Sheldon L. Dorf’s drive and vision paved the way for the Comic-Con International in San Diego that we know today. As part of the tributes emerging for Shel Dorf is a Web site where his memory can be honored, celebrated and shared with everyone. The photo above of Jack Kirby and Shelf Dorf in 1969 is from the site. Also, is this excerpt from Mike Towry’s observations:

Would there have been a Comic-Con in San Diego without Shel? Probably, someday, sure. Would it have been the one we have today? Certainly not. Comic-Con got its spirit, its positive, non-profit, welcoming vision from Shel. The Con committees throughout the years have done a fantastic job in building the Con into what it is today, but, to paraphrase Isaac Newton, “If they have seen further than others, it is because they stood on the shoulders of a giant.”

Phil Yeh, a long-time participant at Comic-Con International and founder of Cartoonists Across America and the World, has suggested for some time now that a street in San Diego should be named after Shel Dorf to honor the man and for all he’s done to make the San Diego Comic-Con the largest pop culture festival in North America , and one of the largest in the world.

When I contacted Phil Yeh, he said, “It would be great to see a street named for Shel and maybe a park with a mural that would be created by so many of the artists who had their lives changed because of Comic-Con. There is a park in Springfield, Massachusetts  with statues in tribute to Dr. Seuss and his characters. Perhaps San Diego should consider a park with statues celebrating comic characters and the man who brought so many talented creators together.”

Greetings, Blog@teers — have we got some news for you!

For the past six months, a webcomic has been featured by Ain’t It Cool News and CNN, celebrated for its action, characterization, and respect for the blaxploitation films that inspired it. As its creator notes, it’s Super Fly meets The Equalizer, the step-child of Shaft and Rip Kirby, a love letter to the Black action films of the 1970s. For some, it’s street justice like you’ve never seen — and for those on the run, well, all that’s coming their way is a WORLD OF HURT.

And in keeping with our mission to deliver the best and the brightest to you, our readers, we are proud to announce that WORLD OF HURT will be making its second home at Blog@Newsarama, as the latest in our weekly webcomics series. We sat down with writer/artists Jay Potts about the comic, his blaxploitation inspirations, and what the future holds for Isaiah “Pastor” Hurt.

Newsarama: Jay, just to start out with, can you tell new readers a little bit about what World of Hurt is about?

Jay Potts: WORLD OF HURT is a weekly, black & white serial adventure webcomic that is my personal love letter to the Black action films of the 1970s and the Golden Age of newspaper adventure strips.  It is set in the early1970s in the city of Pointe Blanc, a fictional version of San Francisco and Oakland, and follows the exploits of a Black troubleshooter named Isaiah “Pastor” Hurt.

Nrama: In terms of getting to know you a little bit — what’s your background been in terms of comics? Is World of Hurt your first one, or have you been building up this?

Potts: I’ve been drawing since the age of four and have been a comic book fan for just as long.  However, it wasn’t until I entered the graduate program in Sequential Art at the Savannah College of Art and Design in Savannah, GA in 1997, that I received any formal instruction.  What I learned there about storytelling and composition, and the exposure to an incredible range of talent, was truly eye-opening.

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So early next year, when Smallville gets their second half of Season 9 under way, there’s the little matter of an episode written by Geoff Johns and featuring key members of the Justice Society (with the one-word title of “Society”). Well, the show’s producers, in their ultimate wisdom, decided that it was too good to confine to one episode, and it’s getting a second part entitled “Legends.”

And with this two-parter, the ever-reliable Michael Ausiello of Entertainment Weekly reports that a veteran Justice LEAGUER will be in on the action: J’onn J’onzz, the Martian Manhunter! Self-professed comic book geek Phil Morris will be reprising his role as the Metropolis police detective for the first time this season.

So between Superman (Clark Kent), Green Arrow (Oliver Queen) and Det. John Jones, and Hawkman (Carter Hall), Dr. Fate (Kent Nelson) and Stargirl (Courtney Whitmore), we’re looking at the first live-action crossover between the JLA and JSA!

Mattel have released some imagery of the latest from the GHOSTBUSTERS action figure line. After the jump is a handful of shots of some of the characters based off the original motion picture in various shapes and sizes.

