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themarvelproject · 8 months
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Jean Grey and Emma Frost by Lukas Werneck in an exclusive print given to attendees of the X-Men Fandom Panel at San Diego Comic-Con (2023)
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The art of Daniel Danger
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[Image ID: Daniel Danger's art print, 'To all who home to this happy place,' depicting a ruined Disneyland castle in a post-apocalyptic landscape with a statue of Walt and Mickey in the rubble.]
There’s this behavioral economics study that completely changed the way i thought about art, teaching, and critique: it’s a 1993 study called “Introspecting about Reasons can Reduce Post-Choice Satisfaction” by Timothy D Wilson, Douglas J Lisle, Jonathan Schooler, Sara Hodges, Kristen Klaaren and Suzanne LaFleur:
https://www.researchgate.net/publication/240281868_Introspecting_about_Reasons_can_Reduce_Post-Choice_Satisfaction
The experimenters asked subjects to preference-rank some art posters; half the posters were cute cartoony posters, and the other half were fine art posters. One group of subjects assigned a simple numeric rank to the posters, and the other had to rank them and explain their ranking. Once they were done, they got to keep their posters.
There was a stark difference in the two groups’ preferences: the group that had to explain their choices picked the cartoony images, while the group that basically got to point at their favorite and say, “Ooh, I like that!” chose the fine art posters.
Then, months later, the experimenters followed up and asked the subjects what they’d done with the poster they got to take home. The ones who’d had to explain their choices and had brought home cartoony images had thrown those posters away. The ones who didn’t have to explain what they liked about their choice, who’d chosen fine art, had hung them up at home and kept them there.
The implication is that it’s hard to explain what makes art good, and the better art is, the harder it is to put your finger on what makes it so good. More: the obvious, easy-to-articulate virtues of art are the less important virtues. Art’s virtues are easy to spot and hard to explain.
The reason this stuck with me is that I learned to be a writer through writing workshops where we would go around in a circle and explain what we liked and didn’t like about someone’s story, and suggest ways to make it better. I started as a teenager in workshops organized by Judith Merril in Toronto, then through my high-school workshop (which Judy had actually founded a decade-plus earlier through a writer in the schools grant), and then at the Clarion workshop in 1992. I went on to teach many of these workshops: Clarion, Clarion West and Viable Paradise.
So I’ve spent a lot of time trying to explain what was and wasn’t good about other peoples’ art (and my own!), and how to make it better. There’s a kind of checklist to help with this: when a story is falling short in some way, writers roll out these “rules” for what makes for good and bad prose. There are a bunch of these rulesets (think of Strunk & White’s Elements of Style), including some genre-specific ones like the Turkey City Lexicon:
https://www.sfwa.org/2009/06/18/turkey-city-lexicon-a-primer-for-sf-workshops/
A few years ago, I was teaching on the Writing Excuses cruise and a student said something like, “Hey, I know all these rules for writing good stories, but I keep reading these stories I really like and they break the rules. When can I break the rules?”
There’s a stock answer a writing teacher is supposed to give here: “Well, first you have to master the rules, then you can break them. You can’t improvise a jazz solo without first learning your scales.”
But in that moment, I thought back to the study with the posters and I had a revelation. These weren’t “rules” at all — they were just things that are hard and therefore easy to screw up. No one really knows why a story isn’t working, but they absolutely know when it doesn’t, and so, like the experimental subject called upon to explain their preferences, they reach for simple answers: “there’s too much exposition,” or “you don’t foreshadow the ending enough.”
There are lots of amazing stories that are full of exposition (readers of mine will not be shocked to learn I hold this view). There are lots of twist endings that are incredible — and not despite coming out of left field, but because of it.
The thing is, if you can’t say what’s wrong, but you know something is wrong, it’s perfectly reasonable to say, “Well, why don’t you try to replace or polish the things that are hardest to do right. Whatever it is that isn’t working here, chances are it’s the thing that’s hardest to make work”:
https://locusmag.com/2020/05/cory-doctorow-rules-for-writers/
But if I could change one thing about how we talk about writing and its “rules,” it would be to draw this distinction, characterizing certain literary feats as easier to screw up than others, having the humility to admit that we just don’t know what’s wrong with a story, and then helping the writer create probabilistically ranked lists of the things they could tinker with to try and improve their execution.
