s Up, Teenage Mutant Ninja Turtles, 300, Trans-
formers, Wind Chill, Zodiac, Zoom

You can expect more announcements as we get 
closer to the show, because as usual at Comic-Con, 
you just never know who will show up (case in point, 

the picture on the next page; all three stars came to 
promote 

King Kong

 at last year’s event and two of 

them were total surprises). 

Comic-Con will once again play host to the in-
credible 

Star Wars

 Fan Film Awards on Thursday 

evening in Ballroom 20. This amazing collection of 
fan-produced films will be shown to an audience

 

for the very first time, and awards in numerous 
categories will be handed out. Also, 2006 marks 
the 30th anniversary of 

Star Wars

 first appearing at 

Comic-Con, as the original film was first announced 
in 1976, a year before it premiered. In honor of 
that anniversary, Friday will be “Star Wars Day” at 
Comic-Con, featuring numerous programs on all 
the various aspects of the 

SW

 universe, including 

presentations involving the comic books, con-

tinuing novels, and more, culminating with 
Lucasfilm’s annual presentation.

Also on tap for 2006 is an extensive three-part 
presentation on costumes for the big screen, 
produced in conjunction with the Costume 
Designers’ Guild. Deborah Landis, the president 
of Local 892, the union representing working 
Hollywood costume designers, and the author 
of the upcoming book 

Dressed, A Century of 

Hollywood Costume Design,

 will present these 

programs along with some of Hollywood’s most 
gifted designers. The emphasis of the programs 
will be designing for the big screen, with special 
attention paid to super-hero and comics adap-
tations. 

FROM THE BIG SCREEN TO THE 
SMALL SCREEN

The major networks and TV studios are also 
coming to Comic-Con. You already know about 

Lost

 (see page 4), which is featured at Comic-

Con for its third year running. SCI FI Channel 
will once again have a major presence, both in 
the Exhibit Hall downstairs and the program-

HOORAY FOR

 

For Four Days, the Entertainment 

Industr y  Moves  to  Comic - Con !

HOLLYWOOD!

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COMIC-CON INTERNATIONAL: SAN DIEGO

ming rooms upstairs. And Comic-Con is in talks to 
show pilot episodes from some of the most eagerly 
awaited genre shows of the new fall season. 

ANIMATED ANTICS

Comic-Con has become the home for major anima-
tion-oriented programs. In 2006, you can expect to 
see 

The Simpsons

 along with events from Cartoon 

Network, Nickelodeon, Warner Bros. Animation, 
and many more. Thursday has been set aside for 
major movie studio animation programs. Lionsgate 
and Marvel will present the fi rst convention screen-
ing of the new animated fi lm 

Ultimate Avengers 

2: Rise of the Panther.

 And as always, there will be 

special nighttime  screenings of fan favorites from 

Spike and Mike

 and Jerry Beck’s 

Worst Cartoons 

Ever!

Comic-Con’s Hollywood programming schedule is 
constantly changing and growing. Your mission, 
should you decide to accept it? Log onto 

www.

comic-con.org

 and await the full schedule of 

events at this year’s show!

Surprise! Most attendees knew Jack Black would be at Comic-Con 2005 to promote both 

King Kong

 

and his new 

Tenacious D movie. But it was a total shock when the other 2 stars, Naomi Watts and Adrien Brody, walked out 
onto the Hall H stage.

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COMIC-CON INTERNATIONAL: SAN DIEGO

The films are in and the judges have made their 
decisions. Now all that’s left is for the limos to pull 
up to that big red carpet and the awards to be given 
out!

Well, not quite, but the 

Comic-Con International 

Independent Film Festival

 is ready to roll. The 

juried event will screen—for your eyes only—all 
4 days of this year’s event. Awards and prizes will 
be given out in the various categories on Sunday, 
July 23. 

The judges for this year’s CCI-IFF are:

Amber Benson

 is best known 

for her portrayal of Tara on 

Buffy 

The Vampire Slayer. 

An actress/

writer/director, her most recent 
work includes the independent 
films 

Latter Days, Race You To 

The Bottom, Chance, 

and

 Lovers, 

Liars, and Lunatics 

(both of which she also wrote, 

produced and directed). Among Benson’s other 
film credits are 

The Crush, Bye Bye Love, Imagi-

nary Crimes 

and Steven Soderbergh’s critically 

acclaimed 

King of the Hill. 

Upcoming projects 

include the original SCI FI Channel movie 

Gryphon

 

and the independent films 

Angst 

and 

Tripping 

Forward. 

Chris Gore

 has built a solid 

reputation as the brutally honest 
founder of the legendary Film 
Threat (

www.FilmThreat.com

). 

He is the author of 

The Complete 

DVD Book

 and 

The Ultimate Film 

Festival Survival Guide.

 Chris co-

wrote and produced the feature comedy 

My Big Fat 

Independent Movie, 

which was recently released on 

DVD from Anchor Bay Entertainment. He is also the 
film expert on the G4 TV program 

Attack of the Show.

Thomas J. McLean 

is a lifelong 

comic book fan who has writ-
ten extensively about comics 
and genre movies and TV shows 
for such publications as 

Variety, 

Animation Magazine, Video Busi-
ness, DVD Exclusive,

 and 

Below the 

Line.

 He also writes a weblog about comics called 

Bags and Boards

 for Variety.com 

(weblogs.variety.

com/bags_and_boards) 

and was a judge for the 

2005 Will Eisner Comic Book Industry Awards.

The film schedule isn’t complete as of press time 
(check 

www.comic-con.org

 for a complete list 

closer to the event), but you can look forward to 
four full days of the very best in genre-related indie 
films at this year’s CCI-IFF in Room 26AB.

COMIC-CON INTERNATIONAL

SPOTLIGHTS  INDIE  FILMMAKING

INDEPENDENT FILM FESTIVAL

CCI: IFF judges Scott Zakarin (left) and Mark Altman (right) flank three of the winners of last year’s awards, Joe 
Dougherty (

Seven Days In Japan

,

 Best Documentary), Jim Cliffe (

Tomorrow’s Memoir

,

 Best Comics-Oriented 

Film) and Hidetoshi Oneda (

La Belle Dame Sans Merci

,

 Best SF/Fantasy Film).

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COMIC-CON INTERNATIONAL: SAN DIEGO

COMIC-CON FILM SCHOOL:

Comic-Con Film School (CCFS) offers four 
sessions filled with practical information 
for both the novice and experienced film-
maker. The Film School’s main “profes-
sors” are Sean Rourke and Valerie Perez.  

Sean Rourke

 is a VisualFX editor at 

Digiscope in Santa Monica. His screen 
credits include 

The Legend of Zorro 

and 

Freddy vs. Jason. 

His filmmaking experi-

ence started with a 12-part Internet 
series, 

Amanda Hades

. He and his crew 

made a feature film, 

1st Person Shooter,

 

which screened at Comic-Con in 2004. 
At that time, Sean pitched the idea of a 
“film school” to Comic-Con. The premise 
was to create a practical presentation 
for the budding filmmaker: a nuts-and-
bolts class on how to make your first 
movie, without spending a lot of money, 
using consumer-level video equipment 
and desktop software. 

Valerie Perez

 works as an information technology 

analyst for a small city in Southern California. She’s 
spent the last three years exploring producing, act-
ing, creating digital video effects, and developing 
pyrotechnics for 

Tears of the Dragon

, an homage to 

the Lara Croft 

Tomb Raider 

character. Directed by 

Nick Murphy, it had its world premiere in early 2006. 
Valerie is a Comic-Con Film School “alumnus,” using 
the knowledge she gained at Comic-Con to do her 
own film.

Over four days, CCFS walks attendees through the 
fundamental steps of filmmaking, from writing 
the initial script all the way through to authoring 
the DVD. The classes utilize a number of panelists 
who have made their own movies and share their 
experiences. The tentative schedule for this year’s 
classes is: 
 

Thursday, July 20:

 Preproduction (script, locations, 

props, costumes, budget)  

Friday, July 21:

 Production (shooting, lighting, 

equipment)  

Saturday, July 22:

 Working with actors and a crew 

(casting, directing, running a set) 

Sunday, July 23:

 Postproduction (editing, VisualFX, 

DVD authoring)

An important aspect of Comic-Con’s ongoing efforts 
to promote indie filmmaking on all levels, CCFS 
offers attendees something they won’t find at other 
events. “What we try to do is demystify the process,” 
says Rourke. “There are so many problems that can 
be avoided on a first project. This class is designed 
to give the next generation of filmmakers a heads-
up on what they can do to actually get to a finished 
movie, without having to max-out credit cards or 
lose several thousand dollars of a relative’s money.” 
Perez adds, “The panels help folks feel like they can 
express themselves and try something new. Even if 
they don’t use something they specifically learned 
from the Film School, after attending a session it all 
seems more accessible. We offer people tips to save 
money, stay sane and, for many looking to shoot 
more action oriented films, help keep them safe.” 
 
This year, CCFS will highlight podcasting as part of 
its presentation. Among the other panelists will be 

Tim Cunningham,

 writer/director of 

Xtracurricular,

 

an HD feature (available on Netflix). Other panelists 
will be announced on 

www.comic-con.org

 as we 

get closer to the event. 

Comic-Con Film School panelists Valerie Perez and Sean Rourke 
gear up for another series of classes in 2006.

BUILDING TOMORROW’S FILMMAKERS TODAY

No Diplomas, No Credits, No Bull...Just  a Whole Lot of Knowledge!

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COMIC-CON INTERNATIONAL: SAN DIEGO

The name conjures up everything from Hollywood 
success story, sixties rebellion, and low-budget 
fi lmmaking to swamp women, crab monsters, and 
a fl esh-eating plant named Audrey. Roger Corman 
has been called the “King of B’s” and the “Pope of 
Pop Cinema.” He’s directed more than 50 motion 
pictures, produced hundreds of others, and helped 
launch the directing careers of Martin Scorsese, 
Francis Ford Coppola, Peter Bogdanovich, Joe 
Dante, and Jonathan Demme. He’s directed such 
Oscar-winning actors as Jack Nicholson, Jason 
Robards, Robert DeNiro, and Shelly Winters. And 
his companies have been responsible for bringing 
the works of such international masters as Ingmar 
Bergman, Akira Kurosawa, Federico Fellini, Francois 
Truff aut, and Werner Herzog to American audiences. 

Corman’s career is quite simply the stuff  of legends. 
He entered the fi lm industry at the bottom rung as 
a messenger boy for 20th Century Fox. He moved 
up to story analyst but then left the country for 
England and a term at Oxford studying English Lit. 
He re-entered Hollywood in the 1950s and quickly 
established himself as a producer, writer, and 
director. His American International Pictures soon 
became the little company that could, producing 
low-budget exploitation fi lms that—as Corman likes 
to brags—almost always turned a profi t. In fact, his 

1990 memoir is called 

How I Made 

a Hundred Movies in Hollywood and 
Never Lost a Dime.

Stories about Corman abound. 
He made 

The Little Shop of Horrors

 

on a bet, shooting the fi lm in 
two days and a night for a mere 
$35,000. He gave Francis Ford 
Coppola work re-cutting Russian 
sci-fi  fi lms for U.S. release. He de-
cided to make the fi lm 

The Terror

 

simply because he didn’t want to 
see the Gothic sets from 

The Raven

 

go to waste after a single use. And 
he hired real Hell’s Angels bikers 
to make his fi lm 

The Wild Angels 

more authentic.

The sixties counterculture was 
drawn to Corman because he em-

bodied a spirit of defi ance and rebellion. He turned 
down studio jobs because he wanted “total control,” 
and he wanted to make movies on his own terms and 
outside of the Hollywood Establishment. His savvy 
business skills, ruthlessly effi  cient fi lmmaking, and 
keen eye for the bottom line allowed him artistic 
freedom and let him write his own ticket as America’s 
most famously successful independent fi lmmaker. 

Corman, always remembering the diffi  culties he 
had starting out in the industry, was quick to give 
young fi lmmakers an opportunity to work for him. 
The informal “Corman School” has graduated many 
illustrious alumni, including Ron Howard, James 
Cameron, Gale Anne Hurd, Robert Towne, Sylvester 
Stallone, and Dennis Hopper, that are movers and 
shakers in today’s Hollywood. One could argue that 
Corman has helped shape a generation of fi lmmak-
ers and has probably been more infl uential in that 
regard than any other single individual. And there’s 
no one in a similar position of infl uence off ering 
today’s young fi lmmakers his or her fi rst chance at 
making a movie.

This year as Corman celebrates more than 50 years 
as a fi lmmaker, Comic-Con pays tribute to a career 
that has spanned more than half a century and left 
an indelible mark on pop culture. 

ROGER CORMAN

A Life in Films

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SPECIAL GUESTS

Comic-Con  International  2006

The 2006 Comic-Con International once again offers 
an incredible array of special guests from around 
the worlds of comics, science fiction, and fantasy 
and from, literally, around the world. 

FORREST J ACKERMAN  

JUST ADDED

Known for his love of all things fantastic and HOR-
ROR-endous puns, Forrest J Ackerman is one of 
fandom’s most beloved figures. He was an early 
literary agent for science fiction writers such as Ray 
Bradbury and was editor of the fondly remembered 

Famous Monsters of Filmland

, which was a source of 

inspiration to many filmmakers, including Joe Dante, 
Steven Spielberg, and George Lucas.

YOSHITAKA AMANO 

JUST ADDED

Best known for his work on the 

Final Fantasy

 

videogame series, Yoshitaka Amano is one of the 
most popular artists working today, and his work 
crosses over among illustration, game design, 
and manga. His American-based work includes 

The Sandman: The Dream Hunters

 for DC/VERTIGO 

and 

Wolverine/Elektra

 for Marvel. He’s also known 

for his work on 

Vampire Hunter D

Co-sponsored by 

BOOM! Studios

SERGIO ARAGONÉS 

JUST ADDED

The world’s fastest cartoonist and one of the nicest 
guys around, Sergio Aragonés has become a much-
loved fixture at Comic-Con. The creator of 

Groo

and one of the stalwarts of 

Mad

 Magazine for many 

years, Sergio has also destroyed both the Marvel 
and DC Universes (with permission, of course), and 
his work has been collected into numerous trade 
paperbacks.

PETER S. BEAGLE

An accomplished novelist, songwriter, and screen-
writer 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 versions of 

The Last Unicorn

 and 

Lord of the 

Rings,

 plus the “Sarek” episode of 

Star Trek: The Next 

Generation.

BRIAN BOLLAND

One of Great Britain’s most respected comics artists, 
Brian Bolland has made a huge mark with American 
audiences as well. From his early work on 

Judge 

Dredd

 in the UK magazine 

2000 AD

 to his numerous 

covers for 

Animal Man, Batman Gotham Knights, 

Wonder Woman,

 and 

The Flash

, his clean lines and 

attention to detail boldly stand out amid a sea of 
other superhero images

.

MARK BUCKINGHAM 

JUST ADDED

Mark Buckingham is now entering his 19th year as a 
professional comic book artist. His association with 
Vertigo and its characters is what Mark, or “Bucky,” 

Forrest J. Ackerman

Sergio Aragonés

Peter S. Beagle

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COMIC-CON INTERNATIONAL: SAN DIEGO

is best known for. Beginning with 

Hellblazer

 in 1988, 

he has gone on to contribute to much of the Vertigo 
line, including such titles as 

The Sandman, Swamp 

Thing, The Invisibles, 

and both 

Death

 miniseries. He 

is the regular artist on the Eisner Award–winning 

Fables 

and has contributed fully painted art to this 

year’s 

Fables: 1001 Nights of Snowfall 

original graphic 

novel. 

Courtesy of VERTIGO

RAY BRADBURY 

JUST ADDED

The dean of American science fiction writers re-
turns to Comic-Con as one of the show’s most be-
loved guests. Bradbury is the author of such clas-
sics as 

The Martian Chronicles

The Illustrated Man, 

Something Wicked This Way Comes

, and 

Fahrenheit 

451

, many of which are continually adapted into 

comic book and cinematic form. His biography, 

The Bradbury Chronicles, The Life of Ray Bradbury, 

written by Sam Weller, was recently released in 
paperback. He was given The National Book Award 
in 2001 for his contribution to American Literature, 
and President Bush awarded him The National 
Medal of Arts in 2004.

KURT BUSIEK 

JUST ADDED

Debuting in 1982 with a backup story in 

Green Lan-

tern 

#162, Kurt Busiek went on to write characters 

ranging from Mickey Mouse to Vampirella to Jell-O 
Man and Wobbly and numerous major characters 
at Marvel, Dark Horse, and DC. He’s won more than 
two dozen industry awards, including Eisner Awards 
for Best Series and Best Single Issue, Harvey Awards 
for Best Writer, and more. Busiek signed an exclusive 
contract with DC Comics last year and is currently 
working on 

Superman, Action Comics, Aquaman: 

Sword of Atlantis. 

and his creator-owned 

Astro City

which he produces with artists Brent Anderson and 
Alex Ross. 

