Holy Sh*t, I Just Met Boba Fett — Highlights from Daniel Logan: Spotlight Panel on Indonesia Comic Con 2017

Disclaimer: This article is written based on memory and no recorded material, hence all the verbatim you read is a result of paraphrasing. Daniel, if you’re reading this, feel free to contact us and have us change it if you so wish.

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Boba Fett came to Indonesia Comic Con this year. Yes, Daniel Logan, who portrayed Fett’s younger incarnation in Star Wars: Episode II – Attack of the Clones, is one of the guests invited to the convention this year after being called from his shoot in the Philippines (on a movie with Jason David Frank, no less). Earlier today, Daniel Logan shared his stories about his life during and after Star Wars in his panel.

Auditioning for the role of Boba Fett at the age of thirteen—Fett, in the story, is eight—Daniel had to lie in the audition process. “I was with my mother and grandmother,” he said, “but they were like, ‘You can’t come in.’ So I went into the lobby and the audition alone.

“They didn’t have a script for us back then. I had no lines to say, so I pretty much had to sell myself to them.”

They asked him, Daniel said, if he had any special talents. “There was this spear-like thing in New Zealand called a taiaha, used in—this.” He proceeded to demonstrate his version of a New Zealandish haka, drawing laughter from the audience as he added, “Yeah, that’s us New Zealanders. We’re crazy.”

He told the story of how he proceeded to pretend like he knew what it was all about after asking (and knowing, gleefully) that he wouldn’t get “a stick or a broom” in exchange for the taiaha. “It was a fancy hotel. They don’t just hand you those when you ask.”

That was the first lie. Then, they asked him what he would do with a lightsaber. Daniel, who had never seen any Star Wars film when he’d auditioned, did what he’d done before—pretend and imagine and act, like the excited boy he was.

Listening to Daniel tell all these stories (driving a golf cart with Ewan McGregor in full Jedi robes at five in the morning? Why not), it wasn’t hard to imagine how he was as a young boy on the set on Star Wars. He still had a lot of that boyish energy, walking and galloping all over the stage during the course of the panel, which he closed by sitting at the edge of the stage as he answered the question of a young boy.

Witty, lighthearted stories aside, Daniel Logan certainly had a lot of passion in him. He talked about how he’d dropped out of school at the age of 17, as he got busier and busier doing his jobs, but encouraged other children not to do the same. He emphasized the importance of education and doing the things that you love.

“When you get to that age, you know, twenties, thirties, forties… I think working hard from a young age is the best thing to do. If you don’t get to learning and doing what you love from now, it only gets harder.”

Daniel also dished on what it felt like to get directions from George Lucas himself (pretty much the god of Star Wars) and having his green card approved in less than a day after he wrote to Lucas and Ewan McGregor. “You know, it’s crazy. It usually takes six months for it to be approved, and to have it done like that—it was a record. Nobody had ever had that before.”

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It’s clear, from the panel, that Daniel Logan is still as passionate about Star Wars and Boba Fett as he was years ago. If anything, the passion had only grown; when asked if he would return in a rumored Boba Fett film, he said, “I haven’t heard anything about it. But if they call me to do it, I’ll do it in a heartbeat. I’ll do it for free.”

Amen to that, Daniel. Here’s to hoping to see you soon on the big screens as Boba Fett, continuing your legacy.

You can find Daniel Logan on Twitter, @Daniel_Logan, and on Instagram, @instadaniellogan. He posts a lot of Boba-related stuff and much more interesting things in his life, so you wouldn’t wanna miss out. You know, in case that Boba movie is gonna be done for real.

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Through Boundaries — An Interview with David Mack

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David Mack (third from the left) with fellow ICC guests at the opening ceremony.

November 14, 2015 was yet another hot day in Jakarta, but at nine in the morning, Hall B of Jakarta Convention Center was already packed with people there for the first day of Indonesia Comic Con. I was among the masses, there early for the opening ceremony of the event. It was the first time I met David Mack.

Now, if you’re not overly familiar with David Mack, feel free to check out issues #9-11 and #13-15 of Daredevil (1999-2000), or take a look at the covers of the upcoming Netflix show, Jessica Jones’ source material, Alias (2001-2004). Or go Google “Kabuki”—referring to Mack’s (super awesome) creator-owned title, which started with Fear the Reaper in 1994. Mack’s works in Kabuki have won widespread international acclaim since its inception.