By the way, did anyone here see Zombieland?
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Warner Home Video keeps putting all of DC Comics’ animated properties on DVD, and my shelving may need a expansive upgrade. Courtesy of TV Shows on DVD (THE BEST website devoted to, well, TV shows on DVD), WB made available a press release on their latest offering from Super Friends: Season 1, Volume 1.

You can read the press release for all the details of this January 5, 2010 release, but the main gist of this is that we finally got the “Wendy & Marvin Years,” the ones that first put Super Friends on the map. I believe they are also the only SF episodes narrated by the late great Ted Knight, a voice acting staple of DC Comics’ animated output in the 1960s. My only complaint at the moment is the DVD cover art. I never have a problem with the classic stock art by Jose Luis Garcia-Lopez, but considering that every previous release did something a little more original, refurbishing art from the actual series, this seemed like an uncharacteristically lazy way to go. Plus I can get real nitpicky and point out that the Wonder Woman on this cover is sporting a costume that did not grace the pages of her own comic until almost 10 years later. Considering that this volume has the distinction of featuring Wendy Marvin & Wonder Dog (not to mention guest appearances by the Flash, Green Arrow and Plastic Man), it’s a shame they didn’t work with that into a more unique cover design.

Back in May, I brought up the story on how popular media outlets that cover the toys & collectibles trade were no longer getting advance notice from DC Direct on store releases like action figures, statues and other such items. Gone were the days for action figure fans like myself to get an appropriate heads up on product delays (still waiting for Series 1 of Blackest Night figures, by the way) and when items would possibly move up in the schedule. This has been an invaluable tool for me when keeping a monthly budget on the collectibles that are on my radar. And you know, it’s especially useful when the holidays are approaching.

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I couldn’t make this up if I tried.

Usually, former heads of state spend their retirement years creating foundations and libraries, knocking a few holes back on the golf course, or, depending on the country of course, occasionally getting trussed up for war crimes. But Junichiro Koizumi — the former prime minister of Japan from 2001 to 2006 — has a different gig lined up.

He’s going to be Ultraman King.

Time reports that Koizumi will be lending his voice to the upcoming Mega Monster Battle: Ultra Galaxy Legend, the Movie. Ultraman King is seen as the elder “god” of all the Ultra heroes. In this film, King will give a rousing speech to the heroes, urging them to press on.

According to Time, representatives from the producers have said “Koizumi, as a former national leader, is the only person who has the presence to deliver such a pivotal address in the film.” Koizumi apparently first turned down the role, only to have his 28-year-old son Shinjiro convince him to take the part.  “[The role] is not related to politics, so it should be okay,” he told the former statesman.

So it’s well known in sports — prep, collegiate and professional — that the rookies get hazed. From taping football players to the goalposts, to freshmen carrying the game film and projector on the road (scroll down toward to item #10b & c to read which Hall of Famer had to do that, AFTER winning a national championship!).

But New York Yankees manager Joe Girardi may have to answer the question “How is this punishment?”
Pictured with the skipper are some of the rookies currently wearing Yankees jerseys in their day jobs. This year the theme was clearly Batman, and a couple years ago it was apparently Wizard of Oz. That time I can see how dressing up as Dorothy was the unfortunate assignment. I guess this year the raw deal went to the players suited up as Catwoman and Robin.

My biggest question was this:
That guy dressed up as the Penguin is a Major League Baseball player??

I am off to Bergen Street Comics’ release party for Beasts of Burden tonight, so I’ll save my thoughts on the comic for tomorrow. For now, have some linkage:

Johanna Draper Carlson did not much like the Whiteout movie.

Warren Ellis asked artists to Remake/Remodel Black Orchid. He must’ve asked VERY nicely…

Some thoughts on comics and race in an interesting discussion thread on Racialicious.

The Rumpus brings you a review of Shane Acker’s 9.

Whatever you think of the President, this ought to make you laugh.

(Counting down to “Obama vs. Star Wars” comic starting now. 3…2…1…)

Anthony E. Zuiker has made an impressive career as the creator of CSI: Crime Scene Investigation. In 2007, nearly 84 million people watched CSI, making it the most watched show in the world. Zuiker’s talent at telling a good crime story has led him to launch his next major project, Level 26, the world’s first digi-novel. Written with Duane Swierczynski (Severance Package), Level 26 is about a seriously demented serial killer and the tortured FBI investigator who is forced to hunt him down. Level 26 releases on September 8.

