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Everything about this interview makes me want to read Monstress even more. And considering that I still miss the X-23 ongoing now, I’m confident the team can deliver on all this promise.

“I said earlier I’ve been wanting to write an epic fantasy since I was sixteen and reading David Eddings ”

Ha! That’s pretty much me.

[…] of the upcoming Monster and one of my favorite people in comics, Marjorie Liu gave a must-read interview talking about the personal inspirations behind her upcoming work, being an Asian American creator […]

[…] reading this interview between Zachary Clemente of Comics Beat and Liu, I was left with a sense of how deliberate some of […]

Hey Torsten – I updated the Forbes piece after extensive discussion with ReedPop and others on how attendance is counted. Check the current version of the article and the update notes at the end. I’d also encourage you to run some scenarios of actual attendees based on greater or fewer numbers of multi-day badges sold.

Why do we WANT to fit more people?

@Rob Thanks!
So, 167,000 tickets sold. That means approximately 167,000 unique visitors, although some people bought a string of single day tickets when the 4-day tickets sold out.
As for the distribution, I’d have to take a random survey on the show floor, seeing how many were one-day, how many were other combinations.

Thursday’s crush was, I believe, due to Reed finally expanding it to a full day, and upping their numbers to be more in line with Friday. (The show floor is open more hours, so more attendees can be added to the capacity limits.)

@Zach Why? Vindication. Acceptance. Fresh creative voices. More people to sell to. More people to share our passions with.

Couldn’t all that be done at a separate con? Why jam more people into something already jammed up?

Torsten, no it doesn’t mean 167,000 unique visitors. If there were a relatively small number of multi-day passes for sale, then it’s likely that a pretty good number of attendees were there on multiple one-day tickets. If 20,000 people from Thursday also showed up Friday and Saturday on 1-day tickets, that cuts the uniques down to 137,000 right there. And so on. Not saying there weren’t a lot of people at the show, but the numbers themselves don’t tell us much in this format. SDCC puts names on badges, so someone there Thursday and Sunday counts as 1 person, period. They also sell a lot of multi-day badges, so their base of repeats could be as high as 45,0000 people who show up all 4 days. When they say 130-135K, that means something different. Some other shows count turns of the turnstile, which means even people on multi-day badges are counted as uniques – which is how a couple of Cons get their 100K-plus numbers. FWIW, there’s an interesting argument to be had as to whether 1-day or multi-day attendees are more valuable to exhibitors. If they are, then Reed’s attendance model may be best for maximizing spend-per-attendee – a pretty important metric if you’ve maxed out your space for growth.

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Rob,
You are correct. The maximum limit of unique visitors would be 167,000, The actual would be much lower. Turnstile would likely be 2x or 3x.

As for the ratio of single day vs multi-day, we’ll probably never know.
It’s a delicate balancing act…
Multi-day tickets will sell out no matter what the availability, and attendees will complain, especially if there are web glitches. Add more single day tickets, and more people will be able to purchase tickets, either for one day, or for a string of single days.

Perhaps we’ll see a lottery system implemented, using the Japanese model.
That allows for less stress on everyone. Reed previews entries for multiplicity and fraud, runs the lottery when server time is cheap, sends out emails, and experiences a much lower Internet load as people finalize their registration over a week.
(And then offers future sales via Special Edition and Midtown Comics.)

Speaking with friends in Artist Alley on Friday about the Thursday crowds, they appreciated the Thursday shoppers. Those attendees are less likely to postpone a purchase for another day (and possibly not return).

The big booths… they’ll be mobbed continuously, so it’s not as big a concern for them, unless they’re seeking activations, in which case, they want as many unique visitors as possible. They’ll also be “must see” destinations for the single-day attendee, so smaller booths might suffer. I walked the entire show floor over three days, and most aisles and booths were busy. Would the periphery be less crowded with single-days? Or would people avoid the highly congested areas, and seek out something else?
Since Reed tries to offer a good mix of exhibitors, I think most attendees would enjoy the show even if they can’t get to Marvel or Bandai… the bazaar offers a lot of cool stuff.

Each exhibitor has different criteria for success. Profit. Stress. Investment.
I think Artist Alley would appreciate more single-day attendees, even though that side of the show was popular as well. (Reed had to create a new traffic pattern to handle the bottleneck.)