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A sample of Mack’s work, from the cover of Alias #18 (2003).

Getting to meet the man in person was a total dream. I never would have thought I’d seen him before he was due to participate in the event’s string of activities, but before the opening, I got a chance to chat a little bit with him and tell him about the things I love most about and in his works. I suppose it’s a never-ending feeling of thrill, getting to meet your idols, and not even a carefully assembled layer of faux professionalism could mask that bubbling, churning excitement spiraling out of control in my chest, like a horde of butterflies threatening to tear through my ribcage and be let free.

Instead, those butterflies went to my stomach and stayed there throughout the two-day event. I had been waiting, severely anxious, for Indonesia Comic Con, and when it did come, I intended to seize the days as best as I can. And I did. Armed with the ecstatic state of mind supplied by my circle of fairly nuts, impossibly creative friends, I went to David Mack’s table numerous times to chat and buy some of his stuff, including a copy of his Dreams trade paperback and a print of Echo and Daredevil.

Let me tell you something about David Mack. Most others would have gone, “Oh, you again,” due to the sheer number of times I’d dropped by his table, but he remained engaged in the stuttery, fangirly conversations I pulled him into the whole time. The things he told me in those conversations really stood out as extremely insightful—as a writer and a fan, I really felt like I was having an epiphany by listening to his stories.

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Post-interview picture!

When the time came to conduct the group interview, I was comfortable enough to actually manage to form my questions and not blabber my way through like the complete mess of fangirl goo that was me on the inside. Without further ado, here is the full transcription of the interview.


You showed a lot of stuff in Kabuki; they’re not restricted to one specific art style. What are your influences in drawing and writing?

With Kabuki, I’m the writer of it, so I start with the story. In fact, originally, I’d just written the story and I had no intention of drawing it. I was trying to look for an artist that I felt was more talented and skilled than myself to draw it.

I started writing Kabuki in 1993, and originally Brian Michael Bendis was going to be the artist for Kabuki back in 1993. I had some early 1993 Brian Michael Bendis’ Kabuki drawings when he was going to do it. Eventually, we started working on some creator-owned projects together and I still thought of the main Kabuki series, that I had this real artist who was going to do it.

And then I was invited to participate in some anthology books. They said, “Can you do an eight-page story or something? Write it and draw it if you want.” So I thought, I’m going to do an eight-page Kabuki story. It’ll give me an opportunity to kind of flesh out the world and the characters, with the idea that the real artist would still do the real book.

When I just started drawing it myself and figuring out the look and feel, I just really started with the story and try to think what’s the right… There’s a small, tightly spaced eight-page scene and I tried to develop the right look for that, and then I did another eight-page story for another anthology, and another eight-page story, and all of a sudden I had four different eight-page stories. And then I thought—I put them in different anthologies—but I thought if I collect all these together… Eight-pages, that’s 32 pages, that’s a whole comic book.

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The cover of Kabuki: Fear the Reaper (1994).

So the very first Kabuki issue—I just thought, I do this one shot, I do the art of these four eight-pages together, each one is a little different, each one is its own scene, but I felt like if I put them in order, it’ll still feel like a comic book. And I did it, and it was successful enough for me to keep doing it. And I thought, maybe that’s the way to do it. I just felt like I had to learn, as an artist, the right fuel to that story.

But I always thought of myself as a writer primarily, and so I think that gave me a liberty to not feel like I had to use a certain art style or art look, and it gave me a liberty to try to express each individual story with a different look, based on what I thought that story called for.

So it really started that way. Even in the context of one story or one issue, I might change—page to page or scene to scene—the feel of the story because of the change of the character arc or the flow in the story.

And that’s just one of the magical, interesting things about comics. I think that if you’re drawing it, you have so many options. There’s no reason for you to draw the same way every time or use the same media each time if things are changing emotionally with the characters.

Do you have any role model that influenced your drawing and storytelling style?

Well, my mother was a first grade teacher. I grew up seeing her—as a child, I would see her create things to teach her students. She would make visual things for them to learn the numbers, or colors, or seasons, things like that. And so I think I was introduced very early on to the idea of art as a communication; art as a way of learning something, and all the visual things that you’re making are cues to make some kind of intellectual connection.

She also had all kinds of art supplies that she would use. So I would use this little water color, first grade water color—that’s what I still use now. And she would have other things that I would use—paint and scraps of paper and scissors. So she was really my primary artistic influence from a young age.