Courtesy of DC Comics

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 

Ice Haven

 (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 Johansson; the screenplay was 
nominated for an Academy Award. 

Art School Confi-

dential

, Clowes’s newest film based on his 

Eightball

 

stories, was released in May 2006.

AMANDA CONNER 

JUST ADDED

Artist Amanda Conner first became known to fans 
with runs on Archie and Barbie Comics. Her career 
continued with work on

 Vampirella

,

 Soul Searchers & 

Co

., and 

Birds of Prey

The Pro

, a one-shot for Image 

with inker Jimmy Palmiotti and writer Garth Ennis, 
was nominated for a 2003 Eisner Award. Her most 
recent work includes the Power Girl story arc for

 JSA 

Classified

 for DC Comics.

LUIS DOMINGUEZ 

JUST ADDED

Luis Dominguez has been drawing comics since the 
1940s in his native Argentina. His work has graced 
the pages of books from every company, from Dell 
to Charlton to Gold Key, in genres ranaging from 
horror and mysteryto war and westerns. Among 
titles he drew for DC in the 1970s were 

House of Mys-

tery, House of Secrets, The Witching Hour,

 and 

Jonah 

Hex.

 

Co-sponsored by Big-5 War Collectors

BRIAN FIES 

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 

Ray Bradbury

Kurt Busiek

Amanda Conner

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COMIC-CON INTERNATIONAL: SAN DIEGO

cancer, won the 2005 Eisner Award for Best Digital 
Comic. The 

Mom’s Cancer

 graphic novel was pub-

lished by Abrams Books this Spring.

BASIL GOGOS

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

You can’t discuss the Silver Age of comics without 
bringing up Carmine Infantino’s name right at the 
start. He is the artist who redesigned the Flash, 
reintroduced Batgirl, took Adam Strange into orbit, 
and helped rescue Batman from cancellation. With 
all those things happening before Infantino was 
even named editorial director and publisher of DC 
Comics, it’s only fitting that he be invited as a guest 
for 2006.

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 is working on an upcoming 

Invincible/Spider-Man

 team-up.

JAMES KOCHALKA

James Kochalka’s disarmingly charming art has 
made him one of the most recognized cartoonists 
working in indie 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 

Fan-

tastic Butterflies. 

In addition to cartooning, “James 

Kochalka Superstar” has built a cult following for his 
music.

KAZUO KOIKE 

JUST ADDED

The legendary creator of some of the world’s best-
selling manga, Kazuo Koike comes to Comic-Con for 
the first time in 2006. His work includes writing 

Lone 

Wolf and Cub

 and 

Samurai Executioner

 (both with 

Carmine Infantino

Robert Kirkman

James Kochalka

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artist Goseki Kojima), 

Crying Freeman

 (with Ryoichi 

Ikegami), and 

Lady Snowblood.

 

Co-sponsored by Dark 

Horse Comics

TOMMY KOVAC 

JUST ADDED

Tommy Kovac has been writing and drawing comics 
for nearly a decade. His work includes such titles as 

Stitch, Skelebunnies,

 and his current series 

Autumn,

 

all for SLG Publishing. Kovac is also the writer of 

Wonderland,

 a series telling the story of what hap-

pened in Wonderland right after Alice left at the 
end of the classic Disney animated film, and he is de-
veloping a new series for SLG Publishing called 

The 

Royal Historian of Oz. Courtesy of SLG Publishing

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 

(Antipo-

des Publishing) and 

Fred the Clown 

(Fantagraphics 

Books). Fred’s adventures also appear online as 

Hotel Fred.

 

GEORGE R. R. MARTIN 

JUST ADDED

Known for his 

A Song of Ice and Fire

 series, author 

George R. R. Martin is one of the most popular 
writers in genre fiction. See page 34 for an exclusive 
interview!

BILLY MARTINEZ

Artist, publisher, and educator Billy Martinez has 
been teaching comics illustration in the San Diego 

area for over 12 years, but he’s better known among 
fans for his comics company, Neko Press, which 
recently celebrated its fifth anniversary. 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.

JONATHAN MATTHEWS 

JUST ADDED

Since signing on with DC Direct, Jonathan Matthews 
has become the go-to sculptor for his accurate 
interpretations of some of the most visually diverse 
character designs in comics. His memorable work 
includes the Contemporary 

Teen Titans,

 the first 

ever (DC Direct) Commissioner Gordon from “Hush,” 
various characters from 

The Long Halloween

Dark 

Victory,

 and Elseworlds, including the fan favorite, 

Gotham by Gaslight Batman. Most recently Jon has 
brought the striking 

New Frontier

 action figure line 

to life, based on the Eisner –Award–winning books 
by Darwyn Cooke. 

Courtesy of DC Direct

LINDA MEDLEY 

JUST ADDED

Having started her career in the world of superhero 
comics penciling such titles as 

Wonder Woman, 

Justice League,

 and 

Doom Patrol,

 Linda Medley went 

down a totally different road with her own fan-
favorite, self-published series 

Castle Waiting.

 That 

book is finally back in print in a “complete” one-
volume hardbound that collects the entire story to 
date. Medley is also relaunching the title as an ongo-
ing series this summer, published by Fantagraphics. 

Courtesy of Fantagraphics Books

Roger Langridge

Billy Martinez

Jonathan Matthews

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BRAD MELTZER 

JUST ADDED

The 

New York Times

 best-selling author of such 

books as 

The Tenth Justice, The Millionaires,

 and 

The 

Zero Game

 is also the writer behind DC Comics’ 

Iden-

tity Crisis

 and the new ongoing 

Justice League

 book 

debuting in July.

JEAN-CLAUDE MEZIERES

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 

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

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

With a career dating back to Timely Comics in the 
1940s, Jim Mooney is one of the most beloved art-

ists of the Golden and Silver Ages of comics. While 
he is known for working on 

Tommy Tomorrow

 and 

Superboy

 at DC and 

Spider-Man 

at Marvel, he is prob-

ably best recognized for his work on 

Supergirl

JIMMY PALMIOTTI 

JUST ADDED

One of the busiest guys in comics, writer/inker Jimmy 
Palmiotti’s productivity and versatility are as legend-
ary as the characters he works on. He helped start 
Event Comics and the Marvel Knights line and has 
worked on numerous titles through the years. He cur-
rently writes 

Jonah Hex

 and 

The Battle for Bludhaven

while also inking the latter, along with 

JSA Classified

His co-creation (with Joe Quesada), 

Painkiller Jane

, is 

in production as a SCI FI Channel series. 

CHRISTOPHER PAOLINI

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

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 

Brad Meltzer

Jean-Claude Mézières 

Sheldon Moldoff

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of the 

New Teen Titans

 with Marv Wolfman to his 

mega-successful 

JLA/Avengers

 crossover minise-

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

HOWARD PORTER

Howard Porter’s vibrant and action-packed 
layouts make him one of the most exciting artists 
working in superhero 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.

JERRY ROBINSON 

JUST ADDED

Few comic book artists can say that they were 
present at the birth of the medium. Jerry 
Robinson’s long and varied career started as an 
assistant on Bob Kane’s 

Batman,

 where he came 

up with various aspects of the character, includ-
ing the Joker and the name for Batman’s sidekick, 
Robin. He moved into syndicated comics with his 

Still Life

 daily panel and his Sunday strip, 

Flubs 

and Fluffs.

 He has been instrumental in obtaining 

creator’s rights, especially in relation to Super-
man creators Jerry Siegel and Joe Shuster, and 
suggested creation of the Bill Finger Award for 
Excellence in Comic Book Writing at Comic-Con.

JOHN ROMITA SR. 

JUST ADDED

You can’t say his name without thinking, “Face it, tiger 
. . . you hit the jackpot!”—especially when it comes to 
his work associated with everybody’s favorite web-
slinger, the Amazing Spider-Man. John Romita Sr.’s 
prolific career includes an almost-lifelong association 
with Marvel Comics and such great characters as 
Spidey, Daredevil, and Captain America. 

ANDY RUNTON

Andy Runton’s 

Owly,

 published by Top Shelf, has 

charmed critics and readers alike and has been 
nominated for Best Publication for a Younger 
Audience in the 2005 and 2006 Will Eisner Comic 
Industry Awards. Check out the interview with 
Andy starting on page 36! 

SHAG

Pop artist “Shag” is the alter ego of Josh Agle, 
who created the moniker using the last two let-
ters of his first name and the first two of his last. 
He began his professional career as an illustra-
tor/designer but soon found his original paintings 
garnering considerable 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.

GAIL SIMONE 

JUST ADDED

Former hairdresser Gail Simone is one of the busi-
est writers in comics, after getting her start by 
co-creating 

Killer Princesses

 with Lea Hernandez 

and writing for Bongo Comics. Currently a DC ex-
clusive writer, she’s had critically acclaimed runs 
on 

Legion of Super-Heroes, Birds of Prey, 

and DC’s 

flagship title, 

Action Comics. 

She is also working 

on two new series, 

Secret Six 

and 

The Atom. 

For 

WildStorm, she is reinventing 

Gen

13

 with artist Tal-

ent Caldwell and has created a new title, 

Tranquil-

ity

, for release later this year.

Courtesy of WildStorm

J. MICHAEL STRACZYNSKI 

JUST ADDED

Best known as the creator/writer/executive pro-
ducer of 

Babylon 5

, J. Michael Straczynski current-

ly writes 

The Amazing Spider-Man

The Fantastic 

Howard Porter

Jerry Robinson

Gail Simone

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Four, Squadron Supreme,

 and 

The Book of Lost Souls

 

for Marvel Comics. You can learn more about JMS 
from the interview starting on page 30.

YOSHIHIRO TATSUMI

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.

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.

BRIAN WALKER 

JUST ADDED

Cartoonist and comic art scholar Brian Walker has 
written and edited more than a dozen books on 
cartoon art, including 

The

 

Comics: Before 1945, 

The Comics: Since 1945,

 and 

Masters of American 

Comics,

 a book cataloguing the groundbreaking 

exhibition of American comic strip and comic 
book artists now touring the country. Walker is 
also involved with the National Cartoon Museum, 
which will open in the Empire State Building in New 
York City in 2007. He is part of the creative team that 
produces the popular syndicated comic strips 

Beetle 

Bailey

 and 

Hi and Lois, 

created by his father, Mort 

Walker.

GREG WEISMAN 

JUST ADDED

Greg Weisman is best known for his work in the 
animation field working on such diverse properties 
as 

Darkwing Duck

Duck Tales the Movie

Aladdin the 

Series,

 and 

The Mighty Ducks

, among others. In 1991, 

Greg and his team created and developed a new 
series for Disney: 

Gargoyles

. Greg was supervising 

producer and supervising story editor on the first 66 
episodes of that series. Greg returned to 

Gargoyles

 

in 2005, penning new stories for SLG Publishing’s 
series. 

Courtesy of SLG Publishing

 

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

.

And that’s not all, folks! Check the website 

www.

comic-con.org

 for more updated guest information 

as we get closer to the big event!

Yoshihiro Tatsumi

Brian Walker

Scott Williams

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J. Michael Straczynski is one of the most popular 
special guests to appear at Comic-Con. With a 
comics schedule alone that would crush a weaker 
person, JMS has taken on a workload that has kept 
him a bit out of the public sphere, but he’ll be back 
at Comic-Con again this year. We touched base with 
him to talk about the myriad of projects he has go-
ing on in all of these worlds.

You’re writing Marvel’s fl agship titles, 

Fantastic 

Four

 and 

Amazing Spider-Man

. What’s it like 

dealing with the incredible legacy of both of these 
books, 40 years after their creation?

Certainly it’s a huge compliment, and a great 
responsibility. The fi rst obligation one has is not to 
break anything, and that’s what I’ve tried to do with 
the books, while at the same time trying to inject 
some new angles. The challenge is that the books 
have been around for 40-plus years, and it’s hard 
to fi nd elements that haven’t been touched upon 
previously by far better writers than myself. As a fan, 
I’d love nothing more than to just bury myself in the 
Spidey and FF rogues gallery of bad guys, but that’s 
the easy way out, and there comes a time when 
you’re not breaking new ground, you’re just fertil-
izing familiar fi elds.

Spider-Man saw some amazing changes in his life 
this year with “The Other” storyline. While it ran 
through all three Spidey titles, a lot of it seemed 
to tie in with things you started laying in place 
when you took over

 Amazing Spider-Man

 fi ve 

years ago. Was this the culmination of those plot 
threads or a new beginning for everyone’s favorite 
webslinger? 

It was both, really. There were a lot of elements 
set up that foreshadowed Peter’s rebirth, so what 
came in “The Other” was a payoff , but at the same 
time it was a rebirth on a lot of diff erent levels. He’s 
stronger than ever, more capable, more evolved (in 
every sense of that word) . . . which naturally means 
that there’s a fall coming soon, because that’s just 
Peter’s world . . . but he’s grown a lot, and that’s the 
fun of the book.

New Spidey costume: Love it or hate it? 

I don’t consider it a love/hate issue. The costume 
is born out of the plot concerning the growing 
father/son relationship between Tony Stark and 
Peter. It’s visually emblematic of that friendship. It’s 
not designed to be a long-term change; eventually 
it will go back to the original threads, so I don’t get 
too het-up about it one way or t’other. But having 
said all of that, I do think it’s kinda cool looking.

What’s it like creating a whole new universe of 
comics like you’ve been doing at Marvel with the 
Squadron Supreme books?

It’s a great deal of fun because I get to make up the 
rules of the Squadron Supreme universe as I go...
meaning I have a clean slate on which to posit, 
“Okay, if this happened in the real world, what 
would it look like?” In its prior iteration, as 

Supreme 

Power,

 it was very much Mark Milton’s (Hyperion’s) 

story, whereas now it’s a rather large and almost 
unwieldy team, so now the dynamics are very dif-
ferent. 

The road taken previously was dictated by the mind-
set and gestalt of the 70s and 80s. The world has 
changed, the context by which we would evaluate 

CATCHING  UP  WITH

Popular Guest Straddles Worlds of Sci-Fi, Comics and Television

J. MICHAEL STRACZYNSKI

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such characters in the real world is not now what it 
once was, and fi ltering it through that perspective 
gives me some great opportunities to play with 
some controversial stories. 

You’ve also reentered the world of creator-owned 
comics at Marvel through their Icon imprint, with

 

Book of Lost Souls

, an ongoing series with artist 

Colleen Doran. 

I’m very happy with 

The Book of Lost Souls

, es-

pecially the art by Colleen Doran. Having now 
established who Jonathan and Mystery are, I’m 
beginning to expand the universe of supporting 
characters. This started with Theo, a young pros-
titute whom he saves, and in the next big arc we 
introduce three very dangerous characters whose 
task it is to undo whatever Jonathan is doing. 
The book also deals a great deal with the lost, the 
disposed, the runaways and the thrownaways of 

society. I think there’s more that 
needs to be said on this subject, 
because it’s important.

Comics seem to be taking up a 
big portion of your plate these 
days. What else in the works for 
you, comics-wise?

We just got in the fi rst lettered 
and colored issue of 

Bullet Points

my fi ve-issue mini with Tommy 
Lee Edwards on art, and it’s just 
stunning. The premise being to 
examine the eff ect of one bullet 
on the history of the Marvel 
universe over a period of 60 
years, such that the result is very, 
very diff erent than what we have 
come to know.

I’m still working on the 

Silver Surf-

er

 miniseries, being painted by 

Esad Ribic. We’re taking our time 
on this because it’s an important 
story to the character and the 
whole Marvel universe, and we 
really have to get this right. 

I also just started a new minise-
ries, which brings a number of 
Marvel characters not seen in de-
cades back into the fold. Basically, 
the story takes a dozen charac-
ters seen during the World War II 
period and moves them into the 

present, with highly variable results. It’s very dark, 
kind of violent, and provides a lot of opportunities 
to see the world now through their eyes, how it’s 
changed and what we’ve lost (or gained). 

Finally, I’m writing a mini for Joe Quesada—his own 
self—to draw, but I can’t say diddly about that right 
now.

Your 

Babylon 5

 series has a tremendous fan fol-

lowing. Is there anything new coming up on the B5 
front that you can talk about?

Warner Bros. called last week to ask about putting 
some new 

B5

 projects in the works, but we’ll have 

to see what happens. These calls tend to come 
about every six months, usually timed with the 
latest DVD sales fi gures which remind them that 
this series has sold over half a 

billion

 dollars worth 

of DVDs. 