[…] NYCC '15: Wes Craig on “Deadly Class” – The Process and Perils of a Career … It's all traditional except for the occasional Photoshop touch-ups and I use Sketch Up a little bit because I hate drawing cars. I hate to admit that, but sometimes I cheat with the Sketch Up and the cars. And Saya's tattoos, too. After a certain … Read more on Comics Beat […]

I love Deadly Class! Hearing it ends in the mid-30s is a bit of a shame…but at least that means I’ll get about another 2-3 years of stories!

Wes Craig is a beast. One of the best artists working in comics today. World class work.

So u don’t like something everyone has to change boo hoo cry me a river . maybe if you actually described the haresment we could have some symp but I suspect u know that if you did wed see it was an overreaction

When you need to add the caveats: “…I won’t share the specifics of her story, because I want to keep the focus on the most important parts of the experience… Although I don’t believe in ranking severity of harassment…”

We used to be at a place where identities were changed to protect the victims. You want to take us to, now the events won’t be discussed so you’ll just take my word for it.

So you don’t want to discuss the facts, but spin a narrative. That’s fine. But another spun narrative could be that an experienced professional security guard may have properly assessed that there was no actionable danger.

Without knowing more, this gets filed under “O for Overreaction.”

Silly But True

*Looks up to above comments, ignites slow handclap*
Q.E.D.

regardless of the above incident, which may or may not have happened in the way described and should be investigated fairly, you all know that this shit goes on. maybe the tact to take with men is to ask them if they have no problem with their moms, wives, girlfriends, daughters,sisters, aunts, nieces, and cousins getting the same street harassment that many other women get and ask if their female relatives are overreacting when they get upset over such treatment. my guess would be that a lot of men adhere to the double standard of “treat my female relatives with the utmost respect, but any woman that is not my relative is fair game,who cares what happens to them”. problem with that is men will not give a shit about your female relatives anymore than you give a shit about theirs and the females in your life also become fair game. maybe if more men (’cause it ain’t all men , but there a good amount of assholes out there) treated women the way they would want their moms, wives, etc., to be treated, this issue would become a thing of the past, but that’s probably just wishful thinking on my part.

Moral blackmail.

Maybe they should consider Stub Hub or other such service as an official reseller of their tickets. Allows them to have a lower cost solution and still allow fans to get the tickets legally. The two MI Big Ten college sports teams use it as the official second hand seller of their tickets.

>>>There was criticism over the “Blue Entrance” for VIPs, press, pros. The times allowed for entrance in the morning were not properly maintained. Those attendees could have used the normal “Green Entrance”, and RP will work to better communicate that in the future.

There was a VIP entrance?

1. The app really does suck. I punched in a bunch of stuff on my NYCC account on my desktop and it wouldn’t sync with the app. Waste of time.

2. They really do need to fix registration. Malicious activity or not, they clearly underestimated how many people would try to register. Not everyone can get in, I think people understand that. But there’s no need to make it a cruel and torturous process , like making people think they had a pass, only for an error message or a timeout to cause you to lose it (I lost a VIP pass that way). Doing all the passes at once just caused chaos.

3. They need to get rid of those booths in the hallway to Artist Alley. Yes, making people go outside on Saturday and Sunday eased the problem, but it’s dependent on good weather. Good luck telling someone who spent thousands are artwork they have to walk outside in the rain to get back to the main hall. Yes, you lose money by getting rid of those booths. You also lose money if the fire marshal shuts you down, which nearly happened on Friday.

4. I thought the main hall panels were well handled. You can’t sit in there all day and catch everything, but you can catch one or two things you love. So that’s cool.

5. This was my third NYCC. The crowds were unreal. I’m not sure what they can do about it, short of expanding the Center. People were shell-shocked on Thursday by the size of the crowds. I had someone asking to buy my pass as I was leaving on Sunday at 3 pm. The floor closed at 5.

6. I heard the #7 train referred as the Nerd Train. It amused me.

7. The concession stand were busy and Starbuck was ridiculous, but you could at least eat there, unlike 2012 (last time I went), when it was Starbucks and some sandwich place on site that was it.

8. I love NYCC, but I can’t help but wonder if it was my last one. Just the size of the crowds…it’s exhausting and overwhelming. Plus, the registration system this year was just cruel. I only do a con every 3 years or so because of where I live. Maybe I’ll pick one a little more sensible like Baltimore next time. We’ll see…

As an exhibitor, I think Reed deserves excessive praise for their panel room support. I’ve never had a two-person AV team AND a two-person line management team at any other show. It might have been just a perk with the larger rooms, I don’t know, but those guys took care of us so well I was expecting them to have dinner ready for me when I got home.

