The first time I took one of the online Myers-Briggs inventories and it spit out that I was an introvert, one of my friends questioned the results. Specifically, he said, "Are you sure you weren't holding the test upside-down?"
I wasn't, though. Crowds challenge me, as do bustling parties, as do chaotically noisy environments, as do spaces I can't get out of quickly. So I'd pretty much made up my mind that I'd never set foot at San Diego Comic-Con, which scores pretty high on the Writhing Humanity scale. Let me put it this way: Have you ever been right outside a stadium when a truly huge sporting event or a concert let out? Where you're just getting shoved along, you can't really go anywhere except as part of a river of humans, and you suddenly realize that if you were viewed from above as part of this gathering, you'd suddenly realize the insignificance of your existence?
Much of the San Diego Convention Center, inside and out, is like that nonstop for about four days.
But this year, we had an opportunity to take Pop Culture Happy Hour to Comic-Con for a panel discussion (thanks to Stephen Thompson's mother, Maggie, a comics luminary) (Maggie does the "In Memoriam" segment at the Eisner Awards, if you want to evaluate that luminariosity for yourself). It was right at the end of my two-plus weeks at press tour, so I was on the west coast anyway. Why not? (We'll be posting the audio of the panel as our weekly show this Friday.)
I would love to tell you here that it was not as bad as I feared, that the esprit de corps overwhelmed any anxieties, swept away any discomfort, and made me forget about my sense that if there were a fire, we'd be screwed. I would love to have come home feeling that I'd battled my own bustle-avoidant tendencies as successfully as my buddy Glen Weldon did last year when he wrote a series of Comic-Con diaries that I encourage you to read.
But, perhaps exhausted from press tour, perhaps simply unsuited to it, I freely admit that I was a toe-dipper. Not inclined to endure long lines either for high-profile panels or for the chance to buy stuff, I spent about 15 minutes on the show floor, clinging to the perimeter, before taking my bulging eyeballs right out of there. I did not dive. I waded.
And the first thing I learned — confirmed for myself, really — is that Comic-Con is much, much less weird than a lot of people who don't attend it make it out to be. I encountered so many contemptuous tweets about it in absentia, so many assumptions that this was, at best, some kind of Weirdo Dude Ranch where, for once, freaks have the opportunity to be among their own. And I'm not saying there's none of that, particularly if among freaks and weirdos you count those who would wryly attach that label to themselves. It is, quite clearly, a haven.
But I dare you to watch the documentary America's Parking Lot and conclude that the extreme football fan tailgaters profiled therein — who tend to be tagged as extreme in their enthusiasms but not socially derided — are less weird than the people of Comic-Con.
Let me get this out of the way first: People take a lot of pictures of the costumes, because they're cool. But most of the folks I saw there taking in panels and shopping on the show floor were not in costume at all. It's not the Star Wars cantina. It's more like you're walking through a crowd of people and most of them look like the people you'd see at the mall, and then suddenly one of them is Wonder Woman. As our own Petra Mayer talked about in her really excellent radio piece this weekend, cosplay is an extremely creative DIY hobby, not much different from anything else you might make yourself just to show people that you made it, just to make it, just to do something interesting. And again, why is it any weirder from putting on face paint at a football game while wearing a player's jersey?
I did go to a couple of panels while I was there, and here's how I picked them: I went into the first room that was open. Why? Because most of the things I was extremely familiar with fell into the category of "too much waiting in line," so I was stuck with the unfamiliar. So why not gamble?
I first wound up in a panel of women who do fan art and fan fiction surrounding the current TV incarnation of Teen Wolf. And you know what they were like? They were a lot like every other panel of geeky young writers I've ever seen. They spoke intelligently and thoughtfully about writing and creativity and what they like and don't like to make art about. They talked about the responsibility they feel when they write about mental illness and thoughtfully chewed over the idea of creating transgender characters to add to what's sort of a preexisting universe. They rolled their eyes at a video that was circulating in which Teen Wolf actors were placed on the spot and asked to read fan fiction aloud for yuks, shrugging it off as a cheap effort to make actors uncomfortable on camera and get them to dump on their own fans.
What filed into the room next was a jam-packed panel called "IS IT STEAMPUNK?" Now this, costume-wise, is the old-timey, goggle-wearing droid you are looking for. (Yes, I am mixing my everything. Shhhhh.) Roughly defined, steampunk is Victorian-era-ish science fiction (think goggles and gears, as far as the aesthetic), and I had the biggest blown mind of my entire Comic-Con experience when I learned that at least to these steampunk people, the greatest steampunk movie is understood to be ... wait for it ...
Chitty Chitty Bang Bang.
I was not prepared for this!
