Power of Fishnets 12: Boston Comic Con 2016

Ryan Daly recounts his experience at Boston Comic Con 2016. Original sketches, autographed comics, creator interviews, and panel discussions; plus meeting with friends and nearly suffering from heatstroke: this episode has it all!

Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com.

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Music: “(Love Is Like A) Heat Wave” by Martha Reeves & The Vandellas.

Thanks for listening! Evah a ecin yad!

7 responses to “Power of Fishnets 12: Boston Comic Con 2016

  1. My first ever Comic Con! Good times! I definitely want to be sure that I start getting commissions done at cons in the future, but I opted out this time because I didn’t have go-to characters I wanted sketches of (at least not from any artists I could have afforded.) Still happy with what I came away with, especially given the tight budget I restricted myself to. Pins are awesome for the geek with little money, then there’s the one signed print of Dana Barrett possessed by Zuul on the hood of Ecto 1 drawn by Erica Henderson, a shot glass with the One Ring engraving around the middle of it, and… some custom elf ears, bought with no specific future costume plans whatsoever (I just wanted them.)

    So yeah… I’m basically just using your page to do my own quick swag brag. Hey, it’s a con, what else do you do after?

  2. Sounded like a fun show…despite the somewhat manic path of getting into the show itself.

    I’ve never sprang for too many sketches, and I really don’t know why. I regret not getting sketches off of artists who have since passed on like Sheldon Moldoff, for instance. I do have a suh-weet George Perez Nightwing head sketch from Motor City Con back in 99, though.

    That DiDio story was really nice. DC Rebirth seems like an honest reaction to give fans what they want as best they can, and it sounds like it came from a genuine place. Makes me like it that much more.


  3. Glad you had such a rewarding time after such a terrible start. Stateside cons sound amazing compared to Aussie ones. Mind you, black comics expert Arthur Adams was at the one I went 2 months back.

  4. A fun change of pace episode (mental note: if I ever attend a comic con with Ryan, DO NOT LET HIM DRINK ANYTHING BEFOREHAND).

    Your mentions of trying to get sketches at shows reminds me of my days of doing the same thing, but for Aquaman. After a while it became such a logistical nightmare that I just gave up on the whole endeavor. Still, that Zatanna sketch it sweet!

  5. Great wrap up. Sorry we didn’t get to chat for too long.

    I love commissions and I have a sort of pseudo-science around it. But, like comic collecting, it can be an obsession. Love your sketches, especially the Canary one. Cool.

    I was bummed I didn’t get to the DC panel but Friday is my ‘heavy lifting’ day at cons, lining up commissions. So missed out.

  6. I attended and was a vendor at some cons in the ’90s, and did San Diego in 2000 on a very generous customer’s dime, but I only got back into attending shows because a big one started in Houston in 2010 and caused a couple more to spring up. Aside from that plane ride to Cali, I’ve never been outside a 30 minute driving window to get to a show, and doubt I’d be much inclined. I haven’t even been willing to go to other shows in-state (though it does take longer than three hours to drive to Dallas or Austin or San Antonio anyway.) I’m envious of other folks’ more name artist centered shows (including Comicpalooza’s several years’ long date competing Phoenix Con, and especially Bronze Age artist heavy shows like Heroes Con, this year’s same-date) but I frankly don’t have the time or money to stretch between that many worthy creators. I’ve also noticed an increasing tendency for those same childhood favorites to either price themselves out of my getting a piece or dispense with commissions entirely in favor of signing prints. Sorry bro, hard pass.

    The past couple of years I’ve cut way back on my pre-planning because of burnout and other life/geek concerns taking precedence. Still, I usually get some new reference pages printed to add to my binder each year, and I still spend half of every show with an artist’s portfolio strapped to my sweat saturated back (I’m a delight to meet, I’m sure.)

    Howard Chaykin intimidated the hell out of me because of his reputation for intelligence and biting wit, but he turned out to be at least as lovely as every creator I’ve interviewed, and in fact was especially accommodating and candid. I hurriedly stuck his swanky business card in my wallet, and it stayed there for a year because seeing it peek out of a credit card slot every time I paid for something made me happy.

    I keep wanting to get a sketch from Allen Bellman before he dies or retires, but between his handlers, his not being especially notable, and his unwillingness to do requests (only pre-con sketches of Golden Age characters he’s associated with, from what I can tell) it probably won’t ever happen.

    I’m not terribly concerned about missing out on a Steve Ditko Plastic Man comic in 1989… 1969 maybe, but not ’89. However, it says a lot about Roy Thomas, or at least his relationship with an old Bullpen great.

    I’m less inclined than you guys to give Dan DiDio the benefit of the doubt. The New 52 was a flash in the pan and last year’s “DC You” an outright flop. Rebirth looks like a mea culpa, but it’s systemically the same bunch of a-holes that have been pushing me out of the DCU for sixteen years and really put their backs into it in 2011. No sale. Truly change, or die.

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