The main floor traffic was a total disaster. We just need to set aside a couple designated cosplay/photo taking areas and mark off a separate browsing lane in front of the booths so traffic can still move past while people stop to browse/chat/shop. You will lose a few thousand bucks in booth rental if you designate picture taking spots but it will completely change the experience on the floor.

“Blue = Pro, VIP, Press, Speaker, Guest, Medical and Exhibitor Show Floor Entrance and Queuing Area”
https://www.newyorkcomiccon.com/RNA/RNA_NewYorkComicCon_V2/2015/docs/nycc-entrance-map.pdf

I was on the show floor Thursday (the big booths), Saturday, and Sunday.
The only places where traffic was bad were at the smaller vendor booths towards the back and sides, where the aisles were narrower. Four people could move down those aisles, which means only the middle handled traffic, as shoppers stopped in the other two aisles.

Photo spots won’t help much. Say you’re walking one way, and the cosplayer is walking the other direction. Are both of you going to navigate a crowded show floor to get to a designated space to take a photo which takes… a few minutes to stage? Better to remind people to take photos at the intersections. But then, the intersections will attract hordes of photographers…

People do need to be reminded to only stop at the intersections, and then preferably by the supporting tree columns. Me, I’m not above going into “New Yorker” mode with people who block aisles, or stop moving in the middle of an aisle with heavy traffic.

Torsten just because you can find something with google doesn’t mean anyone knows about it.

“Torsten just because you can find something with google doesn’t mean anyone knows about it.”

NYCC has always been great at telling people where that entry is. There’s always a slip in my ProPass letting me know where to go. But it’s really all for naught once the show is opened and the main queue line has been let on the floor.

“Could attendees reserve [panels in advance, online? Not really, as the Con and content providers want a full house. RP did allow people into panels as other people left. [This was my experience at the DC Super Hero Girls panel.]”

I don’t get this answer. They could still have advanced reservation for panels, while also having a standby line in case the panels still have extra room. In fact, to be more fair they could always have a set percent of seats specifically for standby. I’ve suggested before that they could use the RFID badge technology so that attendees can reserve for panels online, and then staff members could scan their badges as they entered the panel room. Disney World has a similar system for their attractions called FastPass+, where park goers can reserve up to 3 FastPasses in advanced per day. There’s also a tier system, so that you’re limited to only reserving one E-ticket attraction, so that not all E-ticket attraction FastPasses get booked as fast. I guess the main complication is that all other panel rooms aside from Main Events do no clear inbetween panels, so they don’t know how many seats they could allow people to reserve in advanced. I think they could at least test out an RFID badge system for Main Events as a replacement for the wristband system, as that would cut down time waiting for wristbands and also clear up space that is currently used for wristband distribution. One big drawback with the first come/first serve wristband distribution each morning is that it prevents attendees from waiting for early panels and autograph sessions elsewhere. If an RFID badge system ended up working well for Main Events, then they could expand that to other panels.

The Blue Entrance and the holding area near the 3E and 3C entrances has been in use since (at least) 2012, when I included it in my survival guide:
http://www.comicsbeat.com/nycc12-survival-guide/

I also included it this year:
http://www.comicsbeat.com/nycc15-getting-around/

Yes… I know… just because I post stuff online doesn’t mean anyone reads it…

Matt:
How do you redeem your reservation? Do you scan your badge upon entering Javits, and get a wristband?
Do they scan your badge as you enter the event space? How much longer does that take when 3000 attendees are eager to get good seats?

BookExpo (in the past at least, dunno about currently) would have ticketed events for the more popular authors. Some you paid for in advance (like author luncheons), others were distributed freely each morning, starting a few hours before the show floor opened.

ReedPOP could easily do that at the ticket booth set up in near the Blue Entrance., which is outside the “clean zone” of NYCC, and generally underutilised. The badge is scanned, and then you are limited on how many tickets you can pick up for yourself and friends. Or you get wristbanded, which makes crowd control a lot easier later.

I’d actually like to see an author luncheon, or breakfast, like at BookExpo. Stage it in a hotel ballroom, you eat while the guest talks, you get a gift bag upon exiting, Everybody’s happy.