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On my own, and just for fun, I’ve begun the process 
of publishing all of my 

Babylon 5

 scripts in book 

form, along with introductions and commentar-
ies, my personal photos and memos written 
at the time. (More info can be found at 

www.

babylon5scripts.com

Babylon 5

 lost one of its most popular actors this 

year with the passing on February 13 of Andreas 
Katsulas (G’Kar). What are some of your fondest 
memories of working with this fan-favorite actor?

The best parts were always watching Andreas 
work with Peter Jurasik. They had such an amaz-
ing rapport. I used to slip away from my offi  ce and 
into the stage just to watch them work. Andreas, I 
discovered later, thought I was coming because I 
wasn’t happy with their work and wanted to keep an 
eye on them to minimize the degree to which they 
might screw up. 

He always came at the character of G’Kar from a 
right angle, coming up with ideas and bits that 
would never have occurred to me, and watching 
him bring G’Kar to life was just an amazing experi-
ence. He was an actor’s actor, no mistake.

You’re contributing to a new ABC series 
called 

Masters of Science Fiction

, along 

with such luminaries as Harlan Ellison and 

Ray Bradbury, adapting short stories to tele-

vision. What’s your contribution to the series?

Of all the stories they had in hand, they knew 
that one of the hardest to adapt was going to 

be Robert Sheckley’s “Watchbird.” So when 

they off ered several stories, that was the one 

that I wanted. I can’t fi gure out if I’m a masoch-

ist or I just like a challenge. It was certainly a 

high compliment either way, given that they’re 
keeping the roster of writers and directors 

limited and by invitation only. In addition to 

my adaptation, Ray and Harlan, Michael Tolkin 

is writing and directing an episode, and I heard 

they have several other big-movie SF guys on 
tap.

Rumor has it that you’re returning to series TV 

with a brand new show for Touchstone, and it’s 

not a genre series. What can you tell us about this 

show?

I’m limited in what I can say, but the title of the 

project is 

Borrowed Lives

, and it was grabbed up by 

the fi rst company that saw it, Touchstone. Basi-

cally, it’s an approach to the murder mystery/police 

procedural genre that for some reason, nobody’s 

ever thought of before. When it hit me, I thought for 

sure

 that 

somebody

 had to have done something like 

this before, but it turned out nobody had, and that’s 
the reason it got picked up so quickly. 

And fi nally, you always seem to have time, no matter 
how busy you are, to come to Comic-Con. What 
makes you fi nd the time?

It’s the one and only con I try to attend every 
year, because—and this isn’t meant as a knock on 
anybody else, just my own subjective opinion—it 
just feels more fan-oriented than some of the oth-
ers. It’s a genuine celebration, it’s lousy with every 
big-name pro of whom I still live in awe, and it’s just 
freaking fun. I can’t even begin to count the number 
of big deals, small deals, and careers that have been 
started courtesy of San Diego Comic-Con, mine be-
ing one of them.

There are a lot of great conventions out there, but in 
my admittedly biased view, SDCC remains the crown 
jewel.

An extended version of this interview can be found on 
the Comic-Con website at 

www.comic-con.org

© 2

00

6 M

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, I

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COMIC-CON INTERNATIONAL: SAN DIEGO

AUTOGRAPH  AREA

Meet Your Favorite Celebrities Under the Sails!

It’s one of the first things you see as you enter Comic-Con through the San Diego Convention 
Center’s beautiful Sails Pavilion: celebrities sitting, table after table, signing autographs for their 
fans. Yes, it’s Comic-Con’s fabled Autograph Area, where you never quite know who you’ll meet! 
From movie stars to your favorite classic TV personalities, from sf and fantasy writers to comic 
book greats, the Autograph Area is your one-stop shop for signings, including special autograph 
sessions after panels and events. 

Who’s going to be appearing this year? While the list is still being compiled, a few notables 
have already signed up, including 

Denise Crosby

 (

Star Trek: The Next Generation

 ), 

Gigi Edgely

 

(

Farscape

), 

Kathy Garver

 (

Family Affair

), 

Richard Hatch

 (

Battlestar Galactica

), 

Dean Haglund

 (

X-

Files

), and 

James Hong

 (

Blade Runner, Big Trouble in Little China

). Check 

www.comic-con.org

 for a 

complete listing before the show, and be sure to pick up an onsite Events Guide for the Autograph 
Area schedule—we wouldn’t want you to miss that personal favorite!

Fan favorite actor/author Bruce Campbell signs in the Autograph Area at last year’s Comic-Con.

PACKS THEM IN, AGAIN AND AGAIN 

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COMIC-CON INTERNATIONAL: SAN DIEGO

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COMIC-CON INTERNATIONAL: SAN DIEGO

Known for his 

A Song of Ice and Fire

 series, author 

George R. R. Martin has had a long career that has 
included a stint as story editor on 

The Twilight Zone

 

TV series in the mid 1980s and a key position on the 
fan-favorite 

Beauty and the Beast

 show as execu-

tive story consultant, producer, and co-supervising 
producer during its run. His latest book is part of the 

Song

 series, 

A Feast for Crows.

 Three more books in 

the 

Song

 series are in the works to be published by 

Bantam Books.

CCI: 

For those not yet familiar with your work, can you 

describe 

A Song of Ice and Fire?

Martin: 

That’s a tall order. 

A Song of Ice and Fire

 

is an epic fantasy, set in the imaginary world of 
Westeros. Four volumes have been published 
to date, with three more on the way. The books 

are grittier and more realistic than most other 
novels in the genre, drawing as much on the tradi-
tions of historical fi ction as on those of high fantasy, 
but readers will still fi nd plenty of knights, castles, 
dragons, swordplay, and jousts therein, along with 
treachery, incest, trees with faces, and a gigantic 
wall made of ice. There’s also a dwarf.  

CCI: 

As fans know

, A Feast for Crows

 follows character 

lines for only some of the vast cast of 

A Song of Ice and 

Fire.

 Any idea when 

A Dance with Dragons,

 which will 

continue the story lines of many of the other charac-
ters, will be on bookshelves?

Martin: 

Hard to say. I am still writing the book, and 

I have learned the hard way that my best estimates 
as to completion and delivery dates are never very 
good. Ask me again at the con.

GEORGE R.R. MARTIN

A Song of Ice and Fire and Much More

ON  FANTASY  WRITING,  MOVIES,  COMICS... 

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COMIC-CON INTERNATIONAL: SAN DIEGO

CCI: 

Do you still anticipate the series being seven 

books long?

Martin: 

Yes, that’s the plan. It was originally three 

books, but the tale grew in the telling, as Tolkien 
used to say.

CCI: 

As the series has continued and grown, are you 

still working toward the same conclusion you fi rst cre-
ated, or is that subject to change?

Martin: 

Everything is subject to change, but at this 

point the conclusion in my head remains the same 
as it did in 1991, when I fi rst conceived of this project 
and began work on 

A Game of Thrones

.

CCI: 

Is Sansa the character that generates the most 

reader feedback? 

Martin: 

Not at all. A number of people seem to 

have named their children after Sansa (see my 
website, 

www.georgerrmartin.com

), but I think 

that’s just because they like the sound of the 
name. She has never been one of the more popular 
characters. Arya, Tyrion, and Jon Snow are probably 
the characters who generate the most feedback, 
with Dany close behind them.

CCI: 

You have won multiple awards, including the 

Hugo, Nebula, and Stoker, for your shorter works. What 
determines whether a story idea is the germ for a novel 
or a shorter piece?

Martin: 

The complexity of the notion is part of it, 

but of course a big project like 

A Song of Ice and Fire

 

contains within it a whole range of ideas, not just 
one. I began my career writing short fi ction back 
in the 70s, but my stories have gradually grown 
longer over the decades. They’ve also become more 
layered and complex. 

CCI: 

Does “Sandkings,” your Hugo and Nebula Award 

winning novelette which has been adapted into both 
fi lm and comics, hold the record for the most incarna-
tions of one of your works?

Martin: 

If you count games as an “incarnation,” then 

A Song of Ice and Fire

 would be on top. There’s been a 

role-playing game, a collectible card game (with numer-
ous expansion sets), several versions of a board game. A 
miniatures game and range of collectible fi gures is on the 
way, as is a calendar, and all sorts of other things are in the 
discussion stage. Also, we’ve had 

The Hedge Knight

 comic 

book and graphic novel from DBPro, which is based on 
a prequel. “Sandkings” would probably be third, but the 

Outer Limits

 adaptation gives it more visibility.

CCI: 

During your writing career, you have been a 

journalist, a prose author, an editor, a comic book 
author, and a writer for television. What’s left? 
Manga?

Martin: 

Probably not, but I make no promises. I 

must confess, I do enjoy tackling new forms, taking 
on new challenges. It keep you fresh.

CCI: 

Your work has inspired artists and game players. 

What do you enjoy most about others’ interpretations 
of your universes?

Martin: 

The artwork. I have been fortunate enough 

to have my work illustrated by some of the best 
SF and fantasy artists in the world, folks like John 
Howe, Charles Vess, Michael Komarck, Justin Sweet, 
Donato Giancola, Steve Youll, Jim Burns, Martina 
Pilcerova, Tom Canty, John Schoenherr, Amok, and 
many, many more. It is always a thrill to see a scene 
or a character that existed only in my head appear 
before my eyes in a painting or drawing. 

CCI: 

Some of your fi rst published writing was for comic 

fanzines in the 1960s. Recently, you reviewed Stephen 
King’s 

Cell

, with a comic book creator as a protagonist, 

for the 

Washington Post.

 Did you have any sense of 

your many worlds colliding?

Martin: 

Oh, my worlds have always been in collision. I 

did come out of comics fandom, and as a high school 
kid I published superhero “text stories” in 

Star-Studded 

Comics, Batwing, YMIR

, and other comic fanzines. I even 

applied for a job at Marvel Comics when I graduated 
college in 1971. Fortunately, they turned me down. A 
decade and a half later I was back writing superhero 
stories in prose for my 

Wild Cards

 series.

CCI: 

Your website has sections where you periodically 

update what you are reading and what you are watch-
ing. Can you share your current attractions?

Martin: 

The most recent book I’ve added to 

“What I’m Reading” is 

Conventions of War

, the 

third volume in 

Dread Empire’s Fall

, the wonderful 

space opera series from Walter Jon Williams. Great 
stuff. As for what I’m watching, I love almost all of 
the original series on HBO. Right now 

The Sopra-

nos

 is on, but I think my favorites are 

Deadwood

 

and 

Rome.

 I get queries all the time asking when 

Song of Ice and Fire

 is going to be a movie, but the 

truth is, I don’t think it would work as a film, or 
even three films. It’s way too big. The only way to 
do it would be as an HBO-style television series, 
which each of the books done as a twelve-hour 
“season.”

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COMIC-CON INTERNATIONAL: SAN DIEGO

At a time when 
comics for kids 
aren’t a major 
priority for most 
publishers, Andy 
Runton’s 

Owly

 is 

a little breath of 
good-natured 
fresh air in the 
vast forest of grim 
superheroes and 
violent tales. Run-
ton, a first-time 
special guest at 
this year’s event, 
has produced 
an all-ages tale 
that is simple and 
heartfelt. Runton’s 
third and latest 
book, 

Owly: Flying 

Lessons,

 published 

by Top Shelf Productions, is nominated for an Eisner 
Award in the Best Publication for a Younger Audi-
ence category. 

You pretty much came out of nowhere, or at least “flew 
in” under everyone’s radar. What’s the Andy Runton life 
story?

I was born in Jacksonville, Florida, and grew up read-
ing comics in the newspaper and comic books. I’ve 
always loved drawing, especially comic and cartoon 
characters. Before high school, my family moved to 
Atlanta, Georgia, and suddenly I was surrounded by 
trees, animals, and songbirds that we didn’t have 
in Florida. This would become more important 
than I ever imagined. I loved watching the birds 
but never thought much about them. In college, 
I would always stay up late finishing projects. So 
much so that my Mom starting calling me her “little 
owl.” After a while, when I would leave notes for her, 
I would draw a little owl on the notes to make her 

smile. Over time, 
the notes got 
more and more 
elaborate. 

After gradu-
ation, I got a 
corporate design 
job. I thought 
that was what I 
wanted, but my 
opinion quickly 
changed. I had 
continued read-
ing comic books 
and had even 
tried to create my 
own, but knew 
what I was doing 
was mediocre at 
best. I stumbled 
upon Chris Staros 

and Top Shelf at Dragon*Con in Atlanta in 2002. 
What I found there changed my life. Here were the 
kinds of stories I had been looking for! They were 
thoughtful, touching, and incredibly personal. All of 
these books were as unique as the artists who cre-
ated them, and without realizing it, they provided 
the courage for me to tell my stories. I just kept 
coming back to that little owl I had been drawing 
for my mom because he made me happy. Eventu-
ally, Top Shelf and I teamed up to create the first 

Owly

 graphic novel, and since then we’ve just kept 

working and developing that little owl and all of his 
friends into more 

Owly

 stories.

There’s some beautiful bird paintings on your website 
that are semi-realistic but have a delightful cartoonlike 
characterization to them. Are you harboring a secret 
desire to be an Audobon-like illustrator?

That’d be pretty cool, but I’m not sure they’d like 
that. I’d have to draw all of the birds smiling. Once 

ANDY  RUNTON

Comic-Con Special Guest Reinvigorates 

Comics for Kids with 

Owly

GIVES A HOOT!

A

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n p

ag

es 3

6 & 3

7: T

M & © A

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u

n

to

n

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COMIC-CON INTERNATIONAL: SAN DIEGO

you start really looking at them, 
their complexity and beauty is 
simply staggering. I guess I’m just 
trying to capture that on paper 
and share it with others. I also 
try to make sure the essence of 
the real birds and animals comes 
through in my character designs. 
That’s something I really have fun 
doing.

Your comics work started in mini-
comics. Was 

Owly

 a part of that?

Owly

 was the first time it really 

came together. I tried to do other 
stories, but they never turned out 
the way I planned. I was trying 
to do superhero stories. About 
that time, I discovered the beauty 
of independent comics. They’re 
inherently unique because they’re so personal . . . 
just be yourself and say what you want to say.

Comics for kids are a sometimes vastly ignored area 
of publishing these days. Why did you create a series 
geared for kids?

I guess it’s just because those are the kinds of 
stories I’ve always been drawn to. My family is very 
important to me, so I always enjoyed stories that my 
whole family could enjoy. My favorites were usually 
full of characters you could relate to and with emo-
tional stories. 

Your cartooning style is very vivid, lots of blacks, lots of 
bold lines, with a very simple, direct storytelling style. 
Who are some of your influences?

My tastes are pretty 
eclectic, but my biggest 
influence is definitely 
Bill Watterson (

Calvin 

and Hobbes

). His artwork 

blew me away and I got 
to see it every day in 
the newspaper. When I 
was growing up I read 
the early black-and-
white 

Teenage Mutant 

Ninja Turtles,

 and their 

boldness really stuck 
with me. But besides 
comics, I was a cartoon 
junky. I loved 

Looney 

Tunes

 and all of the 

Disney movies, especially 

Dumbo, 

Pete’s Dragon, The Rescuers,

 and 

Robin Hood.

 When I got back into 

comics it was because of Mike 
Mignola, Jim Mahfood, and Scott 
Morse. Their heavy use of black 
and bold sense of design was one 
of the main things that drew me 
in and really excited me.

Your work is almost entirely word-
less. Besides the obvious that every 
kid would point out—“duh, birds 
don’t talk!”—why the silent treat-
ment, and how does it impact your 
storytelling?

I had struggled with writing in 
the comics I did before 

Owly

. All 

of the sentences came out clunky, 
especially the dialogue.  I don’t 

really consider myself a writer. I was trying to get 
my first little 

Owly

 story done in time for a conven-

tion, so I decided just to leave off the words. To my 
surprise, it still worked. For the next story, I tried 
to convey everything with expressions and body 
language. But I still had trouble communicating ev-
erything through emotions. Some ideas are difficult 
to convey in just static pictures. I used to design 
computer icons for a living. I knew that good icons 
can convey complex ideas clearly, so I brought that 
into my comics.

What’s next for 

Owly

In addition to the Owly Plush Toy and T-shirts that 
come out this summer, we’ll also continue the 
tradition of producing 

Owly

 “Free Comic Book Day” 

books each year to help retailers introduce comics 

to an ever-widening 
audience. 

Owly: Breakin’ 

the Ice

 is this year’s FCBD 

release, and we’ll give 
away 50,000 of them 
this spring and sum-
mer. I’m also currently 
working on the story for 
the fourth 

Owly

 graphic 

novel. I love this world 
and all of the characters 
in it so I plan on writing 
and drawing Owly sto-
ries for a very long time. 
Owly still has lots of 
friends to make, and lots 
of adventures to go on.  

