The publisher lineup for this year’s San Diego ComicCon was announced this week (see link below), and the list is especially notable because of the number of publishers choosing NOT to attend this year. Worse, SDCC has a reputation for hosting big film studios, and several past studios are choosing to skip this year’s festivities.
San Diego Comic-Con 2023 List of Announced Panels
SDCC, much like the larger ComicCons around the globe, has spent the last several years turning into Hollywood hype machines. Big-name celebrity panels, exclusive movie trailers for upcoming nerd films, and early peeks at nerd-centric properties converged on the big ComicCons to build buzz, gauge audience interest, and make the hosting venues a ton of money.
That sounds great. Unfortunately, two developments combined to tip the ComicCon cash cow – the Pandemic and the downfall of quality writers.
SDCC, much like the larger ComicCons around the globe, has spent the last several years turning into Hollywood hype machines. Big-name celebrity panels, exclusive movie trailers for upcoming nerd films, and early peeks at nerd-centric properties converged on the big ComicCons to build buzz, gauge audience interest, and make the hosting venues a ton of money.
That sounds great. Unfortunately, two developments combined to tip the ComicCon cash cow – the Pandemic and the downfall of quality writers.
The Pandemic
If you’re… well… alive, you know what the COD-19 Pandemic did to the world, the economy, social behaviors, and the ability for people to gather en masse for events. ComicCons are, by definition, crowded social events, which run precisely against pandemic restrictions, so that put a damper on holding any ComicCons for a couple of years.
Since ComicCons are a luxury expense, avid attendees were forced into breaking the annual habit, and casual attendees simply forgot about ComicCons altogether.
Attending big ComicCons like SDCC is a big, coordination-heavy, expensive endeavor, so it’s no surprise that people didn’t need much of a push to stop going.
To their credit, publishers like DC tried to go the virtual convention route with events like FanDome, but it just wasn’t the same. The fun of ComicCon is the social interaction and seeing everyone and everything in person. Without the energy of the crowd, a virtual ComicCon is no different than watching a YouTube video.
On the other side of the Pandemic, the studios and publishers started to notice that NOT attending a ComicCon had no real impact on sales or hype. As expensive as it is for a fan to attend, it’s much more expensive for a studio or publisher to set up a display, fly in staff, and create marketing materials. The pandemic lockdowns forced the publishers to acknowledge that ComicCons are expensive hassles with almost no ROI.
Writers Wanted, Hacks Need Not Apply
In truth, the topic of entertainment quality needs several essays, videos, lectures, and PowerPoint presentations to fully spell out, but let’s just say the writing community has lost its way.
The primary purpose of a Hollywood Studio or a Comic Publisher is to entertain as many people as possible. That’s it. There’s no mysterious motive or secret agenda for creators to be successful. Entertaining the masses is Goal #1.
Somewhere along the way, within the last decade, Hollywood and Comics Publishers have lost sight of that goal. Looking at the quality, critical reception, and commercial success of the MCU Phase 4, it’s a pale shadow of the success of Phases 1 thru 3. DC films are in disarray at the moment as James Gunn is tasked with reinventing the failure of the Snyderverse into crowd-pleasing entertainment. And the Big 2 of comics (Marvel and DC Comics) are making a fraction of the monthly sales volume they were making only a decade ago, despite churning out more monthly comics than ever.
Put together, you see studios and publishers churning out high volumes of content that are less and less appealing. Bluntly, money’s tight, so nobody is going to shell out a steady stream of money for mediocre, unentertaining pap.
Yes, there are plenty of arguments to be made about editorial interference and content by committees, but at some point, somebody has to take responsibility for the content each organization releases and say, “No more.” Give people what they already want, and the money will flow.
Hot And Cold Make Rain
The shift in hearts and minds created by the pandemic, combined with the dwindling focus by publishers and studios to entertain, dumps a flash flood of problems on ComicCons. Even if a mass epiphany were to occur among the studios and publishers, it’s unlikely things will ever go back to the way they were.
So where do the ComicCons go from here? Some ComicCOns will die a quiet death. Others will shift into oversized swap meets for collectors and speculators. A few will keep the classic format but in a much smaller venue.
For a special few, something new will emerge to usher in the next wave of conventions. Much like the Phoenix, death can lead to a rebirth.
Could cosplayers become the new celebrity draw?
What about conventions focused on DIY publishing seminars and comic creation education?
Where does the growing popularity of Anime and Manga fit into the Western ComicCon scene?
I don’t know for sure, but if history teaches anything, it’s that the field is ripe for new seeds to grow.
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