I feel that the Frank Miller-inspired Elektra/Bullseye/Kingpin stuff has been done to death, in comics and in a 2003 movie. I’d be more excited if they went back to the lighthearted Stan Lee/Gene Colan comics of the late ’60s. Bring back Mike Murdock, Stilt-Man and Leap-Frog, and I’d be happy.

Sounds like Morning Glories with townsfolk and Avengers. I’m in.

So basically it is a town of Supervillans who SHIELD brainwashes ala the TAHITI program?

“he story crosses over in All-New, All-Different Avengers, Sam Wilson Captain America, Uncanny Avengers, New Avengers, Ultimates, Agents of S.H.I.E.L.D. and more”

I’ll be interested in the “and more”. This news was enough to put me off even bothering with the titles involved.

Probably helps that much of the talent left at the superhero companies is pretty bush league these days.

“the story crosses over in All-New, All-Different Avengers, Sam Wilson Captain America, Uncanny Avengers, New Avengers, Ultimates, Agents of S.H.I.E.L.D. and more.”

Because of course it does. Of course it does.

Great suit, but that’s a slightly over 200% growth in interest.

Correct (and corrected). Thanks, William.
Fun fact: I almost didn’t graduate high school because of math courses.

[…] Meet Tom, the Man Inside the Hulkbuster Iron Man Cosplay that Tore Up NYCC '15 There were plenty of fantastic cosplays at this year's New York Comic Con, but the one that stood above them all was Extreme Costumes' Hulkbuster Iron Man. The group, which is led by Tom DePetrillo and staffed by his four apprentices, created a costume … Read more on Comics Beat […]

[…] Mœbius catalog Dennis Eichhorn, RIP Backmatter and the Golden Age of Comic Book Letters Columns FLASH and ARROW sizzle reels The first trailer for Cinemax’s OUTCAST debuts Ultron California by Red Letter Media New DC […]

I don’t know what their plans actually are, but that link *appears* to be only about prose works, and not comics.

-B

That does appear to be where they are now, but I wouldn’t count out graphic novels in the future. Her Universe is savvy in its openness to opportunity.

More generally, Her Universe, like NYCC itself, falls within the broader ambit of geek culture, though there are multiple links to the comic world — it has the Marvel license, an animation connection (Studio Ghibli) as well as multimedia brands that have appeared or currently appear in comics, such as Star Wars.

Today’s press release — note that the first book will have illustrations.

——–

From Fashion to Publishing – Her Universe Expands its Reach

Actress & Entrepreneur Ashley Eckstein and Her Partner, The Araca Group, Launch Her Universe Press

New Her Universe Publishing Imprint will Provide Fans with Books Written by

New and Established Female Authors

NEW YORK, NY – October 13th, 2015 – Groundbreaking fangirl fashion company, Her Universe, and its founder, Ashley Eckstein, announced Saturday in a special panel at New York Comic Con that the company is expanding its reach by launching a new publishing program under an imprint called Her Universe Press. The imprint will build its readership on the company’s wide audience of fans and provide new and aspiring female writers the chance to see their original work professionally published. Focusing on the sci-fi and fantasy genres, the imprint will publish fiction and non-fiction for all age ranges with an emphasis on the tween, young adult market. Her Universe Press will be seeking to publish female authors who write empowering stories with positive messages and a focus on strong female protagonists. Each book will be marketed and promoted by Her Universe and by Ashley Eckstein personally through social media, events and promotions. Titles by Her Universe Press will be available through major booksellers, such as Barnes and Noble and Amazon.com, as well as on eBooks through Audible and iTunes. The first two books will be released spring/summer 2016.

For its publishing program, Her Universe is teaming up with Permuted Press, a company owned and operated by a team of dedicated publishers with over twenty years of experience including overseeing nearly 25 New York Times bestsellers. Established in 2004, Permuted Press has published over 400 works as an industry-leading independent publisher of sci-fi, fantasy, post-apocalyptic and horror fiction. Permuted Press continues to enhance its reputation by publishing an even wider range of high-profile books via various partnerships with leading editors and content curators.

“I’m so excited to finally announce Her Universe Press,” said Her Universe Founder, actress and voice of Star Wars: The Clone Wars and Star Wars Rebels’ Ahsoka Tano, Ashley Eckstein. “Her Universe continues to expand because of our wonderful community and passionate fans. It is truly a group effort by fans wanting their voices to be heard. I felt that Her Universe Press was necessary because so many fans were presenting me with their manuscripts with no professional outlet or opportunity to publish their work. I’m thrilled to be able to provide a platform for these stories to be told via books, entertainment, merchandise and beyond!”