Which is all a very, very long-winded way to explain why I bought a giant, gorgeous art-print at Comic-Con this weekend, even though I have nowhere to hang it and had sworn I would absolutely not buy any art at the con.
I was walking the floor, peeking into booths, when I happened on Daniel Danger’s booth (#5034, if you’re at the con today), and I was just fuckin’ poleaxed by his work.
http://www.tinymediaempire.com/
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[Image ID: Daniel Danger’s ‘It stopped being about the panic,’ depicting a ruined mansion interwoven with the skeletal branches of a tree, with a weeping statue and two human figures]
Now, see above. I can’t tell you why I loved this work so much (and that’s OK!), but boy oh boy did it speak to me. I just kind of stood there with my mouth open, slowly moving from print to print, admiring works like “It stopped being about the panic.”
https://tinymediaempire.myshopify.com/products/2022-sdcc-it-stopped-being-about-the-panic-v4
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[Image ID: Daniel Danger’s ‘headlight in the path of,’ depicting a ruined mall with a pair of stags standing at the top of the escalator.]
On the surface, this is moody, post-apocalyptic stuff, heavily influenced by classic monster/haunter tropes, but it’s shot through with hope and renewal and the sense of something beautiful growing out of the ashes of something that has toppled. There’s real “(Nothing But) Flowers” energy in “Headlight in the path of”:
https://tinymediaempire.myshopify.com/products/sdcc2023-headlight-in-the-path-of-v2
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[Image ID: Daniel Danger’s ‘We are no longer able to protect you,’ depicting a ruined factory with a coming-apart sign reading ‘We can no longer protect you forever,’ and a statue of a sword-bearing angel.]
Danger isn’t just a
very
talented artist, he’s also an
extremely
talented craftsman. As a recovering pre-press geek, I was (nearly) as impressed by the wild use of spot color and foils as I was by the art, like in “We are no longer able to protect you”:
https://tinymediaempire.myshopify.com/products/sdcc-2022-we-can-no-longer-protect-you-forever-v3
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[Image  ID: Daniel Danger’s ‘made of smoke and chains,’ depicting a ruined landscape with a pair of derelict subway trains at the foot of a hill on whose peak is a rotting mansion. A pair of human figures, holding hands, are approaching the mansion.]
Danger himself calls this work “weird sad hyper-detailed artwork of dreamy buildings of ghosts and trees,” which is a very apt description of this work, as you can see in “Made of smoke and chains”:
https://tinymediaempire.myshopify.com/products/made-of-smoke-and-chains-mist-preorder
So I looked at this stuff and sternly reminded myself that there was no way I was going to buy any art at the con. Then I walked away. I got about two aisles over when I realized I had to go back and ask permission to take some pictures so I could put a little link to Danger in my blog’s linkdump, which he graciously permitted:
https://www.flickr.com/search/?sort=interestingness-desc&safe_search=1&tags=danieldanger&min_taken_date=1687478400&max_taken_date=1690156799&view_all=1
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[Image ID: Daniel Danger’s art print, ‘To all who home to this happy place,’ depicting a ruined Disneyland castle in a post-apocalyptic landscape with a statue of Walt and Mickey in the rubble.]
But then I got all the way ass over to the other ass end of the convention center and I realized I had to go back and buy one of these prints. Which I did, “To all who come to this happy place,” because fuckin’ wow:
https://tinymediaempire.myshopify.com/products/sdcc2023-this-happy-place-v6-foil
This was unequivocally the best thing I saw at this year’s SDCC, but I also got some very good news while there, namely, that Emil Ferris’s long, long-awaited My Favorite Thing Is Monsters Vol 2 is finally on the schedule from Fantagraphics:
https://www.fantagraphics.com/collections/emil-ferris/products/my-favorite-thing-is-monsters-book-two
It’s coming out in April, which gives you plenty of time to read volume one, which I called, “a haunting diary of a young girl as a dazzling graphic novel”:
https://memex.craphound.com/2017/06/20/my-favorite-thing-is-monsters-a-haunting-diary-of-a-young-girl-as-a-dazzling-graphic-novel/
If you are or were a monster kid or a haunter, this is your goddamned must-read of the summer. It’s a fully queered, stunning memoir for anyone whose erotic imagination intersected with Famous Monsters of Filmland.