And then when I was very young—when I was about nine years old, I stumbled upon a Daredevil issue at a friend’s house, which was by Frank Miller and Klaus Janson. And that was my first introduction to Daredevil and Marvel comics. And so Frank Miller and Klaus Janson became an artistic influence on me, because a few years later I found some more of their books. I could see, when I was reading that, there was an intelligence behind the storytelling. And that the shadows, the angles, the close-ups, the weather, all these things are being used to underscore the storytelling of the book, and I became very fascinated with it. I found an interview with Frank Miller and Klaus Janson discussing their approach to storytelling, and they also cited Will Eisner as an influence on them.

This is before there was Internet for people. So, I found the publisher for a Will Eisner book called Comics and Sequential Art and I bought it through the mail from the publisher of that book. I tried to learn from Will Eisner’s book as well. Any comic that I would find—Bill Sienkiewicz was an early influence with comics; Kent Williams, another artist—any comic that I would find, I would try to learn from it. But I would also try to learn from everything else; films and TV and everything else I could in terms of storytelling.

What was it like when you worked with Marvel?

Well, I’d done Kabuki for a while, and then I’d shown the first volume—I did the first volume of Kabuki for my senior thesis in literature in college, so I wrote the whole story and then I ended up drawing the whole story and turning it in for my senior thesis in literature. But I would also try to turn it in for any other class I could, like book-making, or graphic design, or something else too. That first volume was published when I was in college.

And then I would go to conventions and show that volume to readers who came to my table, but I would also show it to other artists that I met. And I met an artist named Joe Quesada and I gave him my Kabuki book. He called me the next week and said, “Oh, I really like this story, and I like you as a writer, and I’d like to work with you.” He had some ideas of me writing the story that he did artwork for, and he had a few other ideas that just didn’t pan out.

A couple years later, I got a call from Joe Quesada and he said that he was going to be taking over four different Marvel titles in what would later become Marvel Knights. He asked me if I wanted to write and draw a Marvel character for that. But I said, I’d just begun a brand new Kabuki series at Image Comics and it was all I could do to write and draw that, but he said I could just do the story and he would do the art for it. And that became Daredevil.

So I took over writing Daredevil after Kevin Smith, and it was a blast, you know, and I said, “Is there anything you want me to do?” and he said, “Write any story you want, but I only ask one thing, and that’s for you to create a brand new character for Daredevil,” which became the Echo character in the story.

What do you think, as a creator, of cosplay as a pop culture?

I’ve always really enjoyed it. A lot of times, people come to my table at conventions dressed as Kabuki characters and that’s always really fascinating for me to see that. Echo is another really popular cosplay character that I see people dress as.

Here at Indonesia Comic Con, some came to my table dressed as Jessica Jones, and as Matt Murdock, and Daredevil. It’s always really exciting to see that. And to see how they come to different solutions of how they make the costumes… I always encourage and I always enjoy it.

Do you have any tips for amateur creators who want to get into the US comics industry?

The only way that I know how to do it, is if you want to make a comic, you just make a comic. Just make whatever comic you want to do. If you want to write it and draw it, you write it and draw it. If you’re either a writer or an artist, you team up with other writer or artist, and you guys make a comic book together. You either publish it on the web, or you go to a copy center and make your own copies, and then you go to conventions and you sell it at your table and you give it to other companies.

Because in the US, like Marvel or DC, they’re only going to hire you based on your previous comic book work. They’re not going to take your submission for a story or artwork in the mail. They’re only going to hire you based on that they could see that you can complete a book, that you can finish something and that you can make a whole book.

Marvel hired me based on my finished Kabuki. They wouldn’t have hired me based on something I sent in the mail. So you really just have to make your own book and show them that you can make your own comic. Whether it’s teaming up with other writer or artist or doing it yourself, or making a web comic, that works, but I think it’s important to yourself to do it that way, too. Because when you make your own comics, when you’re not working for a company, you learn what it is that you want out of that process. And you learn, step-by-step, what’s important for you to make it.

I also believe that you probably have a thousand horrible pages that you’ve got to get out of your system before you can find your own voice. You have to really get busy making all the bad pages first and all those horrible comics to get those out of the way, so that you can then come to your own voice and have the book that you’re comfortable of showing and maybe getting to work from.

What do you do when you hit an art block?