“We’re truly excited to be extending the Her Universe brand,” said Michael Rego, Chief Executive officer of The Araca Group. “From the beginning, we wanted to create a community for fangirls that went beyond just fashion and this is yet another step in that direction with our new publishing program.”

“This is a tremendous opportunity for Permuted Press to come together with this high profile brand,” said Anthony Ziccardi, Publisher at Permuted Press. “Ashley and Her Universe are well known for catering to a very specific audience that we believe is underserved in the area of female-focused fiction. I’m convinced that Her Universe Press will receive a strong reception from this group of enthusiastic readers.”

The first title from Her Universe Press, announced at New York Comic Con, will be book one in a series created by new author Anne Convery and Eckstein, written by Convery with illustrations by Dave Filoni (Supervising Director on Star Wars: The Clone Wars and Executive Producer of Star Wars Rebels). The Confidence Chronicles, set in an alternate universe gold rush California, is a steampunk fantasy featuring twelve-year-old Adelaide Lenihan, whose grit, energy and obsession with all things mechanical lead her along with her automatic owl, Eureka, to uncover exciting and sometimes chilling secrets in her own home town. Mining, mystery and mayhem in this first installment set the stage for Addy’s fantastic adventures from west of the Sierra Nevada to east of the Mississippi and beyond.

The second book is titled Weirdest by author Heather Nuhfer – a writer specializing in all-ages material who has worked on such well-known comic book titles as My Little Pony, Fraggle Rock, The Simpsons, Vampire Diaries and Wonder Woman. Weirdest is the story of thirteen-year-old girl who, in her desperation to be the coolest in her school, makes a wish and, as a result, has her strongest emotions physically manifest themselves in weird ways. Her powers run haywire as she tries to solve the mystery.

Writers, new and established, wishing to submit their ideas and synopses for consideration by Her Universe Press should go to: http://www.heruniversepress.com

[…] NYCC ’15: “Using Tumblr to Sell Your Ideas” Liveblog – Share on Facebook (Opens in new window) Click to share on Twitter (Opens in new window) Click to share on Tumblr (Opens in new window) Click to share on Google+ (Opens in new window) Click to email this to a … […]

[…] X-Men? Alpha and Omega Men: A Look at Trade Release Strategies in Today’s Comic Industry Cosplay Fabrics Announces New Line at Jo-Ann’s Alison Bechdel Profiled Gabriel Hardman convention sketches Roger Bollen, RIP Graphic novels […]

Well, I might be in the minority but if this is correct, I am glad to see Mr. Romita step away from the Superman title. His art does not work for me in the slightest. Maybe on a different character it would, but no way. This is, as far as I am concerned, good news.

I am still clinging to hope that some way will be found to have everyone forget that Clark = Superman, as well. For all the traffic and $$$ generated with Batman, I just cannot see why DC cannot make more of the first real Superhero (and best, IMHO).

Makes sense, JRjr’s art is almost as fugly as Miller’s.

’embracing the fullest possible range of potential customers simply makes good business sense.’

except there not, as a long time comic reader I’ve given up buying any from the big two. None of the new books are aimed at me and all the white male characters I liked have been replaced by so called minorities (eg captain america, hulk, iceman, Thor, antman, nick fury, wolverine, starlord and probably spiderman to name just a few).

whereas it’s not ok for minorities to have no representation it seems ok for white males to have none.

Every book now has to have gay characters , I’ve no problem with having books with gay characters for those who want but not in every fucking book, what about those who don’t. Sorry but I’m just not interested in seeing gay love scenes.

I would buy books with minorities if they could get past blaming every thing bad on white males, I don’t pay $4 to be told I’m an asshole because I’m male and white.

And I bet for daring I’d like to see the odd white male superhero I’m sure the posters will write me of some homophobic, kkk arsehole. Well F*** you comics. I’ll spend the $400 a month I used to spend on comics on something other activity that doesn’t take me for granted and actually welcomes me.

Good riddance.

Dave, I don’t see this as an either-or proposition — statistically there are still a fair number of straight white male superheroes, even a majority. Meanwhile, as attendance at comic-cons demonstrates, the audience for comics and other nerd-culture material has visibly diversified. The time when a dirty-blonde white male embodied America is long past.

Sorry, the above comment was me, Jeff Trexler, addressing Dave Allen.