The interactive quality of this digi-novel is handled by EQAL, with roots going back to its creation of the internet sensation, lonelygirl15. And, while Level 26 is not directly related to comics, there’s a lot going on with its interactive components that someday may become common to the comics medium. Also, there is already a line of CSI comics put out by IDW and who knows what may lie ahead.

Zuiker has an energetic and commanding presence. He stays on point with ease. When asked if he thought his “digi-novel” was the future of reading, he gracefully said no claims on the future have been made. The one sure claim is that he is excited about what he’s doing. It was a pleasure to chat with him at Comic-Con International: San Diego.

Blog@Newsarama:Tell us what it was like for you growing up as your writing talents emerged.

Anthony E. Zuiker: As an only child in Las Vegas, I would often, just for fun, write letters for people as a favor.  Just formal letters.  I was sort of 16 of 16 in letter writing meaning that whenever someone asked me to write something, like get their girlfriend back or a letter to a judge to get out of jail, I would bat a thousand. I was in the hall of fame of letter writing. Then all through high school and in college I would charge people to write their term papers for $300.00 overnight and they were guaranteed at least a B plus. I made a lot of money doing that. When I was recently inducted into the Hall of Fame at UNLV, I said that before they awarded me that maybe I should confess that I put about hundred people through college. My father always said that I had some talent as a writer and I guess I believed him. I’ve always had a way of putting what I’ve envisioned on the page. When I wrote my first movie, The Runner, it went right to video but it was an interesting piece of work with an authentic voice and it landed me an agent and a manager. My first TV script was CSI. It got green lit and, obviously, it took off. We went on to do CSI: Miami and CSI: New York.  I guess my visual way of thinking really worked simpatico with the philosophy of writing scripts in Hollywood.

BLOG@: Do you believe it had something to do with being at the right place at the right time?

ZUIKER: For CSI?  I think so. I think every great show is a sign of the times. It began in the aftermath of the OJ trial. People were just becoming fascinated with forensics. I was able to come in with a show set in Las Vegas, set in the graveyard shift. The idea of people actually going into a crime scene, scrutinizing evidence and the story being put together in flashback, that style of storytelling, felt like a modern day mystery. It felt like a mystery genre of our generation. People liked that. They were learning and watching at the same time which was highly efffective. And with a great cast, CSI had that mystery magic, this different way to tell a cop show which is what I call, “from the crime scene tape down.” And it worked.

BLOG@: It seems like CSI could go on forever. Do you see interest in the franchise shifting?

ZUIKER: Well, what goes up must come down.  You know, we are doing our best right now with all three shows to stay in the top 15, to keep challenging our audience.  We’ve killed people in many different ways. We continue to look for different ways to excite us and excite an audience. We feel because its is a procedural drama, and everybody loves a good mystery,  it has some good long legs to it, we believe.

BLOG@: Let’s say, somebody is totally in the dark on Level 26. How would you describe it?

ZUIKER: We are coining it as “the world’s first digi-novel.”  What a digi-novel is, is it takes all the elements of publishing, movies and internet and combines experience. Level 26 is a horror prime drama. Every twenty pages that you read, you log onto the Web site, Level26.com, enter a code at the end of that chapter, and it unlocks a piece of motion picture footage which bridges you from one chapter to another, so its a continuation of the story, visually, its about three minutes long.  There’s twenty of those experiences per book.  So you figure twenty pages times twenty bridges is about a four hundred page book. That is what the book is, also.  Sometimes its a horror scene, sometimes is a love scene, sometimes its a music video, sometimes when you call the killer, the killer calls your phone back.  So its very interactive.  We feel like in this attention economy, with how fast things are moving with technology, to ask someone to read twenty pages and then see a visual continuance, is a good rhythmic experience, rather than read four hundred pages and do nothing else.  If you read the book cover to cover, no problem.  But the best experience is to read, log in and watch, read, log in and watch.  And then become part of a social community, built by the lonelygirl15 creators, Miles and Greg,  to have this social site that is basically like a Facebook page Level 26, with all the bells and whistles of an interactive Web site.

BLOG@: Do you see this as just another form of entertainment or, in the future, as the way people read?