I never had that problem. The only problem is to… I have so many projects, and which project to do first and how to do the time management, so I suggest having that problem. Always have a whole bunch of ideas that you’ve always outlined. And so the real problem is how to get as much of this stuff done before you die. Think of it like that. Think of it like you’re here for a limited time and you’ve got to get a certain amount of work done.

When I’m working on one project, I know how to do it, but often I have all kinds of ideas for the next project and it always seems like a more exciting project as the next one. Every time I have those ideas, I just write them down in little notes, and I put them in a little folder. Even if I go, “This folder for this project, I’m not going to get a chance to do it for five years from now,” still, I put every idea I have in that folder.

When it comes the time to do it, I pull it out, and I look at all these little pieces of paper on little scraps that I don’t even remember making. But I go, “Oh, yeah, this is—whoever wrote this—is a good idea,” you know? This is really good! It’s kind of like previous me has given a real gift to current me, and then I have all these cool ideas.

Even if you have all these great ideas for a future thing, always write them down. And then you have all these folders of ideas and there’s never any block because you always are excited to do this next project.

The main problem I have with a current project is that usually I think of like, what’s the right solution? I can usually think of a few different solutions for how to do this scene or this page, and what’s the right one. Sometimes I end up doing a few different versions of it before I find the right style or the right medium for it, or the right pace for it.

What was the creative process behind your children’s book and your art albums?

For my children’s book, The Shy Creatures, I originally did it inside a Kabuki issue. I wanted the character to recall reading as a child this retro, simple story that would underscore how to read the surface story. I like the idea of a double narrative within a story. So I did it that way in the comic itself.

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But then it was shown to a children’s book publisher, Macmillan, and they wanted to make an actual comic of it. It was kind of nice because it was an artifact of the Kabuki world that now exists as a real story.

What could we expect from you in the future? Is there going to be a new Kabuki story that’s going to hit the store?

What I’m working on right now is Dark Horse Comics’ Kabuki library editions. And they’re going to do a total of four of them that’ll collect the entirety of the current existing Kabuki material. The first time is out already, it’s 400 pages, and volume 2 I think comes out this week, it’s 416 pages. So it’ll be a total of four, all of them over four hundred pages that collect everything. I’m working on volume 3 right now, which collects the Alchemy story of Kabuki and a few other stories together. I’m really enjoying collecting it all in this wonderful context, adding lot of extra goodies to it. So I have that big Kabuki library at Dark Horse. They’re doing my art books as well, like Dream Logic and Reflections. Also Dark Horse, I’m working on Chuck Palahniuk’s Fight Club 2. I’m doing all the covers for that, and I’m doing the cover for the library edition of that right now.

Jessica Jones comes out next week. I worked on the opening credits sequence art for that TV show.

Indonesia Comic Con – A Second Perspective

If you follow this blog, then I’m sure you’ve seen Maddy’s perspective on Indonesia Comic Con. Here, I’ll be weighing in on this inaugural Indonesia Comic Con as a sort of a second opinion and one for the international audience.

This was before 9AM. Gates didn't even open until 10.

This was before 9AM. Gates didn’t even open until 10.

While Reed Panorama has done a similar event named Indonesia Toy Game and Comic Convention last year, Indonesia Comic Con (ICC), held at Jakarta Convention Center on 14-15 November is the first event of its name and bears the tagline “We are pop culture”. Having attended almost the entirety of both days, I can safely say that the event lived up to its tagline.

The only place you can see Superman and Supercena together.

The only place you can see Superman and Supercena together.

ICC boasts a guest list from all avenues of pop culture, both East and West. From Marvel superstar artist David Mack, Japanese Metal Hero actor and an idol to a lot of Indonesian kids growing up in the 1980’s Kenji Ohba, toy designer Simone Legno, international cosplayers Nicole Marie Jean, to musicians like DJ Yuyoyuppe, there really is something for everyone here.

Bridging fantasy and reality.

Bridging fantasy and reality.

The panels and events held at the con is nothing to sneeze at either. I’ve only had the pleasure of attending several of them, but they all shined. Nearing the end of the first day, the “Fight Club of art” event Secret Walls dazzled the audience with their amazing art battle featuring local graffiti artists collaborating and duking it out with great artwork.

Secret Walls contestants hard at work.

Secret Walls contestants hard at work.