One  of  Andy  Runton’s  striking 
paintings of birds, this one is titled 
“Little Sentinel.”

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COMIC-CON INTERNATIONAL: SAN DIEGO

Representing very different ends 
of the comics spectrum, 

Chris 

Ware

 and 

Warren Ellis

 are the 

creators with the most nomina-
tions for the 2006 Will Eisner 
Comic Industry Awards. Ware has 
seven nominations, four for his 
self-published hardcover 

Acme 

Novelty Library 16

 (Best Graphic 

Album-New, Writer/Artist, Color-
ing, Lettering), two for 

Acme 

Novelty Library Annual Report,

 

published by Pantheon (Graphic 
Album-Reprint, Publication De-
sign), and another design nomi-
nation for Drawn & Quarterly’s 

Walt and Skeezix.

 

Ellis’s six nominations are associ-
ated with several projects. For 
WildStorm, his 

Desolation Jones

 

is up for Best New Series and 
Serialized Story, while 

Ocean

 is 

nominated for Limited Series. 
For Image, 

Fell

 is nominated for 

both New Series and Continuing 
Series. In the Writer category, his 
nomination is for those projects 
as well as for 

Down

 (Top Cow/Im-

age), and 

Planetary

 (WildStorm).

Close behind Ellis with five 
nominations is another Writer 
nominee, 

Brian K. Vaughan

 (last 

year’s recipient), with nods for 
WildStorm’s 

Ex Machina

 (Single 

Issue, Serialized Story, Continuing 
Series) and Vertigo’s 

Y: The Last 

Man

 (Serialized Story). Vaughan’s 

writing credits also include 
Marvel’s 

Runaways.

Also tapped for five nominations 
is 

J. H. Williams III,

 cited for Best 

Penciller/Inker on both 

Promethea

 

(ABC) and the twice-nominated 

Desolation Jones.

 

Promethea

 #32 

is nominated for Single  Issue and 
for Publication Design, for which 
Williams and Todd Klein were the 
designers.

Three creators have four nomina-
tions: 

Alan Moore

 (Writer) for 

ABC’s 

Promethea

 and 

Top Ten: The 

Forty-niners

 (Graphic Album-New) 

and for DC’s 

Absolute Watchmen

 

(Archival Project); 

Tony Harris

 

for 

Ex Machina

 (including Cover 

Artist); and 

Kyle Baker

 for his two 

self-published efforts: 

Nat Turner

 

(Limited Series, Reality-Based 
Work) and 

The Bakers

 (Single Issue, 

Writer/Artist-Humor).

Among creators with three 
nominations are 

Grant Morrison

 

(Writer) for DC’s 

Seven Soldiers

 

(Limited Series) and 

All Star Super-

man

 (New Series); 

Eric Powell 

for 

Dark Horse’s 

The Goon

 (Short Sto-

ry, Continuing Series, and Writer/
Artist–Humor); 

Joann Sfar

 for 

The 

Rabbi’s Cat 

(Graphic Album-New, 

U.S. Edition of Foreign Material) 
and 

Dungeon: The Early Years

 (U.S. 

Edition of Foreign Material); 

Seth

 

for Drawn & Quarterly’s 

Wimble-

don Green

 (Graphic Album-New, 

Writer/Artist-Humor, Publication 
Design); and newcomer 

Frank 

Espinosa

 for 

Rocketo

 (New Series, 

Continuing Series, Cover Artist), 
published by the now-defunct 
Speakeasy.

DC

 and its various imprints 

racked up the most company 

EISNER AWARD

NOMINATIONS

COVER FULL SPECTRUM OF COMICS

nominations, with 28 full nomi-
nations and shares of several 
others. Led by the nominations 
for 

Ex Machina,

 

Desolation Jones,

 

and 

Promethea,

 DC’s 

WildStorm

 

(including 

ABC

) imprint has 16 

full nominations. The DC line has 
10 nominations, with 3 for the 
recently canceled 

Solo,

 while DC’s 

Vertigo

 line has 3 full nomina-

tions. 

Image

 can boast of 10+ 

nominations, including two each 
for 

Fell,

 Eric Shanower’s 

Age of 

Bronze,

 and the 

Flight 2

 anthol-

ogy

.

Drawn & Quarterly

 made its 

strongest showing ever in the 
Eisners, with nine nominations. 
In addition to Seth’s 

Wimbledon 

Green,

 D&Q is on the ballot with 

Guy Delisle’s 

Pyongyang

 (Reality-

Based Work, Writer/Artist), 

Walt 

and Skeezix

 (Archival), Joe Sacco’s 

War’s End

 (Graphic Album-Re-

print), and Adriane Tomine’s 

Optic 

Nerve

 (Writer/Artist).

Mainstream publisher 

Pantheon

 

is also well represented, with 
eight nominations. In addition to 
the two for Sfar’s 

The Rabbi’s Cat,

 

the publisher dominates in the 
category of Graphic Album-Re-
print (Ware’s 

Acme Novelty Library 

Annual Report,

 Charles Burns’ 

Black Hole,

 Dan Clowes’ 

Ice Haven

and in the newly created Reality-
Based Work category (Marjane 
Satrapi’s 

Embroideries,

 David B’s 

Epileptic

).

Next among the publishers is 

Fantagraphics,

 with seven nomi-

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COMIC-CON INTERNATIONAL: SAN DIEGO

nations, including nods to 

Mome

 

(Anthology), Jordan Crane’s 

The 

Clouds Above

 (Publication for a 

Younger Audience), and Gipi’s 

The Innocents

 (Single Issue)

The 

nominations for 

The Goon 

give 

Dark Horse

 five-plus nods, while 

Young Avengers 

(New Series, Writ-

er-Alan Heinberg) helped 

Marvel

 

snag five nominations (plus many 
shared ones). 

Top Shelf

 is on the 

ballot in five categories, includ-
ing Graphic Album-New for Alex 
Robinson’s 

Tricked

. The remaining 

nominations are scattered among 
30 other publishers. 

This year’s judges made a few 
changes in the categories. In 
addition to adding Best Real-
ity-Based Work, they split the 
Archival category into two (comic 
strips and comic books), and they 
eliminated the Humor Publica-
tion category, which they felt 
overlapped too much with the 
Writer/Artist-Humor category. 
For the Hall of Fame, the judges’ 
choices for 2006 are Mickey 
Mouse cartoonist Floyd Gottfred-
son and Wonder Woman creator 
William Moulton Marston. A 
complete list of the nominations 
is provided below.

The panel of judges consisted of 
critic Christopher Allen (Comic 
Book Galaxy), cartoonist/pub-
lisher John Gallangher (

Buzzboy

), 

editor Nisha Gopalan (

Entertain-

ment Weekly

), product manager 

Robert Randle (Diamond Comic 
Distributors), and retailer Robert 
Scott (Comikaze, San Diego). The 
judging is coordinated by Jackie 
Estrada, who has been adminis-
trator of the Awards since 1990

Ballots have gone out to 
thousands of comics creators, 
editors, publishers, and retail-
ers and are being tabulated by 
Mel Thompson and Associates. 
The results will be announced 
in a gala awards ceremony on 
the evening of Friday, July 21 in 

Ballroom 20 at the San Diego 
Convention Center. 

Sponsors for the 2006 Eisners 
include mycomicshop.com 
(major sponsor), Diamond Com-
ics Distributors and Century 
Guild (principal sponsors), and 
Alternate Reality, Atlantis Fanta-
syworld, Comic Relief–The Comic 
Bookstore, Comics Unlimited, 
Flying Colors, Golden Apple, 
Isotope Comic Book Lounge, 
Quebecor World, Star*Reach, and 
Strange Adventures (supporting 
sponsors).

MASTER NOMINEE LIST, 2006 Eisner Awards

Best Short Story

 “Blood Son,” by Richard Matheson, adapted by 

Chris Ryall and Ashley Wood, in 

Doomed

 #1 (IDW)

“The Clean Room” (story #5), by Zak Sally, in 

The 

Recidivist

 #3 (La Mano) 

“Monster Slayers,” by Khang Le, in 

 Flight, 

vol. 2 

(Image)

 “Nameless,” by Eric Powell, in 

The Goon

 #14 (Dark 

Horse)

“Teenage Sidekick,” by Paul Pope, in 

Solo

 #3 (DC)

Best Single Issue (or One-Shot)

The Bakers,

 by Kyle Baker (Kyle Baker Publishing)

Ex Machina

 #11: “Fortune Favors” by Brian K. 

Vaughan, Tony Harris, and Tom Feister (Wild-

Storm/DC)

The Innocents,

 by Gipi (Fantagraphics/Coconino 

Press)

Promethea

 #32: “Wrap Party” by Alan Moore and J. 

H. Williams III (ABC)

Solo 

#5, by Darwyn Cooke (DC)

Best Serialized Story

Desolation Jones

 #1-5: “Made in England,” by War-

ren Ellis and J. H. Williams III (WildStorm/DC)

Ex Machina

 #12–14: “Fact v. Fiction,” by Brian K. 

Vaughan, Tony Harris, and Tom Feister (Wild-

Storm/DC)

Fables

 #36-38, 40-41: “Return to the Homelands,” 

by Bill Willingham, Mark Buckingham, and Steve 

Leialoha (Vertigo/DC)

Y: The Last Man

 #37-39: “Paper Dolls,” by Brian K. 

Vaughan, Pia Guerra, Goran Sudzuka, and José 

Marzan Jr. (Vertigo/DC)

Best Continuing Series

Age of Bronze,

 by Eric Shanower (Image)

Astonishing X-Men, 

by Joss Whedon and John 

Cassaday (Marvel)

Ex Machina, 

by Brian K. Vaughan, Tony Harris, and 

Tom Feister (WildStorm/DC)

Fell,

 by Warren Ellis and Ben Templesmith (Image)

Rocketo,

 by Frank Espinosa (Speakeasy)

True Story, Swear to God,

 by Tom Beland (Clib’s 

Boy Comics)

Best Limited Series

Nat Turner, 

by Kyle Baker (Kyle Baker Publishing)

Ocean,

  by Warren Ellis, Chris Sprouse, and Karl 

Story (WildStorm/DC)

Seven Soldiers,

  by Grant Morrison and various 

artists (DC)

Smoke,

 by Alex de Campi and Igor Kordey (IDW)

Best New Series

All Star Superman,

 by Grant Morrison and Frank 

Quitely (DC)

Desolation Jones, 

by Warren Ellis and J. H. Williams III 

(WildStorm/DC)

Fell, 

by Warren Ellis and Ben Templesmith (Image)

Rocketo, 

by Frank Espinosa (Speakeasy)

Young Avengers,

 by Allan Heinberg, Jim Cheung, 

and John Dell (Marvel)

Best Publication for a Younger Audience

Amelia Rules!

 by Jimmy Gownley (Renaissance Press)

The Clouds Above,

 by Jordan Crane (Fantagraphics)

Franklin Richards, Son of a Genius,

 by Chris Eliopou-

lous and Mark Sumerak (Marvel)

Owly: Flying Lessons,

 by Andy Runton (Top Shelf)

Spiral-Bound,

 by Aaron Renier (Top Shelf)

Best Anthology

The Dark Horse Book of the Dead,

 edited by Scott 

Allie (Dark Horse Books)

Flight, 

vol. 2, edited by Kazu Kibuishi (Image)

Mome. 

edited by Gary Groth and Eric Reynolds 

(Fantagraphics)

Solo,

 edited by Mark Chiarello (DC)

24 Hour Comics Day Highlights 2005, 

edited by Nat 

Gertler (About Comics)

Best Digital Comic

Copper, by Kazu  

www.boltcity.com/copper

Jellaby, by Kean Soo, 

www.secretfriendsociety.

com/archive.php?cat=2

ojingogo, by matt forsythe  

www.comingupfo-

rair.net/comics/ojingogo.html

PVP,  by Scott Kurtz, 

www.pvponline.com/

Best Reality-Based Work

Embroideries,

 by Marjane Satrapi (Pantheon)

Epileptic

, by David B. (Pantheon)

Nat Turner, 

by Kyle Baker (Kyle Baker Publishing)

Pyongyang,

 by Guy Delisle

 

(Drawn & Quarterly)

True Story, Swear to God

 (Clib’s Boy Comics), 

True Story, Swear to God: This One Goes to Eleven

 

(AiT/Planet Lar), by Tom Beland

Best Graphic Album—New

Acme Novelty Library

 #16, by Chris Ware (ACME 

Novelty)

The Rabbi’s Cat,

 by Joann Sfar (Pantheon)

Top Ten: The Forty-Niners,

 by Alan Moore and Gene 

Ha (ABC)

Tricked,

 by Alex Robinson (Top Shelf)

Wilmbledon Green,

 by Seth (Drawn & Quarterly)

Best Graphic Album—Reprint

Acme Novelty Library Annual Report to Sharehold-
ers, 

by Chris Ware (Pantheon)

Black Hole,

 by Charles Burns (Pantheon)

Feast of the Seven Fishes,

 by Robert Tinnell, Ed 

Piskor, and Alex Saviuk (Allegheny Image Factory)

Ice Haven,

 by Dan Clowes (Pantheon)

War’s End, 

by Joe Sacco (Drawn & Quarterly)

Best Archival Collection/Project—Comic Strips

The Complete Calvin & Hobbes, 

by Bill Watterson 

(Andrews McMeel)

The Complete Peanuts, 1955–1956, 1957–1958,

 by 

Charles Schulz (Fantagraphics)

Krazy and Ignatz: The Komplete Kat Komics.

 by 

George Herriman (Fantagraphics)

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40

COMIC-CON INTERNATIONAL: SAN DIEGO

Little Nemo in Slumberland: So Many Splendid 
Sundays,

 by Winsor McCay (Sunday Press Books)

Walt and Skeezix,

 by Frank King (Drawn & Quarterly)

Best Archival Collection/Project—Comic Books

Absolute Watchmen,

 by Alan Moore and Dave 

Gibbons (DC) 

Buddha,

 vols. 5-8, by Osamu Tezuka (Vertical)

The Contract with God Trilogy,

 by Will Eisner 

(Norton)

DC Comics Rarities Archives,

 vol. 1 (DC)

Fantastic Four Omnibus,

 by Stan Lee and Jack Kirby 

(Marvel)

Best U.S. Edition of Foreign Material

Cromartie High School,

 by Eiji Nonaka (ADV)

Dungeon: The Early Years, 

vol. 1, by Joann Sfar, 

Lewis Trondheim, and Christophe Blain (NBM)

Ordinary Victories,

 by Manu Larcenet (NBM)

The Rabbi’s Cat,

 by Joann Sfar (Pantheon)

Six Hundred Seventy-Six Apparitions of Killoff er,

 by 

Killoff er (Typocrat)

Best Writer

Warren Ellis, 

Fell

 (Image);

 Down

 (Top Cow/Image);

 

Desolation Jones, Ocean, Planetary

 (WildStorm/DC)

Allan Heinberg, 

Young Avengers

 (Marvel)

Alan Moore, 

Promethea, Top Ten: The Forty-Niners

 

(ABC)

Grant Morrison, 

Seven Soldiers, All Star Superman

 (DC)

Brian K. Vaughan, 

Ex Machina

 (WildStorm/DC); 

Y: 

The Last Man

 (Vertigo/DC); 

Runaways

 (Marvel)

Best Writer/Artist

Geof Darrow, 

Shaolin Cowboy 

(Burlyman)

Guy Delisle, 

Pyongyang

 (Drawn & Quarterly)

Eric Shanower, 

Age of Bronze

 (Image)

Adrian Tomine, 

Optic Nerve

 #10 (Drawn & Quarterly)

Chris Ware, 

Acme Novelty Library

 #16 (ACME Novelty)

Best Writer/Artist—Humor

Kyle Baker, 

Plastic Man

 (DC);

 The Bakers

 (Kyle Baker 

Publishing)

Paige Braddock, 

Jane’s World

 (Girl Twirl)

Bryan Lee O’Malley, 

Scott Pilgrim vs. the World

 (Oni)

Eric Powell, 

The Goon

 (Dark Horse)

Seth, 

Wimbledon Green

 (Drawn & Quarterly)

Best Penciller/Inker

John Cassaday, 

Astonishing X-Men

 (Marvel);

 

Planetary 

(WildStorm/DC)

Gene Ha, 

Top Ten: TheForty-Niners

 (ABC)

J. G. Jones, 

Wanted

 (Top Cow/Image)

Frank Quitely, 

All Star Superman

 (DC)

J. H. Williams III, 

Promethea, Desolation Jones

 

(WildStorm/DC)

Best Painter/Multimedia Artist (interior art)