The "Is It Steampunk?" panel included Andrew Fogel of The League Of S.T.E.A.M.; Claire Hummel, who worked on Bioshock Infinite; Paul Guinan and Anina Bennett, who write the adventures of the "steampunk robot" Boilerplate; and Thomas Willeford, who makes steampunk stuff and arrived dressed as Steampunk Iron Man. They basically tried to define what exactly steampunk is — and distinguished it from other faux genres and subgenres including "clockpunk" and "dreampunk" — and then voted on various examples from pop culture as to whether they are steampunk.
The verdict: Back To The Future III is probably steampunk. As is the aforementioned Bioshock Infinite. But not Cowboys And Aliens. Thus began the most interesting discussion of Cowboys And Aliens I have ever heard.
They pretty much acknowledged, you see, that the 2011 film fit the definitions they'd given of steampunk up to that point: It is in fact science fiction of the right era. It has gadgets. It is, to use Willeford's definition, "an adventure in a speculative past." (He later acknowledged that despite that sweeping conceptual definition, without gadgets, he doesn't consider it steampunk.) But they still felt like it wasn't steampunk. Why? Weeeeell, there are aliens, so it's alien technology, not man-made technology, and it doesn't really have the aesthetic, and, hmm, well, you know what it came down to?
They don't think it's very good, so they have trouble calling it steampunk.
It was a very interesting little distinction. In a way, this gatekeeping exercise seemed awfully silly to me at first: why does it matter whether a particular movie fits or doesn't fit the definition? What is the value in fussing over definitions? But this Cowboys And Aliens business was really enlightening. The lines between defining and evaluating are very, very blurry. When are you really classifying according to a neutral and factual definition, and when are you saying ... "I don't like it"?
That's not a real superhero movie. That's not a real romantic comedy. That's not hip-hop. That's not literary fiction. That's not fusion. He's not a movie star. She's not a critic.
This isn't pop culture. This isn't a story.
The point of a steampunk panel — the point of Comic-Con in general — is not only to hang around with other people who like the same things you like. It's also an opportunity to experience uncut enthusiasm itself. How does it work? How does it operate between groups of people? How does it change the way we approach culture?
Comic-Con isn't nerd camp, it doesn't smell, it doesn't feel sad, nobody seems desperate — it's just not that weird. If anything, you know what's weird? What's weird is me vibrating from anxiety because I can't see the door. The thing itself is just ... an event. It's just a concentrated blast of engagement with things, with all of its attractive and unattractive aspects, with all of its commercialized and obscure and handmade and mass-marketed tchotchkes. You can look at the guy standing in line for a hotel shuttle with a numbered Comic-Con exclusive Shadow Stormtrooper figure, and you can think, "Nerd." Or you can think, "That dude loves that movie/franchise/universe so much that he stood in line with several hundred other people for the privilege of buying that, and that is fascinating."
So yes, it's still true that it freaks me out. But it's not the costumes, and it's not the attitudes, and it's certainly not the people, who were almost unreasonably lovely (as they must be to survive packed in like sardines, please pause here while I dab my brow and take a sedative). It's just a lot. It's a lot. Perhaps more than any other pop culture thing that has ever existed, Comic-Con is ... a lot.
The video is harrowing. It shows two women narrowly escaping death after a train is unable to come to a stop before running them over.
The Indiana Rail Road, which released the video to show the dangers of tresspassing on rail roads, describes the scene like this:
"The person who first saw the trespassers was the engineer in the lead locomotive of a northbound, 14,000-ton Indiana Rail Road (INRD) freight train traveling at 30 mph. Imagine, if you will, rounding a curve just before a 500-foot-long, 80-foot-high bridge, only to find two subjects sitting in your train's path.
"The engineer followed all appropriate protocols, immediately applying an emergency brake application and repeatedly sounded the horn. However, as the subjects ran toward the opposite end of the viaduct, the engineer was helpless to do more. The ever-slowing train was still catching up to the fleeing trespassers.
"Nearly every locomotive in North America - including INRD's - is equipped with video cameras for safety and security purposes. Video shows that with more than 100 feet left to the end of the bridge, and the train still catching them, one woman slammed her body onto the ties between the rails. The other veered to the left and nearly fell off the bridge, and then with the locomotive approximately 30 feet away, she too 'hit the deck' between the rails.
"By the time the train came to a stop, the locomotives were off the bridge; they completely passed the point where the subjects stopped running. The engineer assumed he had just killed two people; Monroe County Sheriff's Department was quickly alerted. Miraculously, however, the two subjects survived, and escaped to a nearby vehicle and fled the scene."
Here is the video:
The daily lowdown on books, publishing, and the occasional author behaving badly.