The second day, David Mack was joined by Setan Jalanan creator Franki Indrasmoro and local comics superstar Sweta Kartika on a comics panel, where they shared stories of their comics experiences, tips for creators just starting out, and why they fell in love with comics in the first place. The panel ended with a little sketch battle between Mack and Franki.

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The aftermath.

What’s a con without its Artist Alley? Here is where the event shines. With about 68 spaces filled in the artist alley, that’s a lot of concentrated awesome in one place. I spent a few hours going around the artist alley, and I’m pretty sure I missed a lot of great stuff still.

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Some of the great stuff I got.

The official exhibitor booths are equally as impressive. From fan communities like the 501st Legion, Gotham Citizen Club, and Komunitas Marvel Indonesia, the dedicated hunting ground for toy collectors, Glitch Network, a comics corner run by Books Kinokuniya, and the always dangerous for collectors’ wallets Funko, we’re spoiled by choice.

Chris Evans, eat your heart out.

Chris Evans, eat your heart out.

As I’ve said before and I’ll say it again, an event is only as good as its fans and visitors. This is what firmly puts this event into one of my list of best events this year. The cosplayers are amazing as always, I managed to meet some new people there and went nuts with old friends much like we did at a previous event.

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Wouldn't be half as fun without these two groups of mooks.

Wouldn’t be half as fun without these two groups of mooks.

However, that’s not saying this event isn’t without its faults. The high density of booths and exhibitors crammed into a relatively limited floor space does cause some problems. I’ve seen lines for (what I assume is) the Walk of Fame that snaked almost all the way to the stage and practically halved the walking space along that line. Proper seating in the stage area for panels are at times somewhat lacking too, forcing some of the audience to stand or sit on the floor during panels. To sum up, I think most of ICC’s problems is with the space. For what they had to work with, it works well enough, but I’m hoping that the next ICC will have a little more extra breathing room. Maybe Reed Panorama can take a page out of their other event’s STGCC playbook and dedicate almost an entire hall for the stage and Walk of Fame areas. This might prove a popular decisions with the cosplayers as well, so they have a huge open area to take photos or just to lounge around, rather than having to contend with the throng of people on the con floor or loiter around near the entrance area.

Like this. Right in the middle of busy con floor.

Like this. Right in the middle of busy con floor.

All in all, this is an amazing first year for Indonesia Comic Con. There’s a lot of fun to be had whether alone or in a group, although I do recommend to bring friends. Some people might initially be turned off by the price of admission, but after seeing what the event had to offer, it’s practically a bargain. Besides, 90 thousand is nothing compared to what you’ll potentially spend at the event. With books, toys, artwork, and whatever else the exhibitors have to offer, why wouldn’t you? I have faith that ICC will be better next year, and I hope they’ll invite more people from comics. Warren Ellis or Stuart Immonen, maybe?

It’s been a great con, a pleasure to visit, and an honor to report, here’s hoping next year it will be, in the immortal words of Daft Punk, harder, better, faster, and stronger. But mainly better. Bigger, too.

Unfortunately.

Unfortunately.

Indonesia Comic Con 2015; We Are Pop Culture!

Salam Pop Culture!

As you guys know, weekend kemarin Reed Panorama dan New York Comic Con mengadakan event yang seru di Jakarta, yaitu Indonesia Comic Con 2015! Acara ini diselenggarakan selama dua hari, 14-15 November 2015 dan diramaikan oleh lebih dari 150 eksibitor dari Indonesia maupun negara-negara lain, cosplayers, dan bintang tamu spesial seperti Kenji Ohba, David Mack, Nicole Marie Jean, V-Project, Secret Walls, Simone Legno, Hitomi, Pinky Lu Xun, dan lain-lain.

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Bintang tamu spesial Indonesia Comic Con 2015

Secret Walls, David Mack, dan seniman lainnya berkolaborasi untuk membuka ICC2015 dengan melukis “Secret Walls”. Lalu opening ceremony ini dilanjutkan oleh pasukan Star Wars yang datang ke main stage, dan tamu spesial pun diperkenalkan.

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Secret Walls, David Mack, dan seniman lainnya.

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Pasukan Star Wars ft. Cosplayers

Selama dua hari, ribuan pengunjung dimanjakan oleh acara-acara yang diadakan oleh ICC201, seperti Walk of Fame dan photobooth, panel, di mana mereka bisa menyaksikan bahkan bertemu dengan idola mereka. Selain itu, mereka juga terlihat sangat antusias membeli produk-produk dalam maupun luar negeri yang dijual di acara ini.