Paul Guinan, 

Heartbreakers Meet Boilerplate

 (IDW)

Ladronn, 

Hip Flask: Mystery City

 (Active Images)

Ben Templesmith, 

Fell

 (Image)

Kent Williams, 

The Fountain

 (Vertigo/DC)

Best Cover Artist

Frank Espinosa, 

Rocketo

 (Speakeasy)

Tony Harris, 

Ex Machina 

(Wildstorm/DC)

James Jean, 

Fables 

(Vertigo/DC);

 Runaways 

(Marvel)

Jock, 

The Losers

 (Vertigo/DC)

Eric Powell, 

The Goon; Universal Monsters: Caval-

cade of Horror

 (Dark Horse)

Best Coloring

Jeromy Cox, 

Teen Titans

 (DC);

 Otherworld

 (Vertigo/DC)

Steven Griffi  n, 

Hawaiian Dick: The Last Resort

 (Image)

Steve Hamaker, 

Bone: The Great Cow Race

 (Scho-

lastic Graphix)

Jose Villarrubia, 

Desolation Jones

 (WildStorm/DC)

Chris Ware, 

Acme Novelty Library

 #16 (ACME Novelty)

Best Lettering

Chris Eliopolis, 

Ultimate Iron Man, Astonishing 

X-Men, Ultimates 2, House of M, Franklin Richards

(Marvel); 

Fell

 (Image) 

Todd Klein, 

Wonder Woman, Justice, Seven 

Soldiers 

#0 (DC); 

Desolation Jones

 (WildStorm/DC); 

Promethea, Top Ten: The Forty-Niners, Tomorrow 
Stories Special 

(ABC); 

Fables

 (Vertigo);

 1602: New 

World

 (Marvel)

Richard Starkings, 

Conan, Revelations

 (Dark Horse); 

Godland

 (Image);

 Gunpowder Girl and the Outlaw 

Squaw, Hip Flask: Mystery City

 (Active Images) 

Chris Ware, 

Acme Novelty Library

 #16 (ACME Novelty)

Talent Deserving of Wider Recognition

Dawn Brown (

Ravenous, Little Red Hot

)

Aaron Renier (

Spiral-Bound

)

Zak Sally (

Recidivist

)

Ursula Vernon (

Digger

)

Best Comics-Related Periodical

Comic Art,

 edited by M. Todd Hignite (Comic Art)

Comic Book Artist,

 edited by Jon Cooke (Top Shelf)

The Comics Journal,

 edited by Gary Groth and Dirk 

Deppey (Fantagraphics)

Draw!,

 edited by Michael Manley (TwoMorrows)

Following Cerebus,

 edited by Craig Miller and 

John Thorne (Aardvark-Vanaheim/Win-Mill 

Productions)

Best Comics-Related Book

The Comics Journal Library: Classic Comic Illustra-
tors,

 edited by Tom Spurgeon (Fantagraphics)

Eisner/Miller,

 edited by Charles Brownstein and 

Diana Schutz (Dark Horse Books)

Foul Play: The Art and Artists of the Notorious 1950s 
EC Comics,

 by Grant Geissman (Harper Design)

Masters of American Comics,

 edited by John Carlin, 

Paul Karasik, and Brian Walker (Hammer Museum/

MOCA Los Angeles/Yale University Press)

RGK: Art of Roy G. Krenkel, 

 edited by J. David 

Spurlock and Barry Klugerman (Vanguard)

Best Publication Design

Acme Novelty Library Annual Report to Sharehold-
ers,

 designed by Chris Ware (Pantheon)

Little Nemo in Slumberland,

 designed by Philippe 

Ghuilemetti (Sunday Press Books)

Promethea #

32, designed by J. H. Williams III and 

Todd Klein (ABC)

Walt and Skeezix,

 designed by Chris Ware (Drawn 

& Quarterly)

Wimbledon Green, 

designed by Seth (Drawn & 

Quarterly)

Hall of Fame

Judges’ Choices: Floyd Gottfredson, William 

Moulton Marston

Voters will choose four from among:

Matt Baker

Vaughn Bode

Wayne Boring

Reed Crandall

Creig Flessel

Ramona Fradon

Harold Gray

Graham Ingels

Robert Kanigher

Christopher Allen (editor/writ-
er, ComicBookGalaxy.com)

I must admit, I’ve always been 
somewhat ambivalent about 
the Eisners, and about awards 
in entertainment in general. I’m 
sure I’m not alone in feeling that 
the winners—even many of the 
nominees—are often far diff er-
ent than whatI would personally 
have chosen. And, really, it’s hard 
to pick a “best” anything, since 
something you love for days after 
you read it could fade from your 
memory, while something you 
read months before somehow 
resonates more strongly, perhaps 
based on some personal experi-
ence or change in perspective 
you’ve had since then. 

But when I was told I would be 
one of the judges, I got kind 
of excited about it, for various 
reasons. Hey, they’re the most 
prestigious comics industry 
awards, they recognize arguably 
the broadest range of comics 
material and creators, and they’re 
held every year in my town. As an 
online and magazine comics critic 
and commentator among hun-
dreds, being a judge is a feather 
in my cap, sure, but more impor-
tant, I see it as an extension of my 
work as a critic. It’s one thing to 
attempt to responsibly and fairly 
write about the good, bad and 
indiff erent stuff  one picks up or 
has sent to him, but to really try 
to take in an entire year’s work 
from all genres and formats and 
narrow it all down to a handful of 
hopefuls for various categories as 
the cream of 2005’s crop is really 
an awesome task. It’s a task I took 

Russ Manning

Mort Meskin

Marty Nodell

Gilbert Shelton

Jim Steranko

Judges’ 

Comments

EISNER 

AWARDS

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41

COMIC-CON INTERNATIONAL: SAN DIEGO

41

COMIC-CON INTERNATIONAL: SAN DIEGO

very seriously, and I’m sure it will 
aff ect my writing about comics 
in the future. Plus, why complain 
when you can have a chance to, 
at least once, make a little bit of 
a diff erence, maybe cast a light 
on some talents who have been 
overlooked?

 The experience itself was intimi-
dating, exhausting, occasionally 
frustrating, but ultimately really 
rewarding. While I would have 
loved to see nominations for 
creators such as C Tyler, Jason 
Lex, and JohnPorcellino, I can 
still say with confi dence that the 
nominations we came up with 
really do represent a great range 
of excellent work. It was really a 
democratic process, with some 
nominations unanimous and 
some the result of eloquent cam-
paigning. Even when there was 
disagreement, there was always 
a great deal of respect, and I also 
have to commend Jackie Estrada 
on being so open to altering 
some categories and even creat-
ing a new one or two. 

Nisha Gopalan (editor, 

Enter-

tainment Weekly

)

Needless to say, judging the 
Eisners was most nerdtastic of 
experiences. Here you had a 
group of enthusiasts sequestered 
in a room teeming with comics, 
eager to discuss, say, the increas-
ingly lost art of lettering—or in 
less cerebral moments, the merits 
of Alan Moore’s facial hair. Still, in 
sheer magnitude of workload, it 
also sort of felt like studying for 
the SATs again: weeks of prepara-
tion beforehand and a fair share 
of last-minute cramming, with 
intense hours of deliberations 
that’d lead to the most informed 
decisions. (I am quite pleased 
with the outcome, though I still 
think that 

La Perdida,

 issue No. 1 

of 

Strange Detective Tales,

 and the 

is-it-or-isn’t-it-a-comic submis-
sion 

Stars, Crosses, & Stripes, 

also 

deserved a little love.)

Holed up in that room in San 
Diego, there was a palpable sense 
of responsibility mingling with 
thrill—we were freakin’ Eisner 
judges!—which is probably the 
only thing a magazine editor, a 
comics creator, and a store owner 
have in common. People con-
tinue to ask me in that schaden-
freudey kind of way if this experi-
ence has made me sick of reading 
comics. And, to even my surprise, 
I tell them I’m not. If anything, as-
sociating myself with the Eisners 
did what it’s always sought out to 
do: It gave me more enthusiasm 
for what this dynamic medium 
can accomplish.

Robert Randle (product man-
ager, Diamond Comic Distribu-
tors)

I felt very privileged to be a part 
of the judging for the Eisner 
Awards this year. As an awards 
program that showcases the very 
best of the best publications 
from every aspect of the comics 
industry, the task of narrowing 
down an entire year’s worth of 
titles to a handful of fi nalists was 
a daunting one. All the judges 
felt a great deal of responsibil-
ity to create a fair list of strong 
candidates, and I feel this group 
was well suited to the task. Every 
judge was astoundingly knowl-
edgeable and well read, with 
excellent taste and objective 
attitudes; even in the few cases 
where there were diff erences of 
opinion, we managed to come 
to amicable solutions with 
which everyone was satisfi ed. 
I feel confi dent that this list is 
an accurate cross section of the 
industry’s best this year, and am 
thrilled to have been a part of it.

Robert Scott (owner, Comikaze, 
San Diego)

As someone whose livelihood 
depends on the sales of comics 
and graphicnovels, I considered it 
both an honor and a privilege to 
be able to participate in the nom-

ination of the 2006 Eisner Awards. 
I cannot think of anything more 
important than the recognition 
and celebration of comics as 
legitimate literary art form and 
am unaware of any other instance 
where all comics—web and print, 
independent and mainstream, 
black/white and color, fi ction and 
nonfi ction—all appear for consid-
eration as equals.

With the nominees chosen by 
industry proxy, no agenda can 
exist and no votes can be bought 
or coerced. My retailer-colored 
views were tempered by the 
views from a small press creator/
publisher, a mainstream maga-
zine editor, an Internet comics 
columnist, and a representative 
of the largest U.S. comics dis-
tributor. While we all had strong 
feelings driven by personal and 
professional experiences, I was 
inspired to see that despite any 
diff erences of opinion, our shared 
love for the medium led us all to 
question, learn, and push beyond 
the boundaries of our traditional 
comfort zones.

I left the experience invigorated 
by the breadth and quality of 
the submitted work. Despite the 
eff orts in my store to off er one 
of the most diverse selections 
of comics and graphic novels 
anywhere, I was surprised and 
excited to see that there are still 
more good works to be discov-
ered from creators and publish-
ers, new and old. I hope that as 
you look at our selections, you 
will fi nd yourself both murmuring 
agreement as well as intrigued 
to seek out those titles that are 
not yet familiar to you. Thank you 
to Jackie Estrada, to Comic-Con 
International, and to the man 
who despite his passing is still 
very much with us today, Will 
Eisner, for making it possible for 
me to be part of this, the greatest 
celebration of the spirit of comics, 
The Eisner Awards.

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42

COMIC-CON INTERNATIONAL: SAN DIEGO

The following professionals from comics, films, animation, and related pop culture fields had signed up to 
attend Comic-Con 2006, as of press time for this Update. Keep in mind that many pros appear at Comic-Con 
under the auspices of their publishers; if you want to know whether a particular pro is at the show, you may 
want to inquire at the publisher’s booth.
 

Phil Bloom

Joseph Boeing

Anna Boersig

Craig Boldman

Stephen Borasch

Josh Boulet

Malcolm Bourne

Gregory Boychuk

Andrew Boyd

Megan Brain

Jay Brandenburg

Emerald Branton-Bond

Jody Braun

Eloy Bravo

Michael Brennan

Jeffrey Breslauer

David Brin

Spencer Brinkerhoff 

Brett Brinson

Jared Brodie

Jim Brooks

Mat Broome

Julie Brown

Nicole Brune

Giulia Brusco

Eric Bryan

John Budano

Leslie Buhler

Roy Burdine

Paul Burrows

Scott Burton

John Butler

Nan Butler-Beckstrom

Adam Byrne

Laura Bystrom

C

Dominick Cabalo

Ricardo Cachovua

Glen Cadigan

Daryl Cagle

Keith Calder

Peter Calloway 

Serapio Calm

Mike Camarillo

Eric Campos

Stephen Candell 

Eric Canete

April Cano

Christopher Canole

Connie Canseco

Joe Caporale

Philip Carbonaro

Robert Cardoso

Christopher Carey

Annie Carlson

Frank Caruso

Roberto Casale

Matt Case

Joe Casey

Rob Casteel

John Cawley

Jason Chalker

Chip Chalmers

Ron Chan

Lisa Chase

Alina Chau

Richard Chavez

Jesse Cheek

Kevin Chen

Hong Cheng

Nathan H. Chew

David Chlystek

Fabian Chow

John Christensen

Eric Chu

Yuki Chung

Miguel Cima

Leif Clark

Cornnell Clarke

William Clausen

Caleb Cleveland

Becky Cloonan

Ryan Cody

Casey Coffey

Kevin Colden

Chadd B. Cole

Don Pedro Colley

Jeremy Collins

Ryan Colucci

Keith Conroy

Christopher Cook

Tim Coolidge

Mark Coon

Chris Cooper

Lisa Corbin

Joe Corroney

Fernando Costa

Dan Cote

David Cotelessa

Erik Courtney

Ed Cox

Steven Cragg

Gregg Crockett

Alexis Cruz

Carlos Jose Cruz-Aguilera

Emilio Cuesta

Gilbert Cuevas

Cynthia Cummens

Jesse G. Cunningham

Erik Cyree

D

Mario D’Anna 

Neil D’Monte

Kyle Dakota

Ben Dale

Joseph M. Damon

Monica Daniel

Kameron Daoodi

Steven Darancette

Arthur Datangel

Sue Dawe

Magdiel De Leon

Alex De Luca

Aaron De Orive

2006 ATTENDING PROFESSIONALS

Comic-Con Presents the Largest Gathering of Industry Pros in the Country! 

