Baltimore Comic Con was a big eye-opener for me. I had only been to really large or really small cons before, and I didn’t realize there could be a convention of that size and stature that was tailored just to comics and had comic writers and artists in mind. Not only that but the fans and attendees all had a very upbeat attitude. There was tons of cosplay, no pushing or shoving in lines, and even white table cloths on the rest area tables (yes, they even had a rest area!!). I couldn’t recommend BCC highly enough if you are a serious comics fan who would like signatures or commissions. The panels were equally great, featuring top talent from both Marvel and DC, and what’s more- even Stan Lee! The man was in fine form for his adoring fans.
I spent time between legging it to panels hanging out with some talented guys from TRIP CITY who kindly let me crash at their booth even when I was underfoot. I got to see firsthand reactions to the new works they were presented at the con. Dean Haspiel was debuting the gorgeous wide-screen print version of his monograph from his BILLY DOGMA series, “The Last Romantic Anti-hero” alongside copies of the first TRIP CITY VISITOR’S GUIDE which appeared at MoCCA Fest 2012 but is still for sale. Joe Infurnari (MUSH!, MARATHON) brought out the full-color, newly detailed print limited edition of his riotous TRIP CITY digital series TIME FUCKER, and Seth Kushner brought his debut of debuts- his first ever mini comic, a collection of three stories from his TRIP CITY series THE SCHMUCK DIARIES gorgeously drawn by contributing artists. Artist Reilly Brown made a quartet of the folks at the table, bringing out his new sketchbook and handling a tide of Deadpool commissions. “The Last Romantic Anti-hero” was a no-brainer for fans already standing in line for Haspiel signatures and commissions, but the TRIP CITY VISITOR’S GUIDE was a nice surprise for those who hadn’t heard of the all-original collections of comics, stories, and art out of Brooklyn. There was a fair amound of tittering and chat about TIME FUCKER and THE SCHMUCK DIARIES. You know- the sort of reaction when people look, start to draw back from a book, then look again, closer, in disbelief and end up turning the thing over a few times before yes, buying it. Brown hardly had a moment to notice one way or the other, he was so in demand.
I took in several panels, the Harveys, and the general climate of the floor gathering coverage for The Comics Beat. I was overwhelmed by the sense of appreciation and commitment to comics I felt walking around the tables and listening in to the panels.
Baltimore is a comics fan’s con first and foremost, and since comics creators are comics readers, it’s for them, too. See my detailed coverage in the following articles, too, on The Beat:
*Baltimore Comic Con, Day One (featuring Marvel Now! DC’s New 52, and Stan Lee)
*Baltimore Comic Con, Day Two (featuring Tom Brevoort and the Marvel method of editing)