(Also, if you’re that kind of person and you’re in the region, you should know about Midsummer Scream, a giant haunter show in Long Beach; I’ll be there on Sunday, July 30, for a panel about the Ghost Post, the legendary Haunted Mansion puzzle-boxes I helped make:
https://midsummerscream.org/
Now Favorite Thing book two was the best news, but the best experience was watching Felicia Day get her Inkpot Award and give a moving speech:
https://en.wikipedia.org/wiki/Inkpot_Award
And then learning that Raina Telgemeier also got an Inkpot; I love Raina’s work so much:
https://memex.craphound.com/2016/10/04/ghosts-raina-telgemeiers-upbeat-tale-of-death-assimilation-and-cystic-fibrosis/
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[Image ID: A photo of me with Chuck Tingle, who wears a pink bag over his head on which he has written ‘Love is Real.’]
To cap yesterday off, I also ran into @ChuckTingle, which is as fine a capstone to a successful con as anyone could ask for:
https://www.flickr.com/photos/doctorow/53065500076/in/dateposted/
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If you’d like an essay-formatted version of this post to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:
https://pluralistic.net/2023/07/23/but-i-know-what-i-like/#daniel-danger
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maxmarvel123 · 8 months
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Justice League vs. Godzilla vs. Kong by Brian Buccellato, Christian Duce and Luis Guerrero on October 18, 2023
What starts as a routine clash between the Justice League and the Legion of Doom takes a dangerous turn when the wall between worlds is breached…with Godzilla, Kong, and the Monsterverse emerging on DC’s Earth! What ensues will be a brawl of unprecedented scale and destruction!
“As a comics fan—there’s nothing more fun and exciting than exploring those amazing ‘What If’ situations that come up when fandoms cross streams. In this case, it’s a match-up of the world’s greatest super heroes in the Justice League who take on not only the King of the Monsters—Godzilla—but the mighty Kong himself! It’s a crossover no-holds-barred battle, decades in the making, and no bona fide comics fan will want to miss it!” ~ Jim Lee, president, publisher and CCO of DC Comics
“There have been a couple of classic crossovers since I started reading comics: Superman vs. The Amazing Spider-Man, The Uncanny X-Men and the New Teen Titans—and we hope Justice League vs. Godzilla vs. Kong joins that list of unforgettable meetings. I am grateful to everyone at DC, Legendary Entertainment, and Toho International for the passionate support we received to have these worlds collide!” ~ Robert Napton, SVP and publisher of Legendary Comics.
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doctorfriend79 · 8 months
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Doctor Who At San Diego Comic-Con 2017
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fansplaining · 9 months
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We're very excited to share the topic and final line-up of Fansplaining's 2023 San Diego Comic-Con panel! If you're headed to SDCC, please join us bright and early on Thursday. 😎
Covering Fandom: How Fan-Journalists Strike the Right Balance:
Fans have always held roles in the media, but the mainstreaming of fandom has dramatically increased opportunities for journalists and editors to use fandom in their work—or to cover fandom itself. Fans can bring unique angles, but the ethics of covering a thing you’re a fan of—or a fandom you’re a part of—can be sticky. Seasoned fan-journalists will discuss navigating these boundaries: Kat Moon (TV Guide, Fandom), Krutika Mallikarjuna (BuzzFeed, The Good Immigrant), Julian Cannon (The Knockturnal), Kayti Burt (Den of Geek, Rolling Stone), and Elizabeth Minkel (Fansplaining, WIRED). Moderated by Devon Maloney (Vulture, The Verge).
Thursday July 20, 2023 10:00am - 11:00am PDT  Grand 10 & 11, Marriott Marquis San Diego Marina
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thehillywoodshow · 8 months
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Here we go!! Off to SAN DIEGO COMIC CON! We can’t wait to meet YOU this Friday and Saturday! 😈🥂😇
📋Hillywood’s Official Schedule
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thedakku · 6 months
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Sand Land booth at SDCC 2023!