Panel David Mack, Minggu 15 November.

Panel David Mack, Minggu 15 November.

ICC2015 juga mengadakan kejuaraan cosplay yang bergengsi yaitu Championships of Cosplay. Juara pertama kompetisi ini adalah Abraham Enriquez Cruz dengan kostum Vicious Summoner dari Dekaron, juara kedua diraih oleh Herry Bertus sebagai Prime Evil dari Diablo 3, dan juara tiga Firmanda Romas sebagai ED 209 dari Robocop Movie 2014.

Matt Murdock, daytime lawyer, night time vigilante.

Matt Murdock, daytime lawyer, night time vigilante.

Mas Gorila ft. Deadpool

Mas Gorila ft. Deadpool

Sayang sekali ya, acara ini hanya diadakan dua hari. But, don’t worry, untuk kalian yang belum bisa hadir, masih ada tahun depan!

A Letter to Jakarta Comic Con.

This past year, Indonesia has been pampered with pop culture events. From the local-centered creative event of the year Pop Con Asia, Reed Expo’s Indonesia Toy, Game, and Comic Convention, Japanese culture mainstay Anime Festival Asia ID, the annual Jakarta Toys and Comics Fair, and smaller events like Real American Heroes-Con, there’s absolutely everything to please the con-going crowd.

In less than a month, Jakarta is about to have another one. From Bangkok Comic Con organizers BEC-Tero True Visions, comes Jakarta Comic Con. Scheduled to be held at Jakarta International Expo alongside AFA ID on the 25-27th of September this year, this event bills itself as “The Ultimate Pop Culture Experience”, promising film, TV, and animation industry guests from Hollywood and across Asia.

At the time of this writing, the event boasts Arrow and X2’s Kelly Hu, movie director Joko Anwar, Glitch Network’s Bryan Lie, KOSMIK’s Sunny Gho and Jho Tan, Si Juki cartoonist Faza Meonk, toy designer Bowo Baghaskara, and Star-Lord & Kitty Pryde art team Alti Firmansyah, Jessica Kholinne, and Yasmine Putri as their special guests.

Now, that lineup might sound impressive, but the fact that all but two of the names mentioned above were at Pop Con Asia earlier this month, coupled with the entry fee of 95.000 rupiahs (per day) compared to the 100.000 rupiahs (regular ticket price, no promotions) that Pop Con Asia charged for three day’s entry, it sounds much less impressive. No disrespect meant to Jakarta Comic Con’s guests, but in my personal opinion, the ticket price is a little bit steep. I’m no cheapskate scrooge, I swear, I’m just voicing a personal concern of mine, shared with several people I know as well. That said, I’m perfectly willing to pay a little bit extra for guests that interest me, having been to Singapore Toy, Game, and Comic Convention for the past three years and enjoying every second of it.

But that isn’t my major gripe about this event. My main issue is that for an event that calls itself Comic Con, there seems to be a lot of television and movie exhibitors, and awfully lacking of comics exhibitors, artist alley (which I’m definitely going to check out) notwithstanding. From the list of exhibitors given on the website, I count around 4-5 comic-related exhibitors, a mere fraction compared to the TV and movie studios opening booths in the event. You’d think there’d be more comics studios or publishers, local or international, opening booths in an event that bills itself a Comic Con. To anyone from the Jakarta Comic Con team, if you’re reading this and if at any point I’m wrong, please point me to a complete list of exhibitors and let me see the light.

I really want this event to succeed, I really do. But so far, it’s not doing much to attract me into coming. Unless you guys have a Sharknado replica at the SyFy booth, in which case I’m going even if I have to paddle my way over there with a life raft. If the event really patterns itself after San Diego Comic-Con or cons like New York Comic-Con and C2E2, then they should know to at least invite more local comics guests and have more comics-related exhibitors. Maybe I’m that cranky old comics man shouting at the movie and TV kids to get off my lawn, but I’m of the opinion that a Comic Con should, at the very least, have a comics presence equal to that of movie and TV’s.

Knowing me, I’d probably come at least one day to see just how it is. Then again, I watched Fantastic Four willingly, so it’s not like my standards are that high. So if any of you good Jakarta Comic Con people are reading this, I want you to please, prove me wrong.