ZUIKER: Well you know, I think the audience and the reader will determine that.   We are not taking the position that we are going to replace publishing in its current state. My philosophy is that, in this generation, you need to go to your audience and recognize your audience’s behaviors. People now, when they watch television, they’re also on their computer, they’re tweeting, they’re chatting, they’re checking email, they’re TiVoing,  they’re doing multiple things at one time. So to ask someone to sit down and read a 400 page book in this generation, I think, is a tough ask, especially for  younger people. If you can provide them with these visceral/visual speed bumps it might get more young people to read. I think that’s a victory. And, if you’re an existing reader, who already loves to read, quite possibly you’ll try a different way to consume which is to read and watch the bridges. So, we feel that we’re trying to bridge the gap between an older generation and a younger generation in the spirit of where technology is going.

BLOG@: Basically, it can appeal to any age group.

ZUIKER: Here’s the litmus test.  Read the first twenty pages of Level 26, then you watch the first film, something you’ll probably find edgy and cool. If you’re not engaged by it, I may lose you as a customer. But, if you are, I think you’ll probably finish reading it that night. It’s pretty exciting.

BLOG@: The buzz concept in the entertainment industry is transmedia, the book sells the movie, the movie sells the game and so on. It seems like you’re sort of there with Level 26 or could you tell us where you might fit in?

ZUIKER: Sure, transmedia versus what we are doing is a little different. Transmedia is having one brand and launching it in various avenues. We’d certainly like to do that but our core concern is transmedia inside the narrative meaning you go from book to motion picture to Web site and it’s all inclusive in one experience so it’s nice and tight. It’s not about just creating a character and seeing if we can launch it on the Web, on the radio, on a phone and so on. That may eventually happen to Level 26 but, for now, we’re keeping it at the core of our philosophy which is: read, watch and log in and have a compelling story and let people consume that way. We’re not going to jump off any cliffs but keep to the core philosophy of what the digi-novel represents which is reading, watching and logging in.

BLOG@: How would describe in a nugget the story, Level 26?

ZUIKER: Level 26 is about Steve Dark, an ex-Quantico who works in Special Services which involves the worst and most horrific crimes that I can’t possibly tell you here. He’s been chasing an elusive killer named, Sqweegel for  twenty years who has killed over 30 people and has killed Steve Dark’s family. Steve Dark is retired.  He has met the love of his life, she’s pregnant and suddenly they get a message that Sqweegel has returned and he’s been inside Steve’s home. Steve is sucked back into pursuing Sqweegel. And that’s where it all begins.

BLOG@: I know you’re a busy man. Thank you for your time.

ZUIKER: I really appreciate it. Awesome.

TV Guide provides is with the first look at Brian Austin Green (Beverly Hills 90210, Terminator: The Sarah Connor Chronicles) as John Corben, better known to Superman fans as METALLO. Thanks to this, by way of Smallville, I now have a reason to gladly stay home on Friday nights.

It’s Thursday. I have had too much caffeine and haven’t bought my comics for the week yet. Have some links.

Boondock Saints comics? Hell yes.

Becky Cloonan’s ongoing webcomic-saga of her “feud” with Amy Reeder Hadley just keeps getting funnier.

Warren Ellis thinks you should buy this print from Laurenn McCubbin. I think you should buy it for me.

One of my favorite political bloggers, Spencer Ackerman, is now the star of a comic book. Where the heck is MY comic book, people?

Jonathan Lethem on the “Squandered promise of science fiction.”

From the UPI…

Really, if you want to push a right-wing agenda, you may want the help of a dictionary. I’ll let the Chicago Sun-Times‘ Richard Roeper explain:

Just a few ways in which Obama’s policies differ from a socialist agenda: socialism would mean no health insurance companies; decriminalization of drugs and prostitution; immediate withdrawal of all troops on foreign soil; a certain cap on all salaries in any situation and public funding for the media. I don’t see the White House calling for such measures, do you?

What say ye? Inventive comic tie-in? Guerrilla propaganda at its finest?

