Con goers had no problem dropping $50 on an exclusive, but a $3,000 piece of original art was a riskier purchase. The drop was perhaps due to the lack of high roller attendees from the entertainment industry-but general uncertainty about economic conditions also had an effect. Vendors who sold high-ticket items like original art and Golden Age comics reported much slower sales, with one prominent art dealer declaring it was their worst Comic-Con ever. The show wasn’t without a few storm clouds. Maybe it gave us an opportunity to think outside the box: how do we get a little more excitement in our industry?” “This show allowed comic book companies, publishers, and retailers to shine. Retailer Jen King of Space Cadets, in Oak Ridge North, Tex., enjoyed the dedicated focus on comics, too. For the comics industry, it was a change of pace that was, honestly, a little bit welcome.” Rocketship publisher and CEO Tom Akel noted that the lack of media presentations “definitely drove more customers onto the floor to look at comics. Publishers of all sizes benefitted from the traffic redirected by the strike. We know what interests fans the most are exclusives and it worked,” O'Neil said, noting that they had a financially successful show. “We changed our strategy this year, only focusing on exclusives rather than trying to bring a huge retail store because that is extremely expensive. Dark Horse senior v-p of marketing Cara O’Neil was happy to see fans interacting with creators again. DC’s booth had massive lines to buy exclusive collectibles from McFarlane Toys and Cartamundi. Fans who came more for their favorite movies and streaming shows didn’t go away entirely disappointed: studios had already committed to the elaborate displays that keep the backlots and marine front surrounding the convention center humming, and set-ups for Adult Swim, Hulu, and AMC-which took over a whole building for Anne Rice’s Interview with The Vampire-had constant lines.īoth DC and Dark Horse successfully returned to the show floor.
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