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smudgemark · 2 years
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Some of the cast members from "Black Panther: Wakanda Forever" photographed by Gizelle Hernandez for Entertainment Weekly at last week's San Diego Comic-Con.
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g4zdtechtv · 8 months
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Cinematech's Trailer Park - Solar Opposites Season 4
Korvo's sounding quite different, isn't he?
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tamapalace · 2 years
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Tamagotchi Booth at 2022 San Diego Comic-Con
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graphicpolicy · 8 months
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SDCC 2023: DC and Legendary announce Justice League vs. Godzilla vs. Kong
SDCC 2023: DC and Legendary announce Justice League vs. Godzilla vs. Kong #SDCC #SDCC2023 #SDCC23 #ComicCon #ComicCon23 #Monsterverse #comics #comicbooks
DC and Legendary Comics kicked off the first full day of San Diego Comic-Con 2023 with a colossal announcement: DC will collide with Legendary’s Monsterverse in Justice League vs. Godzilla vs. Kong, the cataclysmic crossover event of the year you never expected! In partnership with Toho International, the 7-issue series, launching in October, is from acclaimed writer Brian Buccellato, bestselling…
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themarvelproject · 8 months
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The X-Men by Scott Williams with colors by Sebastian Cheng from the San Diego Comic-Con exclusive variant cover for X-Men #22 (2023)
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fandom-official · 9 months
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They will still have a presence on the convention floor
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maxmarvel123 · 8 months
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Why helloooooooooo beautiful. 🤩
Giant Robot Hellboy by Mike Mignola, Duncan Fegredo, Dave Stewart and Clem Robins on October 25, 2023
The project was inspired by Mignola’s pencil drawings from Mike Mignola: The Quarantine Sketchbook — as well as his fellow artists Geof Darrow and Arthur "Art" Adams.
“Giant Robot Hellboy is my very obvious nod to all those Japanese giant monster movies—which I actually have no particular love for. What I DO love is listening to Geof Darrow and Art Adams TALK about those movies—so really, I guess this series was inspired by those guys,” Mignola said. “I had the idea for this one a long time ago but figured it was too silly to actually do—then the pandemic came along and I started to do all those sketches I would post online. I had never given a serious thought to what a giant robot Hellboy would look like but I knocked out a few sketches and I liked them—and so the thing started to seem like something that could actually be done.”
While Mignola did the initial sketches, he felt like the idea would work better with a different artist.
“But I knew I wasn’t the artist for it and I knew both Arthur and Geof were busy with other things, so the only other artist I thought of was Duncan,” Mignola said. “I had no idea how Duncan would respond. Too silly? I didn’t know,  but I figured I’d pitch it to him and if he said no that would be an end to it. The rest is history.”
In this all-new series, Hellboy is kidnapped and hooked up to a massive mecha-Hellboy for a mission on a mysterious, faraway island, but the island might just put up a fight of its own.
“Hellboy awakes to an out-of-body experience and simultaneously has to deal with the usual fallout from mad scientists doing their thing whilst learning to walk again. Come to think of it, that pretty much describes my return to collaborating with Mike Mignola… if you enjoyed my previous forays into grand scale storytelling, whoops, I did it again!” ~ Duncan Fegredo
“It was a thrill to be working with Duncan again. The man can draw anything which is very nice for a writer. What is special about Duncan is no matter what you ask him to draw, no matter how difficult or complicated—he will make it MORE complicated (and, of course, more difficult) . Everything ends up being so much more than you asked for and Duncan will endlessly curse HIMSELF for overdoing things—and we will all sit back (eventually) and marvel at this amazing thing he has created.” ~ Mike Mignola
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doctorfriend79 · 8 months
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Doctor Who At San Diego Comic-Con 2015
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fansplaining · 2 years
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Episode 179: Fan Labor, Fan Consumption
In Episode 179, “Fan Labor, Fan Consumption,” Flourish and Elizabeth use a listener question to discuss some of the intersections between fans and corporations. Is there an inherent tension when fanfiction communities’ “punk gift economies” are centered around properties owned by mega-conglomerates? What happens when fans performing unpaid labor for networks and studios start pushing back? And fresh off their return to San Diego Comic-Con, is it true that when it comes to fandom and capitalism, most fans just don’t care?
Click through to our site to listen or read a full transcript!
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