We’ve been over the booth babe controversy enough, and so I’m not going to rehash that here. However, I was struck by one paragraph in this LA Times piece, by Tod Goldberg, on Comic-Con:

It was the zombie issue that brought forth the sociologist in me. Countless women covered in knife wounds and in advanced stages of decomposition happily posed with men (and boys … lots and lots of boys). The booth for “The Blood Factory” — Danny DeVito’s home of short splatter films … which is to say, films with lots of sex and lots of knife wounds, often concurrently — featured two smiling and bloodied hotties wielding chainsaws who posed and vamped for children of all ages. The sexualization of violence was not something I was prepared for even knowing well how undead vampires have become romance heroes in print and film. Sex was certainly in play without violence too — apparently selling any kind of video game is easier if there’s a vacant-eyed woman wearing a Wonder Woman costume in the booth — and in a way it’s nothing new for these kinds of gatherings since even Renaissance fairs use women as objects, but usually those women aren’t covered in open wounds. I’m no prude per se, but it was nonetheless odd to see young boys getting their cheeks pecked by buxom undead women. Maybe not as odd as the gentleman dressed like Bob’s Big Boy, burger and all, but odd no less.

I would say that what he’s critiquing here is not the sexualization of violence–anyone who’s seen Kill Bill or, well, any action movie, could tell you that sex and violence go hand in hand–but the way women are almost always cast as the victims of that violence. In other words, it’s not that there’s violence and sexy women mixing; it’s that those women are dressed as victims of violence and yet are cheerily posing for pictures with men and young boys. It’s the normalization of women-as-victim of violence that is kinda creepy.

That said, I like female monsters, even the undead variety, in my monster movies. Zombies and vampires, after all, keep coming despite the horrible things done to them. That’s what makes them scary, and in vampires’ case, sexy. The monsters are powerful because they are dead and yet they live.

Goldberg juxtaposes women wielding chainsaws (presumably, the blood they are covered in would be someone else’s) with women covered in (fake) wounds here without question, where in fact they’re two very different things, and I would go even further and say that it does matter whether the women covered in wounds are zombies or simply victims.

This goes to the heart of my disgust with “torture porn” films like Saw and Hostel but love for vampires, zombies, and other freaky monsters. Monsters are subversive, uncanny: they violate boundaries. Torture porn movies do nothing but show us splashy violence, the worst of humanity, and quite often reinforce gender roles: male attacker, female victim. A wounded woman who fights back is entirely different than one who is simply a victim, and a wounded woman who comes back as a monster might be the stuff of worst nightmares.

Here’s a quick rundown on some of the other things I did at Comic-Con International in San Diego starting out with some photos. Here we’ve got some shots of the con, the Heroes panel, the Pop Candy Meetup, Jennifer Daydreamer, Henry Chamberlain, Popcultour, Paul Pope, and live art by Jim Mahfood, Josh Blaylock and Scott Morse:

Here is a lineup of stuff including things to come and look out for:

Anthony Zuiker Presents The Digi-Novel, Level 26: The creator of the CSI franchise was very kind to take some time to speak with me about his new project, Level 26. I will have that interview for you to check out later.

Lucky Man At Heroes Panel: I think the very best moment was towards the end of the Q&A when a quite smitten young man asked if he could see Hayden Panettiere up close after a quest to meet her that began four years ago. Hayden smiled and said, “When this is adjourned, will you meet me over there?” This was immediately followed by a warning not to get any ideas. “Too many brothers up here,” quipped Hayden.

Whitney Matheson’s Pop Candy Meetup: Talk about a very mellow and fun get-together Saturday evening. Whitney was totally charming and accessible. I highly recommend Whitney’s coverage of Comic-Con among other pop candy treats. I enjoyed a cocktail with my sweetie, Jennifer Daydreamer, as we took in the view and later on got into a comics discussion with James Sime.

James Sime’s Favorite Geek Out Moment: JamesSime, the proprietor and driving force behind Isotope Comics, had this to say: “It was during the Eisner Awards ceremony. Suddenly, there’s Leonard Starr at the podium making a presentation. He’s well known for his legendary comic strip, Mary Perkins, On Stage. It hasn’t been in print for so long. So, it was a deer in the headlights moment for me to see him.”

Paul Pope at Popcultour: I think the theme of the night was “accessible” since, after Whitney’s party, it was also great to see Paul Pope later that night at another party. Paul was open to do a little meet and greet as the opening DJ for an event to benefit the Comic Book Legal Defense Fund. A live art performance featured Jim Mahfood, Josh Blaylock and Scott Morse.