A

Marwan Abderrazzaq

Ted Abenheim

Peter Abrahamson

Albert Acosta

Ted Adams

Attila Adorjany

Vernon Aguilar

Irma Ahmed

Simone Airoldi

Jennifer Albrecht

Jude Albright

Aaron Alexovich

David Allen

Aaron Allston

Alex Almaguer 

Noir Amador

Gary Amaro

Lopan Amor

Mike Amron

Thom Ang

Ari Arad

Erik Arreaga

Edward Artinian

Adrian Askarieh

Mark Askwith

Barry Atkinson

B

Gabriel Ba

Tom Bacho

Nathan Baertsch

Corey Baham

Kirsten Baldock

Frank Balkin

Matt Ballesteros

Christer Baluyot

Tony Bancroft

Mel Bangasan 

Troy Bargatze

Glenn Barnes

Dell Barras

James Barron

Thomas Baxa

David Baxter

Wayne Beach

Jerry Beck

Christy Beckert

Dennis Beckstrom

Adam Beechen

Tim Beedle

Sara Beeves

Mary Bellamy

Dori Belmont

Erik Benson

David Berge

Anne Bernstein

Russell Binder

Chris Blackwood

Bill Blair

Howard Bliss

Paula Block

Blond

Scot De Pedro

Roman de Salvo

Donald Dean

Chris Deboda

Ryan Degard

Louie Del Carmen

George DeLorenzo

Thoma Denmark

Shannon Denton

Mark Desalvo

Rick Detorie

Sean Dicken

Andrew Dickman

Michael Diederich

Greg DiMase

Bill Dinardo

Huy Dinh

Paul Dini

Garrick Dion

Albert Directo

Nicholas Doan

Loki Dolza

Kevin Dooley

James Dornoff

Mark Doublin

Darlene Douthit

Jason Dube

Michelle Dudas

Vera Duffy

John Dugan

Shawn Duggins

Denise Dumars

Kieron Dwyer

Suzy Dyer

John Dymer

E

Win Eckert

Gigi Edgley

Cory Edwards

Michael Egbert

Bob Eggleton

Bernhard Eichholz

Jeff Elden

Eric Elder

Erik Elizarrez

John Ellis

Natasha Eloi

Jim Emmerson

Baron Engel

Jack Enyart

Sandra Equihua

Terry Erdmann

Eric Espejo

Greg Espinoza

Johnnie Espiritu

Dublin Evans

Jason Evaristo

F

Lance Falk

Xou Fang

Maryfer Farrera

John Fasano

Darcy Fedorchuk

Kevin Feige

Todd Fellows

Mitchell Ferm

Sean Fernald

Stephanie Fernandez

Nicholas Filippi

Joshua Fine

James Fino

Christi Fischer

Colin Fix

Anne Fix 

Gary Fixler

Peter Flanagan

Joseph Fleming

Paul Fletcher

Joe Flood

John Flynn

Kristi Fojtik

Tom Ford

Frank Forte

Matt Fraction

Ramona Fradon

Robert Frank

David Franklin

Stuart Fraser

Manzano Frederic

Doug Freeman

Derek Fridolfs

Mike Friedrich

Nate Funaro

Paul Fusco

G

Dana Gabbard

Austin Gage

Raymund Gallardo

Randy Gallegos

Jim Gallhager

Pier Gallo

Mark Garabedian

Andre Garcia

Frederick Gardner

Kathy Garver

Dan Gates

Scott Gearin

John Gebbia

Grant Geissman

John Gervais

Ford Gilmore

Heather Glassberg

Chris Gleason

Brian Goehring

Ellen Goldsmith-Vein

Douglas Goldstein

Robert Gomez

Chris Gooboian

Kelly Goodine

Maue Gostave

Lia Graf

Taylor Grant

Lennie Graves

Rodel Gravo

Douglas Gray

Kevin Grazier

Carl Greenblatt

Rick Greene

Amber Greenlee

Kevin Grevioux

Jason Grode

Jared Guenther

Brad Guigar

Jorge Gutierrez

H

Steve Haas

Jennifer Hachigian

Melinda Hage

Erin Haggerty

Joshua Hagler

John Hahn

Joe Haidar

James Hakola

Matt Haley

Thomas Hall

Scott Hamby

Rick Hamilton

Kenneth Hamlin

Ronald Hampton

Robert Hanon

Christina “Smudge” Hanson

Greg Hardin

Gabriel Hardman

Katy Hargrove

Eric Harms

Bob Harper

Robert Harrington

Arlene Harris

David Hartman

Juli Hashiguchi

Jon Hastings

Patrick Hatfield

Bryon Havranek

Sam Hayes

Clare Haythornthwaite

Albie Hecht

Josh Heenan

Tabitha Heidkamp

Rebecca Heineman

Dale Hendrickson

Mark Henry

Eric Henze

Jeanie Herger

Ingrid Hernandez

Phillip Hester

Jessica Hickman

Christopher Hicks

Anthony Higgins

Jonathan Hill

Seth Hippen

Louis Hirshorn

Garrett Ho

Matt Hollingsworth

Matt Holly

John Hom

James Hong

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43

COMIC-CON INTERNATIONAL: SAN DIEGO

David Hopkins

Kevin Hopps

Brian Horton

Steve Hough

Larry Houston

John Howard

Kirsti Howell

Michael Huang

Jerry Huber

Brian Huckeba

Paul Hungerford

Dartayous Hunter

Ethan Hurd

Jonathan Hussey

Eric Hutchison

I

Kenneth Ibrahim

Cynthia Ignacio

Wendy Ikeguchi

Harbell Ilustre

Bob Ingersoll

Cindy Irwin

Marty Isenberg

Tatsuya Ishida

Elizabeth Ito

J

Collin Jacques

Alexander Jaeger

Robert James

Alfred Jean

Aubree Jefchak

Herbert Jefferson

Gregory Jein

Dave Jerrard

Dan Jevons

Barbara Johnson

J. Lynn Johnston

Clifford Jomuad

Angie Jones

Michael Juarez

Christopher Judge

K

Rachel Kadushin

Lincoln Kamm

Julie Kane-Ritsch

Patrick Kapera

Sebastian Kapijimpanga

Annie Kaprelian

Ron Karkoska

David Karoll

Mike Kazaleh

David Kebo

Jim Keegan

Indigo Kelleigh

Joe Kelly

Ian Kerner

Jodi Kershner

Vin Khommarath

Scott Kilburn

Carol Kim

Jungja Kim-Wolf

Bert Kimura

Steve Kindernay

Charlie Kirchoff

Shawn Kirkham

John Kirkpatrick

Steven Kiwus

Scott Klein

Jeff Kline

Harry Kloor

Chris Knight

Ronak Kordestani

Kat Kosmala

Jeremy Kove

Kat Koziar

Kyla Kraman

Scott Kramer

Earl Kress

George Krstic

JT Krul

Brandon Kruse

Richard Krzemien

Crystin Kuhnke

Jon Kurohara

Kevin Kutchaver

Craig Kyle

L

Don Lacy

Ray Lago

Dat Lam

Michelle Lander

Katie Landfear

Kevin LaNeave

Jerry Langford

Batton Lash

Lynn Lau

David Lea

Brian Leake

Jared LeBoff

Chong Lee

Daniel Legg

Richard Leibowitz

Peter Lenkov

Jim Lennox

Alexander Leung

Stephen Lewis

Ron Lim

John Lin

Josh Ling

Anthony Lioi

Anthony Liu

Bob Lizarraga

Marlene Lloret

Francis Lombard

Christopher Long

David Lonteen

Damien Lopez

Dean Lorey

Chuck Loridans

Darion Lowenstein

Michael Loya

Cheng Lu

Gia Luc

Michael Ludy

Alexander Lugo

Jim Lujan

Ailen Lujo

Steve Lukas

Marco Lupoi

Rachel Lutrell

M

Rare Macapayag

Axel Machain

Cam MacMillan

Jim MacQuarrie

Bruce MacRae

Tom Madigan

Rebecca Majoros

Sandra Mak

Jason Makiaris

Barbara Malley

Dennis Mallonee

Larry Malott

Ethan Malykont

Eugene Mandelcorn

Richard Manginsay

Kelsey Mann

Greg Mannino

Antran Manoogian

Karen Manzel

Lucas Marangon

Anthony Marinelli

Barbara Marker

Jay Marks

Thom Mars

Pete Marshall

Steven Martin

Cynthia Martin 

Gonzalo Martinez

Mark Masterson

Lesley Mathieson

John Mathot

Gramm Matthew

Todd Maugh

Bill Maus

Mark Maxey

Monica Maxfield

Eric McAvoy

George McClements

Doug McCoy

Derek McCulloch

Bryce McDougall

Ron McFee

Carol McGreal

Peter McHugh

Libby McInerny

Dave McKean

Scott McMahon

Darrell McNeil

Brad McQuaid

Lawrence McQuaide

Brian McQuery

Andre Medina

Kinn Melby

Kelly Mellings

Dan Membiela

Carlos Mendez

Brad Mengel

Jeff Merghart

Mark Merlino

Ken Meyer

Matt Micone

Tone Milazzo

Bob Miller

John Milton Branton

R.J. Mino

Virgil Mirano

Carlos Misenas

Gina Misiroglu

Tom Misuraca

Debby Mitchell

Bret Mixon

Lee Moder

Jennifer Moeller

Nur Mohammed

Saiful Mokhtar

Paul Molnar

Peter Momson

Zac Moncrief

Cynthia Monter

Lauren Montgomery

Fabio Moon

Jim Moore

Hugo Morales

Adrian Mosco

Phillip Mosness

Francis Moss

Marc Mostman

William Mouro

Erik Moxley

Lee Moyer

Shannon Muir

Nick Munford

Ricardo Munoz

Bill Murphy

Anthony Musiala

Mike Musteric

Jon Muth

Aaron Myers

Leland Myrick

N

Karen Nakashima

David Nakayama

Joseph Namsinh

Kristian Navant

Richard Nelson 

Malane Newman

Trevor Nielson

Chris Norpchen

Phyllis Novin

Eric Nunes

O

Brian Ofcacek

Jamie Oliff

Tammy Olsen

Kris Oprisko

Phil Ortiz

Daniel Owen

Ira Owens

P

Jorge Pacheco

Christopher Painter

Shawn Palmer

Rob Pardo

Andy Park

Nathan Pata

Michael Payne

Oliver Pearce

Jennifer Pelphrey

Michael Peraza

Bryan Petyan

Nate Piekos

Penel Pierre

Will Pilgrim

Kathy Pillsbury

Jon Pitcher

Carolyn Plumb

Daniel Podschadel

Rk Post

Megan Powers

Tom Price

Heather Pritchett

Wayne Pygram

Q

John Quinn 

R

Carl Raggio 

Rain Ramos

Andrew Ramsammy

Dean Rasmussen

Francis Raval

Amanda Raymond

Stuart Rees

Nicholas Reid

Larry Renac

Kathryn Renta

Fred Reyes

Randy Reynaldo

Matthew Reynolds

Shawn Richter

Eugene Rizzardi

Chris Robertson 

Alex Robinson

Enrique Robledo

Eugene Roddenberry

Sean Rodrigues

David Rodriguez

Eric Rollman

Daniel Rosen

Bob Roth

Greg Rucka

Luis Ruiz

Ricci Rukavina

Tracy Russell

Greg Ruth

Christopher Rutkowski

Christopher Ryan

S

Scott Saavedra

Stan Sakai

Sandi Salina

David Salter

Chris Samnee

Stephen Sandoval

Scott Sava

Robert Schechter 

Brian Schirmer

Chris Schlerf

Rick Schmitz

David Schwartz

Nicola Scott

Eric Searleman

Frankie Serna

David Settlow

Reuben Shah

Michael Shanks

Eric Shanower

Chad Shattuck

Hameed Shaukat

Mickie Shaw

Kevin Paul Shaw 

Broden

Jeff Shelly

Jenny Shen

Mike Shepherd-Moscoe

Tom Sheppard

Shawn Sheridan

Joe Shoopack

David Siegel

Sonny Sien

Robert Silva

Cliff Simon

Brent Simons

Eliot Sirota 

Lindsey Skaite

Robert Skir

John Small

Andy Smith

Lawrence Snelly

Shane Sowell

Allen Spiegel

Mark Spieller

Robert Spina

Serge Sretschinsky

John Staats

Caroline Stack

Jonathan Stagnaro

David Stanworth

Alison Star Locke

Josh Steadman

William H. Stoddard

James Strader

Christopher Summers

Xandy Sussan

Gerry Swanson

Jefferson Swycaffer

Phelan Sykes

T

Eric Tan

Susan Tardif

Craig Tate

B.K. Taylor

Jessica Teach

Heather Theurer

Rich Thigpen

Ben Thompson

Leila Tilghman

Kirk Tingblad

Bonnie To De Muth

Todd Tochioka

Kuni Tomita

Robert Treat 

Eddie Trigueros

Charlie Trotman

Francis Tsai

Aristomenis Tsirbas

Lani Tupu

Rich Tuzon

Teague Tysseling

Tim Underwood

U

Chris Ure

Neil Uyetake

Pedro Valdez

V

Darrell Van Citters

Cyril Van Der Haegen

Brad Vancata

Tony Verdini

Josh Viers

Giancarlo Volpe

W

Brooks Wachtel

Mark Walton

Matthew Ward

Ted Washington

Ian Wasseluk

Euralis Weekes

Joshua Weide

Phil Weinstein

John Weisgerber

Vic Wertz

Brad West

Alexander Whang

Erika Whistler

Tara Whitaker

Anastasia Wilcox

Chris Wiler

Alan Williams

William Wilson

Joe Wiseman

Simon Wong

Mike Worley

Scott Wright

Bernie Wrightson

Bob Wu

Y

Tomihiro Yamaguchi

Aaron Yamamoto

Chris Yambar

Daphne Yap

Andrew Yasgar

David Yee

Tsz Yeung

James Young

Z

Robert Zailo

Gregory J. Zamlich

Adrian Zamudio

Mario Zavala

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COMIC-CON INTERNATIONAL: SAN DIEGO

Each year, Comic-Con attendees have a treasure 
trove of exclusive items waiting for them in the 
Exhibit Hall. These are limited-edition exclusive 
items offered by the companies, not by Comic-Con. 
Please visit the company booths and websites for 
additional details on availability. Here’s a preview of 
just some of this year’s exclusives!

STAR TREK MANIA!

In honor of the 40th anniversary of the original 

Star 

Trek

 TV series, Diamond Select Toys, along with their 

retail partners, is offering a series of cool action figures 
based on the fan-favorite “Mirror, Mirror” episode.

 

“Mirror, Mirror Sulu” will be available from the Action 
Figure Xpress booth; McCoy from the New Force 
booth; Chekov at the Entertainment Earth booth; and 
Uhura from the Diamond Select Toys booth. 

(C)

In addition, DST offers the deluxe Star Trek Captain 
Kirk and Command Chair from “Where No Man 
Has Gone Before”! Featuring an exclusive action 
figure of Captain James T. Kirk, this set is based on 

Star Trek’s

 second pilot episode and incorporates 

the tiniest details, from the uniform to the armrest 
buttons. Packaged in a deluxe window box. 

(D)

 

 

OTHER COOL STUFF!

In addition to the “Mirror, Mirror” Sulu figure, Action 
Figure Xpress will offer an exclusive “Storm Shadow 

vs Optimus Prime” statue based on the Image comic 
cover (limited to 250 pieces). And from NECA’s 

Mas-

ters of the Universe 

line comes this beautiful “Sorcer-

ess” repainted in her classic colors. 

(A)

In conjunction with DST, Action Figure Xpress is 
also offering an exclusive 

Shanna the She-Devil

 

bust, sculpted by Sam Greenwell and strictly lim-
ited to 1000 pieces. It features a hand-numbered 
base with matching box and Certificate of Authen-
ticity. 

(B)

Funko is offering 30 exclusives at this year’s Comic-
Con! Pictured are the Scooby Doo Glow in the Dark 
Bobble-head (limited to 480 pieces) 

(J)

, the Charlie 

Brown Red Shirt and Orange Shirt Bobble-Head 
(limited to 240 pieces each) 

(K)

, and this great 

series devoted to everyone’s favorite cartoon sailor: 
Popeye, Brutus, Wimpy, Olive Oyl. Sweet Pea, and 
the Jeep—the Black and White Series of Bobble-
heads (limited to 480 of each character) 

(M)

. Plus 

look for the Comic Book Guy Bobble-head from 

The 

Simpsons,

 Count Chocula and Frankenberry Bobble 

Racing Cars that Glow in the Dark, and a Stewie 
(from 

Family Guy

) 12-inch Glowing Bobble bank with 

sound!

Entertainment Earth offers the exclusive “Mirror, 
Mirror” Checkov figure and this amazing 

Star Wars

 

WORTH THEIR “ 

Comic-Con  Attendees  Hit  the

C

A

B

J

H

I

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COMIC-CON INTERNATIONAL: SAN DIEGO

Poster Sculpture 

(G)

. Taking Howard Chaykin’s 

original poster design, which sold for $1 back 
in 1976 at Comic-Con—30 years ago!—Code 3’s 
expert sculptors created this resin 3D sculpture, 
which leaps off  the page. Limited to 1,976 pieces, 
this amazing collectible has light sabers ignited 
and guns blazing!

Sideshow Collectibles has a whole bushel basket full 
of great exclusives for this year’s Comic-Con, start-
ing with the “Darth Vader Sith Apprentice” 12-inch 
fi gure 

(E)

. This Comic-Con version of the Anakin 

Skywalker fi gure reveals Anakin at his most malevo-
lent, with pale skin and fi ery Sith eyes. The fi gure 
includes an all-new lava droid base, and each fi gure 
is packaged in a red-themed 

Lords of the Sith 

box! 

• The ”Scorpion Tail” Rabbit evolved into an exqui-
sitely crafted polystone fi gure from one of the little 
doodles that artist Michel Gagné created while mak-
ing fun of his friend’s own rabbit sketch. Hand-cast 
and hand-painted, the “Evil Grin” Rabbit is the sixth 
in the series, and limited to only 500 pieces 

(L)

. The 

“Freddy Kreuger-Dream Warriors” features the clas-
sic horror icon based on his monstrous appearance 
in 

Dream Warriors

(I)

 

• The “Dr. Doom Marvel Archive” set includes 
enchanted weapons, high-tech armor, and ada-
mantium laced skeletons—just some of the unique 
items that are wielded by the denizens of the Marvel 

Universe 

(F)

. Sideshow Collectibles brings these 

iconic accessories to our universe with a line of 
miniature replicas, depicting the most memorable 
items used by the Earth’s mightiest heroes and most 
infamous villains.
• The “Lady Sham” statue is a faithful translation of 
Ashley Wood’s delightfully off beat artwork from the 

Popbot

 series 

(H)

. Each piece is cast in high-quality 

polystone, hand fi nished and hand painted to exact-
ing standards, and fi nished with a printed base that 
includes the hand-numbered edition. Lady Sham is 
packaged in a durable molded foam interior, with 
a beautiful display box featuring Ashley Wood’s 
artwork. Limited to only 250 pieces worldwide! 

This is just a quick look at some of the many col-
lectible exclusives premiering at Comic-Con this 
year. We know you want this stuff  (so do we!), but 
slow down and take a deep breath. Comic-Con’s 
primary concern is for the safety of our attendees, 
not to mention crowd control, and because of that, 
exhibitors are not always allowed to sell exclusives 
on a “fi rst-come, fi rst-served” basis. We recom-
mend before coming to Comic-Con you visit 

www.

comic-con.org

 for a more detailed list of exclusives 

and info on the exhibitors off ering them. You can 
also check out the exhibitors’ websites for more info 
on their exclusives. Some may off er pre-ordering 
online.

 

Jackpot with Exclusive Items!