- The winners of the 2014 PEN Literary Awards - more than a dozen prizes honoring writers of various genres — were announced on Wednesday morning, and include Frank Bidart ("a poet of roiling intensity, a poet singularly unafraid of excess") and James Wolcott (a critic of "panoramic and encyclopedic variety"). Other winners include Ron Childress' And West Is West, which won the $25,000 PEN/Bellwether Prize for Socially Engaged Fiction, and Linda Leavell's Holding On Upside Down: The Life and Work of Marianne Moore, which won the PEN/Jacqueline Bograd Weld Award for Biography. The winner of the biggest prize, the $25,000 PEN/Robert W. Bingham Prize for Debut Fiction, will be announced at the awards ceremony in September; the finalists are Anthony Marra's A Constellation of Vital Phenomena, Ian Stansel's Everybody's Irish, Shawn Vestal's Godforsaken Idaho, Saïd Sayrafiezadeh's Brief Encounters With the Enemy and Hanya Yanagihara's The People in the Trees.
- Former Minnesota Gov. Jesse Ventura was awarded almost $2 million in a defamation suit against the estate of Navy SEAL Chris Kyle, who wrote the 2012 book American Sniper and who died last year. NPR's Alan Greenblatt reports: "Kyle wrote that in 2006 he had decked Ventura in a bar in California, after Ventura said that he hated America and that Navy SEALs 'deserve to lose a few.' Ventura denied having said any such thing and said the account had hurt his career, as well as his standing among the community of SEALs. Kyle died last year, but Ventura sued his estate."
- Amazon said Tuesday that one of its key goals in its ongoing dispute with publisher Hachette Book Group is lower e-book prices. For months, Amazon has delayed shipments and removed pre-order buttons for some Hachette titles as a negotiating tactic. In a post, the online retailer wrote that it hopes to persuade the publisher to price most e-books to $9.99 (many are currently priced at $12.99 or $14.99) and that it would be willing to continue receiving 30 percent of digital book revenue. Amazon wrote: "With an e-book, there's no printing, no over-printing, no need to forecast, no returns, no lost sales due to out-of-stock, no warehousing costs, no transportation costs, and there is no secondary market — e-books cannot be resold as used books." Amazon said that according to its research, cheaper e-books would sell more copies and ultimately raise revenue. The company added that it also hopes Hachette will share a bigger portion of digital book revenue with authors, "but ultimately that is not our call." Hachette did not respond to request for comment.
- Sen. Rand Paul will come out with a book in 2015, he told Louisville's Courier-Journal newspaper. The Kentucky Republican said that much of the book "is about policy and about my approach to a variety of issues, and maybe the uniqueness of that approach." He also said that the timing — right before the presidential election — was "just coincidence, probably just coincidence, yeah."
- Tiphanie Yanique talks about her novel Land of Love and Drowning, Caribbean literature and the legacy of Jean Rhys in an interview with the Los Angeles Review of Books: "There's a long, unfortunate tradition in literature set in the Caribbean, written by Americans or Europeans, of crazy women. Either women from the Caribbean are crazy, or women go to the Caribbean and end up crazy."
Good morning, here are our early stories:
And here are more early headlines:
Obama In Missouri To Speak On U.S. Economy. (Kansas City Star)
U.S., E.U. Add New Economic Sanctions On Russia. (BBC)
Small Cars Don't Fare As Well In Crash Tests. (USA Today)
CDC Says Weather Kills 2,000 A Year In U.S., Mostly From Cold. (AP)
Hall Of Famer Vin Scully To Cover Dodgers Games For 66th Year. (MLB)
The Commerce Department had some good news about the U.S. economy today: Rebounding from a quarter of negative growth, Commerce said the country's gross domestic product expanded at a 4 percent annual rate during the second quarter.
"The increase in real GDP in the second quarter primarily reflected positive contributions from personal consumption expenditures (PCE), private inventory investment, exports, nonresidential fixed investment, state and local government spending, and residential fixed investment," Commerce said in a statement.
As The Wall Street Journal sees it, the positive news is fueling hopes "for sustained growth in the second half of 2014." The paper adds:
"The solid gains come on the heels of a first quarter when the economy shrank at a 2.1% pace. While still the worst quarter of the current recovery, the figure reflects an upward revision from a previously estimated 2.9% contraction. The economy only grew at about a 1% pace for the first half of 2014.
"Annual revisions, also released Wednesday, showed the economy also expanded at a 4% pace in the second half of 2013, the best six-month stretch in 10 years.
"But figures over the past five years, including new revisions back to 2011, continue to tell a familiar tale. Unable to string together several quarters of steady growth, the recovery that began in 2009 is the weakest since World War II."
Bloomberg reports that the newly released data drove equity futures higher and treasuries lower.
Later today, the Federal Reserve will release a statement with their appraisal of the U.S. economy.