Alfonso Ruiz: Cartoonist Alfonso Ruiz, a very talented young man is well on his way. I bought one of his original pages and I will need to keep my eye on what he’s up to. He loves the fact that he’s involved with a lot of great comics talent which includes a lot of great Mexican artists. We’ll hear more from him soon.

Rum For Comics: I was speaking with someone waiting in line for the Popcultour event. He said he never spends money on comics. He simply trades it for some of the best rum you’re ever going to find. I believe that would be Puerto Rican but I didn’t catch the name. Email if you read this!

DC Comics Talent Search: As many of you are aware, SDCC is a great place to try your luck at being discovered by DC Comics. The best advice I can offer, having gone through the orientation process but sadly not chosen for a portfolio review, is to take this very seriously and go in with your best work. That said, keep in mind that this is highly competitive and only five or six of the hundreds who submit each day are chosen for a closer look. It really doesn’t hurt to go through the process and you will learn something about your work.

Lark Pien Debuts New Book: A big name in the small press is Lark Pien. So, to see her first published book, Long Tail Kitty, is such a beautiful thing. She’s published by Blue Apple Books and distributed by Chronicle Books. Keep an eye out for it or ask for it at your local bookseller. I’ll have a review and more info about it later.

Be Good And This Won’t Happen To You: I will leave you with a disturbing image to ponder. We were waiting near the train tracks overlooking the Gaslamp District as we were about to walk over to Comic-Con, when a police officer asked us all to stop. Well, this guy, probably about fifteen, really wanted to join his friends who had already gotten across. In a panic or just plain stupid, he began to push his way past the officer. Maybe he figured since this was a female officer that he’d get away with it. Wasn’t long before two fellow officers frog marched our little friend back to the curb. They did an excellent job of it too. I know I was inspired to be extra courteous to everyone around me after that scene.

Because I still think it’s disgusting.

From Kotaku:

Let’s play this down the middle, as much we can. “Costumed representatives,” are there to make a physical appearance, both sides would agree. But Iola is right: Neither Comic-Con, nor E3, nor any other convention, is a strip club. It’s no more appropriate to assume she’s there for casual opposite-sex companionship than it would be to think a well dressed public relations professional - who’s also there to promote a product and likewise is expected to look good on the job - is after the same thing.

The problem is that EA’s promotion projected just that image - not only on their own reps, but reps of other companies as well, whether or not it was consistent with the spirit or tradition of Comic-Con, E3, or any other show. That’s the reason for the furor, and that’s why you got an apology.

The whole post is worth reading, as it includes comments from a self-proclaimed costumed rep who’s suffered through much obnoxious behavior at cons.

The comparison to a strip club, however, struck me as particularly apt. Because it’s NOT what Comic-Con is supposed to be. Yet by projecting the idea that cons are for boys, the corresponding assumption that any girl who is there is there for the sexual gratification of the male attendees (and thus the attendant reaction to the Twilight-fangirls who are there for their own damn visual sexual gratification, thank you very much) is not only prevalent among attendees, but played to by just this sort of promotion.

I find it interesting that the most egregious examples of this stuff came from video game companies. Am I strange in noting this?

Friday at San Diego Comic-Con was a full day for me. Here is a quick run-down of what’s been going on lately from my vantage point:

• EQAL and Anthony Zuiker Present LEVEL 26: I had the pleasure to interview Miles Beckett who, with Greg Goodfried, run EQAL, a company that produces original interactive content online. They have come a long way since their first lonelygirl15 videos and now have teamed up with Anthony Zuiker, the creator of the CSI franchise, to bring you, LEVEL 26, the world’s first “digi-novel,” a fully interactive novel. It’s a very cool idea that, thanks to some awesome talent behind it, is something to really look forward to. You can start right in and see for yourself. I will provide you guys with the full interview in a later post and some other interesting news about this and other related projects in future posts.
• COMICPALOOZA SHOUT OUT: I have to thank P. J. Holmes for allowing me to borrow his laptop at a critical moment here at SDCC, the home of critical moments. Check out the great comics con of the Southwest, Comicpalooza.
• THE PRISONER PANEL: I caught the tale end of this panel and it really came across as a genuine lovefest for this film by the actors, Jim Caviezel, Jamie Campbell-Bower and Lennie James; writer, Bill Gallagher; AMC’s Vlad Wolynetz, vice president of production; and producer/director Robert Meyer Burnett. I will just say here that the sneak peek clip was very cool with the sinister “Two” character played wonderfully by none other than Ian McKellen! The scene has “Two” wondering if anyone really likes him as he tosses a grenade into the trembling hands of an assistant who can’t quite bring himself to say he actually likes his insane boss. I also should say that this is a six-part mini-series and runs for three consecutive nights in November on AMC.
• NO ROOM FOR ME AT DOLLHOUSE BUT FAN COMES TO RESCUE: I tried. I stood in one of the longest lines you’ll ever want to see for a very long time only to be told that they had a packed house. No one dared move at first and only a few hesitantly gave up and walked away. But all was not lost, really, since I  got a fan to give me the scoop on what’s going on with Dollhouse. Andre Walker, a lean man in his thirties, let me know that the series has problems but that fans are willing to wait. “It’s got some good stuff but it needs character development. It’s not like Buffy or Angel. There’s only a few characters right now I really care about. Eliza Dushku’s main character is not someone people care about like they should. And, hey, it’s Joss Whedon. Give him time. Just look at Firefly. That was a bumpy ride at first.”

Um, hello.

A debate about “female power icons in pop culture”?

With Signourney Weaver on a panel with Eliza Dushku, Zoe Saldana, and Elizabeth Mitchell of Lost? All it would need would be Sarah Michelle Gellar and I’d be in heaven.

From the Guardian, some highlights from the panel.

Weaver:

“Science fiction is an investigation into what it is to be human,” she said at one point. “A lot of the roles I have played, they’re not trying to create a female action figure - they’re trying to create a fully-functioning human being; a character comes first.”

Saldana:

“It’s about how long I have to stand fighting a room full of men about why I should do a fight scene in trousers, where I’m required to run across a floor and leap on to a moving elevator,” she argued, “They’re confused because they’re convinced I should be just as good at doing that in a leather miniskirt and Gucci boots.”

Dushku:

“I asked Joss for the most kick-ass multi-dimensional character he could think of, and he delivered … this character, it’s just a lot like me.”

Mitchell:

“My roles have been far more adventurous, far more interesting, once I moved beyond 30; my roles are juicer, and sexier, and more powerful - we’re allowed to do all those things, be all those things, once we pass 30.”

Anyone at SDCC and catch this panel?

On Wednesday, I was fortunate to catch the tail end of the ICv2 conference as well as take a first look at the convention floor. As they say, it’s all about the fans. And that often means it’s all about the money. Seeing so many people at Comic-Con with giant bags of swag, standing in so many lines, desperation in the eyes of some, waiting for a chance to win something or buy something, I could clearly see money as the dominant theme: those who make it and those who spend it.

So, before being part of the human comedy that is SDCC, it was nice to listen to a few elite voices plot out what they think will motivate the fans. ICv2 is a consulting firm in the service of those trying to sell something to the fans. The conference was meant to tell it like it is about market trends. For my money, the star of the last panel was Jeff Katz, a Hollywood exec (Snakes On A Plane) turned comics writer (DC Comics’ Booster Gold) who led off with a two guns firing declaration that Hollywood is no fool and it knows how to chase down money and the money is in comics. Katz, looking like a hyperactive Kevin Smith, went on to rally for all those good-natured, well-meaning, creators who feel powerless in dealing with corporate interests. “The secret is that they need us more than we need them. The corporate balls are exposed and you should feel free to squeeze!”

Katz, who runs his own company, American Original, was beside himself in forecasting further profit in comics in a big way. He didn’t say exactly how a lone creator overcomes and succeeds but the general idea was to control what is yours. This is where Top Cow’s Matt Hawkins stepped in with more straight talk, “Don’t take the money. Don’t sell you soul for $25,000 when your title could make millions over time.”

Once I was out on the convention floor, observing the fans, as a mass of humanity, out for the next shiny bauble, they seemed totally at the mercy of the various corporate interests, utterly powerless. Of course, they really are not. Just like those good-natured, well-meaning, creators, the fans have more power than they probably realize. As Jeff Katz would advise, if the corporate balls are hanging, the fan should not hesitate to squeeze.