WAIT” IN GOLD!

D

K

M

G

E

F

L

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COMIC-CON INTERNATIONAL: SAN DIEGO

Early Access to Exhibit Hall a Big Hit with Attendees!

PREVIEW NIGHT

Pack that extra giant tote bag, 
because you’ll be needing it! 
You’ll find posters, buttons, fly-
ers, videos, T-shirts, imprinted 
bags, comics, and other great 
treasures on the giant Freebie 
Table located in the Sails Pavilion 
upstairs in the Convention Center. 
New items and special giveaways 
are constantly added through-
out the weekend, so check back 
often. You never know what may 
show up! You’ll also find massive 
amounts of free stuff throughout 
the Exhibit Hall. The Freebie Table 
and the Exhibit Hall are open 
10:00 

AM

 to 7:00 

PM

 Thursday 

through Saturday, and 10:00 

AM

 to 

5:00 

PM

 Sunday.

IS A DREAM COME TRUE!

It’s every fan’s dream. A giant Exhibit Hall filled with the absolute greatest in comics and pop culture mer-
chandise. And you get in early! And at Comic-Con, that dream is a reality! More and more fans are opting for 
the four-day membership package that gets them into Preview Night on 

Wednesday, July 19,

 from 

6:00 

PM

 to 9:00

 

PM

.

 

Preview Night is open 

only

 to pre-registered four-day members and industry professionals. 

There will be no onsite registration available during Preview Night, so you have to act NOW to be a part of it. 
Visit 

www.comic-con.org

 to register online, or use the multi-purpose form on page 53 to pre-register for all 

four days! 

EVERYBODY

 

FREEBIES

LOVES

Giant Freebie Table 

One of the First 

Stops for Many 

Comic-Con Fans!

Everyone—from  Stormtroopers 
to  little  kids—loves  the  Freebie 
Tables!

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47

COMIC-CON INTERNATIONAL: SAN DIEGO

47

COMIC-CON INTERNATIONAL: SAN DIEGO

Like Brigadoon, the fabled city that rises out of the 
mists once a century, Comic-Con’s Exhibit Hall—
measuring over 460,000 square feet, the equivalent 
of almost 10 football fi elds laid side by side—ap-
pears as if by magic for only four days each year, pre-
senting the greatest pop culture shopping center on 
the continent, if not the world.

It starts with comics. Nowhere else will you fi nd a 
gathering of comics publishers like this: all of the 
major companies along with the most popular cre-
ators. Add to that an incredible selection of Golden, 
Silver, and Modern Age comics; graphic novels; indie 
and small press comics; comics collectibles; original 
art; sketches from artists; one-of-a-kind items; 
prints; and more. Anime and manga also occupy 
large portions of the fl oor. Plus, there are veritable 
bookstores on the fl oor, featuring art books, books 
on comics history, illustration and illustrators—you 
name it, there’s probably a book on it at Comic-Con! 
And don’t miss the pavilions dedicated illustration 
and fantasy art, complemented by some of the 
biggest publishers in the science fi ction and fantasy 
fi eld.

The following artists 

are slated to be in 

Artists’ Alley, as of this 

Update’s press time. A 

section of Artists’ Alley 

will also be devoted to 

tables for some of the 

CCI special guests.

Jason Alexander

Rob Alexander

Gary Amaro

Brent Anderson

Michael Bair

David Barron

Moose Baumann

Scott Beaderstadt

Scott Benefi el

Ryan Benjamin

Lee Bermejo

Patrick Block

Shelly Block

Tim Bradstreet

Ron Brown

James Bryson

Matt Busch

Buzz

Zander Cannon

Tony Caputo

Sergio Cariello

Claudio Castelli

Tommy Castillo

Paul Chadwick

Alan Clark

Matthew Clark

Tommy Coker

Joe Corroney

Dave Crosland

Cynthia Cummens

Kevin Dart

Walt Davis

Sue Dawe

Thomas Denmark

Frank Dixon

Jan Duursuma

Randy Emberlin

Glenn Fabry

Jason Felix

Jon Foster

Tom Fowler

Ramona Fradon

Otis Frampton

Rich Friend

Randy Gallegos

Dave Garcia

Ale Garza

Rick Geary

Patrick Gleason

Grant Gould

D. Alexander Gregory

Chris Giarrusso

Sam Glanzman

Mick Gray

Peter Gross

Rebecca Guay

Paul Guinan

Paul Gutierrez

Bo Hampton

Tony Harris 

Russ Heath

Gabe Hernandez

Tom Hodges

Sandra Hope

Adam Hughes

Jeremy Jarvis

Eric Joyner

Dave Johnson

Drew Johnson

Joe Jusko

Leonard Kirk

Scott Kollins

Jason Kruse

Peter Kuper

Jim Lee

Steve Lieber

Henry Liao

Mike Lilly

Ron Lim

Barbara Marker

Gary Martin  

Randy Martinez

Theresa Mather

Warren Mahy

Ken Meyer Jr.

Monte Moore

Jeff  Moy

Phil Moy

Jon Boy Meyers

Terese Nielsen

Tom Nguyen

Steve Oatney

Jason Palmer

Jeff  Parker

Dan Parsons

James Pascoe

Ken Penders

Joe Phillips

Whilce Portacio

R. K. Post

Ron Randall

Jordan Raskin

Bill Reinhold

Darrel Riche

Robert Roach

Jerry Robinson

Roger Robinson

Ed Roeder

Brian Rood

Duncan Rouleau

Paul Ryan

Michael Ryan

Stuart Sayger

Alex Saviuk

Jarrod Schifi lett

Brandon Schifi lett

Gregg Schigiel

Dave Seeley

Terry Shoemaker

Howard Simpson

Nigel Slade

Cat Staggs

Mike Stufi n

Arthur Suydam

Phillip Tan

Mark Texiera

Ben Thompson

Heather Theurer

Jerry Vanderstelt

Matt Wagner

Russell Walks

Sean Wang

Chad Michael Ward

Kevin Wasden

John Watkins-Chow

Chuck Wojtkiewicz

Marc Wolfe

Pete Woods

Rebecca Woods

Eric Wight

Marv Wolfman

Bernie Wrightson

Thomas Yeates

ARTISTS’  ALLEY

WE BUILT THIS CITY...

Comic-Con’s  Giant  Exhibit  Hall  Features

a  Treasure  Trove  of  Incredible  Stuff!

Also on the Exhibit Hall fl oor, you’ll fi nd toy com-
panies off ering exclusive items and sneak peeks 
at upcoming products.. The movie and television 
industries are also well represented, with studio 
booths showcasing upcoming fi lms and TV shows, 
not to mention exhibitors selling movie memora-
bilia from around the world. And that’s not the end 
of the rainbow. Comic-Con’s Exhibit Hall includes 
sculpture, jewelry, costumes, DVDs, stuff ed fi gures, 
incredible handmade items, and much, much more.

And then there’s Artists’ Alley, featuring one of the 
greatest collections of industry pros in the country. 
All these artists will be selling original art, limited-
edition sketchbooks, sketches, and more. It’s a great 
place to meet some of your favorite creators. 

It’s all here—a pop culture shopper’s paradise. But 
it’s only here for four days . . . and then it disappears 
again for another year.

For a complete list of exhibitors—much too long to 
print here—visit 

www.comic-con.org

 and click on 

the “Exhibitors” link.

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48

COMIC-CON INTERNATIONAL: SAN DIEGO

Comic-Con’s Art Show is the perfect place to find that special one-of-a-kind, can’t-live-without item. 
Whether you’re looking for a piece of original art, jewelry, sculpture, or even something more unusual, such 
as a puppet or a mask, the Art Show is a one-stop shop that houses an eclectic and often beautiful selection 
of art-oriented items. 

Located in the Sails Pavilion, near both the Registration Area and the Freebie Tables, the Art Show contains 
original works by both amateurs and professionals. It also displays the nominationed books and comics for 
the Will Eisner Comic Industry Awards and houses a special display devoted to members of the Will Eisner 
Hall of Fame. 

Many of the original pieces displayed by artists are for sale by silent or voice auction. Some pieces are 
marked for quick sale. Bidder numbers and art show information can be obtained from the administration 
table inside the Art Show. You must be 18 years of age and have legal identification to purchase artwork, 
and payments may be made with cash, check, Visa, or MasterCard.

Information on entering the Art Show, including all necessary forms, is available at 

www.comic-con.org

The first date for issuing artist numbers was May 1. The deadline for entry before the convention is June 30. 
Samples of the art must be sent in with the application and payment for display space. Walk-in reservations 
at the Art Show are on a first-come, first-served basis, if space is still available. Mail-in art is accepted accord-
ing to the conditions stated in the Art Show Rules. You can also check the appropriate box under “Need 
info?” on the Multi-purpose Form on page 53 to have Art Show information sent to you.

The annual Art Auction is your chance to watch some of the best artists in the industry create original art 
right before your eyes! And believe it or not, you can purchase one of these unique pieces and take it home! 

Best of all, it’s for a great cause. Among the beneficiaries of the Art Auction proceeds are the Disabled 
Services Department and Artists’ Alley. As a nonprofit organization, Comic-Con is committed to making 
the convention an enjoyable event for all attendees. By actively promoting access for all those with special 
needs and providing deaf interpreters for hearing-impaired members, Comic-Con guarantees an even wider 
audience who can appreciate all that comics and pop culture have to offer. The Art Auction helps to defray 
the costs of these services as well as the costs of Artists’ Alley, where space is provided at no cost to the 
greatest gathering of industry pros in the country! 

The Art Auction is located near Artists’ Alley. Auction times are Saturday, July 22 at 2:00 

PM

 and Sunday, July 

23 at 10:00 

AM

 and 2:00 

PM

. Check your onsite Events Guide for the exact location, and visit often during 

Comic-Con. You never know—you might see a masterpiece in the making!

Comic-Con’s Incredible Gathering of Talent Brings Out Their Best

THE ART SHOW

FIND THAT SPECIAL TREASURE! 

Comic-Con’s  Art  Show  Showcases  Amazing  Art

ART AUCTION

OFFERS ORIGINALS BY TOP ARTISTS

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49

COMIC-CON INTERNATIONAL: SAN DIEGO

Many Attendees Come Looking For That Big Break

THE KEYS TO THE KINGDOM

Many people come to Comic-Con 
each year for the sole purpose 
of  breaking into one of the many 
art-oriented industries the event 
showcases. The Portfolio Review 
area, located in the Sails Pavilion 
adjacent to the Autograph Area, 
regularly features companies 
looking for new, fresh artists. 
As of press time, some of the 
companies that have requested 
space in this area are McFarlane 
Toys, QEW Publishing, Visionary 
Comics Studios, and Platinum 
Studios. A complete schedule of 
companies participating in Port-
folio Review will be published in 
the onsite Events Guide and on 

www.comic-con.org

 as we get 

closer to the event. Please note: 
you cannot schedule a session in 
advance. You must do that onsite.

Each year, comic book inker/artist/writer 

Andrew 

Pepoy

 (www.pepoy.com) runs a “Professional Net-

working Seminar” on Thursday. This event is geared 
to help you make the most of your Comic-Con time 
and to help you better understand how important 
networking is. Last year we asked Andrew for his 
advice on putting together a first-class portfolio 
and presentation. Here are his top points, with some 
new notes for this year:

1. Be prepared.

 Make sure that what you’re show-

ing the reviewers is prepared and ready to go, be-
cause you’re not going to have a whole lot of time.

2. Keep it neat.

 Having a portfolio helps. It doesn’t 

have to be expensive, just something you can easily 
lay in front of an editor or art director. 

3. Start at the top. 

Place your best pieces up front; 

if they want to see more, have a few extra pieces, 
but don’t overwhelm them. 

4. Okay? No way!

 Don’t show stuff you think is just 

okay. Only show the best. There’s no real magic 
number for how many pieces, but they’ll be able to 

tell the quality of your work from four to seven good 
pages. If they want to see more, they’ll ask. 

5. Show variety.

 Don’t show just action scenes. 

Have people walking down the street, traffic, build-
ings, etc. Show that you can do something other 
than fight sequences.

6. Make it “to go.”

 Have a sample packet with a 

cover letter and business card so that if the editor 
shows interest, you can leave that with him or her. 
The editor will remember you, and you’ve also left 
him or her a way to get back to you. If it’s going well, 
ask the person for his or her card.

7. Network 24/7. 

Talk to the people around you; 

find out what kind of luck they’ve had at other re-
views. Trade suggestions and swap cards. You never 
know where that tip is going to come from that 
lands you a job.

8. Be polite

. No matter how wrong or harsh you 

think the reviewer is, don’t argue. Be courteous and 
professional. Thank the person for his or her time 
and just go on to what will hope fully be a more 
positive experience with the next editor.

Did he get the job or not? We don’t know, but bring your portfolio with you to Comic-
Con 2006. You could be comics’ next superstar!

PORTFOLIO REVIEW

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50

COMIC-CON INTERNATIONAL: SAN DIEGO

50

COMIC-CON INTERNATIONAL: SAN DIEGO

Comic-Con’s  Disabled  Services  Department  Can  Help!

ATTENDING WITH SPECIAL NEEDS?

The Disabled Services Department has a longstand-
ing tradition of assisting attendees with special 
needs so that they can fully enjoy themselves at 
Comic-Con International. The department’s friendly 
volunteers provide:

• 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 member-
ship if you are unable to wait in line.  

• Cold storage of medications.

• Wheelchairs for the mobility impaired, which are 
available for loan in two- to three-hour increments, 
on a fi rst-come, fi rst-served basis; simply present 
your photo ID and a $20 cash deposit.

• Assistance with special limited seating for pro-
gramming events and the Masquerade. Please 

If you have the kind of restless toddlers who have 
yet to gain an appreciation for the fi ner nuances 
of comic book storytelling or who don’t have the 
patience to sit through an all-day movie-fest in Hall 
H, we have the solution for you. 

Relax . . . KiddieCorp is here.

A long-time presence at Comic-Con International, 
KiddieCorp is committed to providing your children 
with a comfortable, safe, and happy experience. 
They provide age-appropriate activities that include 
daily themes, arts and crafts, group games, music 
and motion, board games, story time, dramatic play, 
and much more. You’ll be tempted to stay yourself, 
but you’ll probably opt to dive into that long box of 
comics down in the Exhibit Hall.

KiddieCorp provides snacks and beverages, but par-
ents must supply all meals, as well as diapers, baby 
formula, and a change of clothes if necessary.

KiddieCorp’s hours fi t the daytime Comic-Con 
schedule:

Wednesday – 

6:00 

PM

 to 9:00 

PM

Thursday through Saturday – 

10:00 

AM

 to 7:00 

PM

Sunday – 

10:00 

AM

 to 5:00 

PM

KiddieCorp’s fees are also kind to your pocketbook: 
Children 6 months to 2 years: $9 per hour if they 
are pre-registered, $11 per hour if registered onsite; 
children 3–12 years: $7 per hour if they are pre-regis-
tered, $9 per hour if registered onsite.

To enroll a young one in this 
program you must fi ll out a 
childcare registration form 
and a childcare consent form. 
You can obtain these forms 
through the Comic-Con  offi  ce, 

on the website 

www.comic-con.org

, or directly 

from the KiddieCorp program manager at 858-455-
1718 or comic@kiddiecorp.com.

read the onsite Events Guide and plan your day 
accordingly. Seating cannot be guaranteed for any 
event, and last-minute notifi cations will not enable 
Disabled Services to provide you with seating. 
Programming rooms fi ll up quickly and all seating is 
on a fi rst-come, fi rst-served basis. Special autograph 
sessions are always limited to the fi rst 100 to 200 
people in line; you can make arrangements to have 
someone with your group save a spot in line for 
you. Just like any other attendee at CCI, this is on 
a limited basis and again is fi rst come, fi rst served. 
Comic-Con cannot guarantee any seating, auto-
graphs, or giveaways.

• American Sign Language interpreters for the hear-
ing-impaired at large panels and the Masquerade.

WHERE: Disabled Services is located in the Conven-
tion Center lobby, in front of Hall A.

WHEN:   8:00 

AM

 to 7:00

 

PM

 Thursday and Friday

 

 

8:00 

AM

 to 

7:30 

PM

 Saturday

 

 

9:00 

AM

 to 5:00

 

PM

 Sunday

Babysitting Is Child’s Play with KiddieCorp’s Child Care at Comic-Con

BRING THE KIDS!

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51

COMIC-CON INTERNATIONAL: SAN DIEGO

You can be a part of Comic-Con! 
We’re always looking for more 
than a few good men and women 
to help out. Comic-Con’s contin-
ued success is due to the hard 
work of people who volunteer 
their time and efforts, both at 
the show and during the rest of 
the year. Here’s a quick and easy 
rundown of what Comic-Con is 
looking for. Don’t be shy!

How old do I have to be? 

 

You must be 16 or older to vol-
unteer.

If I am a minor, do I need parental 
consent?

 

Yes, minors 16–17 must have 
a parent/guardian fill out the 
parental consent form, which is 
included with the volunteer form, 
and must either mail or fax it in 
before the show or bring it with 
them when they check in at the  
Volunteer Desk onsite. 
 

How do I sign up?

 

You can download the volunteer 
form at 

www.comic-con.org

 or 

e-mail 

volunteers@comic-con.

org

 to request that a form be 

mailed or faxed to you or that 
a PDF be e-mailed. Or you can 
send in the multi-purpose form 
on page 53 and check the “Please 
send me a volunteer application 
and information” item. Fax, mail, 
or e-mail the completed form to 
us.  
 

When is the volunteer form due?

 

Pre-reg deadline is June 23, 2006 
(mail must be postmarked 6/23). 
You can still volunteer even if you 
do not pre-register; just go to 
the Volunteer Desk in the Lobby 
onsite during the show. 
 

Why should I pre-register then?

 

Pre-registered volunteers get 

to go to Preview Night, and the 
check-in process goes much 
more quickly. 
 

Can I volunteer if I am not a citizen 
of the USA?

 

Yes, we welcome volunteers from 
all over the world.  
 

I can only volunteer one or two 
days, is that okay?

 

You can volunteer any number 
of days. If you do volunteer all 
four days, you qualify for the 
not-sold-in-any-store volunteer 
T-shirt. 
 

How much time do I have to give 
each day?

 

We ask that you volunteer up to 3 
hours per day. 
 

What types of volunteer tasks are 
there?

 

There are 22 departments and 
literally hundreds of volunteer 
tasks. No skills are needed to 
volunteer, as the jobs are mostly 
simple things like stuffing and 
handing out bags, helping out 
in the hospitality suite, being a 
backstage “ninja” for the mas-
querade, watching the freebies 
table and keeping it neat, run-
ning errands, lifting and carrying 
boxes, and so on.   
  

When will I know when my 
assignment(s) are?

 

A volunteer is not given an as-
signment until he or she checks 
in at the Volunteer desk. At that 
point staffers will check to see 
where and what time volunteers 
are needed that day and give you 
an assignment based on availabil-
ity. We do try to accommodate 
your schedule, so if you want to 
see a particular panel, we will try 
to schedule you either before 
or after that panel, but we can’t 
guarantee anything. 

 

What do I get for volunteering?

 

By definition, to volunteer means 
you are giving your time without 
any expectation of any type of re-
muneration. You 

do

 get a badge 

for each day that you volunteer 
so that you can move about the 
Convention Center while on duty, 
and when you are off duty you 
are free to enjoy all Comic-Con 
has to offer. In addition, you get 
to be a part of the best comics 
and pop culture convention in 
the country, you may meet some 
new friends and, of course, there 
is that exclusive volunteer T-shirt 
if you put in enough hours to 
qualify.

Consider it your own little 
semi-private oasis at Comic-
Con. And while it’s true that 
there is no such thing as a 
free lunch (your fine dining 
needs can be better real-
ized in the nearby Gaslamp 
or Seaport Village), the Con 
Hospitality Suite offers soft 
drinks, munchies, and the 
opportunity to meet your 
new best friend. It’s located in 
the Manchester Grand Hyatt, 
near the films room (see the 
Events Guide for the exact 
location) and is open from 
5:00 

PM

 to 2:00 

AM

, Thursday 

through Saturday. 

Volunteers  Gain  Behind-the-Scenes  Look  and  Valuable  Experience 

BE PART OF COMIC-CON!

TAKE ADVANTAGE

OF OUR

 

HOSPITALITY!

Rest, Munch, 

and Chat in the 

Comic-Con 

Hospitality Suite!

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52

COMIC-CON INTERNATIONAL: SAN DIEGO

Pre-registering for Comic-Con 
couldn’t be easier, and for those 
of you who purchase the full four-
day membership there’s an added 
bonus: Wednesday night’s Preview 
Night! That’s right, be among the 
first to enter Comic-Con’s  massive 
Exhibit Hall on July 19, and get to 
shop before everyone else! Onsite 
registration is also available—but 
not on Preview Night! Follow the 
guidelines below to register for 
Comic-Con 2006.

How does it work?

 

Your best bet? Register online at 

www.comic-con.org

. It’s a quick 

and easy process and it speeds 
up getting your badge onsite, 
too. You’ll get a bar code that 
can be scanned to print your 
badge once you get to the Con-
vention Center, all you need is 
your picture ID and your online 
receipt.

You can also use the Multipurpose 
Form on page 53. It shows prices, 
discount cutoff deadlines, and 
other important information. Fill 
out the form and fax or mail it in. 

What about one-day memberships?

 

 

One-day pre-registration mem-
berships are available, but only 
through the Comic-Con website, 

www.comic-con.org

When can I pick up my badge?

Registration hours for Comic-Con 
2006 are:

Wednesday, July 19: 3:00 

PM

 to 

8:00 

PM

Thursday, July 20 through Sat-
urday, July 22: 9:30 

AM

 to 6:00 

PM

Sunday, July 23: 9:30 

AM

 to 4:00 

PM

What will I need when I arrive?

 

Bring your confirmation receipt 
and photo ID to the onsite Regis-
tration Area on the Upper Level 

Hurry!  Pre-Register  Now  to  Save  Money  and  Be  Among  the  First  into  the  Show!

THE EARLY BIRD CATCHES THE

PREVIEW NIGHT!

GIVE THE GIFT OF LIFE AT COMIC-CON!

Annual Blood Drive Celebrates 30-Year Anniversay

Diego Blood Bank t-shirt and goodie bag filled with 
great stuff contributed by some of Comic-Con’s 
generous exhibitors. In addition, a raffle will also be 
held for some great high-end items, and you never 
know what might pop up as a special giveaway. Last 
year, Diamond Select Toys contributed an exclusive 
“Spike” action figure from the TV show 

Angel

 to the 

first 500 donors. Drawing winners will be posted at 
6:00 

PM

 

on Friday and Saturday and 3:00

 

PM

 

on Sun-

day at the Blood Drive booth in the Sails Pavilion. 
Please note: only one goodie bag and drawing entry 
per person.

You can also pre-register to give blood online. Visit 

www.comic-con.org

 for a link to the San Diego 

Blood Bank website to sign up. Make contributing 
to the Blood Drive part of your annual Comic-Con 
tradition!

of the Convention Center. Go the 
booths for pre-registered mem-
bers, where you can pick up your 
badge, badge holder, Souvenir 
Book, and Events Guide.

What’s the cut-off?

 

Purchase memberships by June 
7 and you’ll save $10 off the at-
the-door rate. Can’t make that 
deadline but still want to avoid the 
lines? Full-price registrations will 
be accepted until June 21. And as 
always, pre-registration member-
ships are transferable or refund-
able until June 21. 

Anything else?

 

Remember—no memberships are 
sold on Preview Night

 (Wednesday, 

July 19), so only those attendees 
who have pre-registered for a 
full four-day membership can 
gain admittance to this exclusive 
evening event.

For the past 30 years, 
Comic-Con has worked 
with the San Diego 
Blood Bank to offer 
the Robert A. Heinlein 
Blood Drive at the 

event. This year’s Blood 

Drive will take place next 

door at the Marriott Hotel 

and Marina on Friday, July 21 

and Saturday, July 22 from 9:00 

AM

 

- 6:00 

PM

 and Sunday, July 23 from 10:00 

AM

 - 3:00 

PM

.

 

The Blood Drive registration

 

booth will 

still be located in the Sails Pavilion on the Conven-
tion Center’s top floor for all your onsite questions 
and registration before going over to the Marriott. 
Please register by 5:00 

PM

 on Friday and Saturday, 

and 2:00 

PM

 on Sunday. All donors receive a San 

background image

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 (7-16)           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 (7-16) & 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

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

$27.00*

Must be postmarked by JUNE 21, 2006

Adults

$65.00

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

$30.00*

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55

COMIC-CON INTERNATIONAL: SAN DIEGO

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 be-

ginning 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.

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

HOTEL INFORMATION

For a hotel form, call Comic-Con’s Fax On Demand 
system by calling 619-414-1029. Dial 250 for a list of 
available forms. Enter 2 for a hotel form. Enter your 
area code and fax machine number. When you are 
finished hit the *Star button. After you enter *Star 
you will have the option to enter an extension num-
ber if you wish.

The list above represents hotels that still had avail-
ability at press time but it is not the complete hotel 
program which is listed online.  Because Comic-Con 
is just a month away, most of the official hotels have 
limited or no availability.  Please visit the hotels link on 

www.comic-con.org

 to get to the online reservation 

system. While it appears some hotels may be listed 
as being sold out, we are actively working on adding 
rooms and hotels to our program. If there are no 
rooms available for the dates you select, please keep 
checking back as we continue to secure more hotel 
rooms and availability fluctuates daily.

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)

Coronado Island Marriott Resort

NO

$259

$259

$259

$279

$299

$17.00 self/$22 valet

Holiday Inn Select

NO

$114

$124

$124

$134

$144

$5 valet

Sheraton San Diego - Mission Valley

NO

$134

$134

$134

$154

$174

$7 valet

Additional Hotels

Hotel Form

Complete Hotel List on Website

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 trans-

portation 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 pro-

motional material. 

Coronado Island Marriott Resort

Located across 
the bay from the 
San Diego Con-
vention Center, 
this hotel features 
an award-win-
ning restaurant 
on 16 waterfront 
acres. The hotel’s 

“island” paradise, overlooks San Diego Bay and 
downtown San Diego. Guests can take a water taxi 
to and from the hotel to the Convention Center. 

Comic-Con shuttle service is not available at this hotel.

Holiday Inn Select

 

This full-service, smoke-free hotel is in the heart of 
Mission Valley. The hotel features a complimentary 
fitness room and an outdoor pool. All rooms include 
complimentary wireless Internet access (personal 
laptop required). 

Comic-Con shuttle service is not 

available at this hotel. We suggest using the trolley 
located at Fashion Valley Mall or driving downtown.

Sheraton San Diego Mission Valley

Located in the vibrant heart of Mission Valley, the 
Sheraton San Diego Mission Valley offers beauti-
fully appointed, newly remodeled guest rooms. The 

hotel offers a complimentary shuttle, based upon 
availability, to and from the Airport and trolley stop 
located at Mission Valley Mall. 

Comic-Con shuttle 

service is not available at this hotel. We suggest using 
the trolley or driving downtown.

 

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56

COMIC-CON INTERNATIONAL: SAN DIEGO

COMIC-CON: 

CAN  I  GET  THERE  FROM  HERE?

Well . . . you’re definitely not in 
Kansas anymore! But if you’re 
coming, we can get you here! San 
Diego is one of the most beautiful 
cities in the country and Comic-
Con takes place right downtown 
alongside the Bay at the

San Diego Convention Center, 
111 West Harbor Drive, San 
Diego, CA 92101.

From the North

Drive South on Interstate 5. Take 
the Front Street exit. Continue on 
Front Street until you hit Harbor 
Drive and turn left. Take Harbor 
Drive to Convention Center Place.

From the South

Drive North on Interstate 5. Take 
the Cesar Chavez Parkway exit 
and turn left. Follow Cesar Chavez 
Parkway to Harbor Drive and turn 
right. Take Harbor Drive to Con-
vention Center Place.

From San Diego International 
Airport

(Save yourself the headache! Take 
a cab or shuttle service, or find 
out if your hotel has an airport 
shuttle.) Still want to drive? Leave 
the airport parking lot and follow 
signs to I-5/Downtown. The ramp 
will put you onto Harbor Drive 
going South. Take Harbor Drive to 
Convention Center Place.

Need more help? Have to meet 
someone in the city and don’t 
know your way around?
•The San Diego Convention Center 
website (

www.sdccc.org

) has a 

lot of essential maps and informa-
tion.
•Chart out your trip with Yahoo 
(

maps.yahoo.com

) and Map-

quest (

www.mapquest.com

).

•Tune in to 1620 on the AM radio 
dial. It’s the Convention Center’s 
radio station, and it provides up-
dates on daily traffic and parking 
for the Center.

Public Transportation

If the downtown traffic doesn’t 
kill you, finding a parking space 
will, and we know you want to 
spend more time visiting the 
Comic-Con Exhibit Hall than driv-
ing around looking for a space. 
Here are a few websites that 
will help you plan using public 
transportation to and from the 
Convention Center:

• Metropolitan Transit System 
– www.sdcommute.com

San Diego’s trolley and bus 
lines are some of the best in the 
country, and they bring you right 
to Comic-Con’s doorstep. This site 
offers all the schedules and stop 
locations.

• North County Transit District 
- www.gonctd.com

The North County Transit District 
operates the Coaster train, which 
brings travelers from Oceanside, 
Carlsbad, Encinitas, Solana Beach, 
Sorrento Valley ,and Old Town 
right to a few blocks from the 
Convention Center.

• Amtrak - www.amtrak.com

The train station is only a few 
blocks from the Convention Cen-
ter. The Pacific Surfliner route goes 
up the California coast—though 
they offer routes covering the 
entire U.S.—and train travel is a 
breeze.

Mission: ALMOST Impossible: 
To park or not to park

Our advice, should you decide to 
accept it, is simple: Don’t try to 
park in downtown San Diego. Traf-
fic and parking is often an impos-
sible mission during Comic-Con. 
We thoroughly recommend park-
ing in Mission Valley and taking 
the trolley, which has two stops 
right in front of the Convention 
Center. If you’re still bound and 
determined to park downtown, 

here are some San Diego-based 
websites that may help:

• Downtown San Diego - www.
sandiego.gov/eventsparking

A great starting point for transpor-
tation and parking info.

• Gaslamp - www.gaslamp.
org/location.php

More parking info, but the site also 
contains restaurant reviews and 
tips on navigating through the 
downtown area, both in your car 
and on foot. The Gaslamp is chock 
full of great eating places that are 
packed with Comic-Con attendees 
(not too mention summer tour-
ists), so it pays to plan ahead and 
make reservations. 

• The Comic-Con website contains 
parking info along with a complete 
hotel shuttle schedule (see the 
sidebar article) as we get closer to 
the event. Visit 

www.comic-con.

org 

for more information.

Sit back, relax, and leave 
(some of) the driving to us!

Another way to conquer the park-
ing problem is to take advantage 
of Comic-Con’s free shuttle 
service. These buses run between 
various convention hotels and the 
Convention Center. Even if you’re 
not staying at a downtown hotel, 
you can still utilize this service 
by parking your car at a structure 
away from the Convention Center 
and taking the shuttle. You won’t 
have to deal with traffic or finding 
parking closer to the Center, and 
after a long day of walking the 
Exhibit Hall you’ll enjoy having 
someone else chauffeur you back 
to your car. A complete route list 
and schedule will be on the trans-
portation page at 

www.comic-

con.org

 closer to the event and 

will be printed in the free onsite 
Events Guide.

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Hotels with shuttle service
    

Best Western Bayside Inn

    Embassy Suites
    Hilton Gaslamp 

(Shuttle after 6:30 

PM

)

    Holiday Inn on the Bay
    Horton Grand 

(Shuttle after 6:30 

PM

)

    

Manchester Grand Hyatt 

    (Headquarters Hotel)

    Marriott Hotel and Marina
    Omni San Diego 

(Shuttle after 6:30 

PM

)

    Radisson Harbor View
    Sheraton Suites
    W San Diego 

(Shuttle at Wyndham)

    Westgate
    Westin Horton Plaza
    Wyndham Emerald Plaza

Not on map:

Sheraton San Diego Hotel & Marina

Downtown shuttle and parking map

More information: 

www.comic-con.org

Parking

 

(Rates subject to change)  

    

County Administration Building

     Harbor and Ash: $7/day-Sat./Sun. Only

    

(Shuttle at Holiday Inn On the Bay)

      

MTDB Lot: $15.00/day

     13th and K St. $3/day

    

     Park it On Market, 614 Market St., 

     (500 spaces) $10/day

    

     8th and Harbor 

     (2,000 spaces) $10/day

     289 6th Ave. (1,000 spaces) $10/day

      (Across from the Omni San Diego)

Not on map:

1304 Imperial Ave.: $3/day

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Additional 

Shuttle Stops

 

     

Cruise Ship Lot

      Broadway & Pacific

      One America Plaza

      Broadway & Kettner

       Ralphs

       First & G Street

       Park It On Market

       Sixth & Market St.

       Padres’ Parkade

       Island & 11th Ave.

       MTB Lot

       Imperial & 11th Ave.      

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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 #2 • 2006