I went around Brisbane Supanova and there was some good content there, but there was some equally shoddy stuff that I would not buy just because the person flushed their toilet paper into the same sewerage system that I do. The entitlement argument annoys me more than most, especially when I see the people who do work hard to create a book or a print.

And you know what? I have seen the response from this last convention turn into something positive – a couple of Brisbane artists are considering their own "zine" evening, which may also involve local groups such as Ashcan. However, I am seeing people who are simply putting the blame somewhere else instead of looking at constructive avenues to continue.

A convention is not a store. Like guests, Artists Alley is essentially selling themselves, not just their product. There are some people who I will not buy from because I don't like the person (similarly, I switch off whenever Charlie Sheen walks into a room). There are some genuinely lovely people who test my boundaries because some of their stuff is either a genre that I don't care for, or complete drivel. You can't hide behind your product, and you can't expect your book to do all of your talking.

This may be why some organisers are hesitant to put all of the comic culture together, because there are instances where the gap is ENORMOUS between professional artists and their amateur counterparts (yes some semi-professionals, but hoo boy there was some craptastic stuff I saw!!). While I agree that the local community need all of the support they can get, and that would be the most reasonable solution, I can also see why there is some hesitation.

I completely agree that it is in the best interest of businesses to support local content. However, your comment regarding the costs for guests is making it a little trivial. Guests usually attend as part of a contract arrangement – this is work for them, not a holiday. Therefore, it costs more than an airfare for their time. The most recent list of guests will give you an idea of how many contracts/airfares/accommodation arrangements were made, before considering venue hire, security, and insurance requirements.

I also agree with you regarding the global economy. I can now download comics digitally without entering a comic book shop. These stores will soon struggle to bring in an income. The question is – does local content bridge that gap? In its current state, it does not. Local content is not serialised – most creators in Australia are months, sometimes YEARS, between issues because there is not the "steam engine" of editors, publishers, and support staff behind them. A business cannot generate an income on that content alone, and I have only seen a handful of businesses that put Australian comics (and their local "zine" equivalents) on the shelf due to personal ethos, and that is mainly because they have the other comic companies that are generating the store income so that a store owner can make that choice. If the local community changed, then I would see this as an option. Until it does, there is only so far that moral responsibility will go.

I could sell you an apple out of my yard. No guarantee it'll taste any good – I don't have the same level of pest control or quality control that the owner of an apple orchard would have. If you take the chance and find out the apple I gave you is rotten, how many times will you return to buy another apple from me?

In response to Adelaide … yes I am disgusted. Yes I believe someone as hardworking as Colin Wilson deserved a lot better. I am surprised that, being next to the FilmInk Features, the Artists Alley did not have more traffic. Additionally, the guests artists were actually grouped with the other Artist Alley exhibitors, which is far better than the Brisbane setup. It is interesting feedback to note for Adelaide's first Supanova convention, and maybe a sign that a local culture needs to be developed in Adelaide through different avenues.

Of course, there's no obligation. I agree with that, I agree with your point of getting perspective – you will not sell that many comics at a con, if you break even, well done. The more effort you put into selling, stall displays, looking up and engaging with people, having quality product will increase your chances.
I argue getting some perspective means not just looking at 3 days of a con but 3 years down the track.

What I saw in the recent Adelaide con was depressing, the comic guests next to the wrestling – colin wilsonwas 3 meters from the ring, im surprised after 2 days of hair metal, ring crashes he didn't jump in andbody slam everyone. Then artist alley was actually three dead end pods with no traffic I can't see why it was set like that it could have been rows between the stage and wrestling ring. It was m ind boggling

Local creators should look at home for income too, now with the dollar high their income diminishes, getting work in a local industry may offset a high dollar.

My con tips;
Prepare for a loss,
Share a table, split costs and lessen the exhaustion
have products of multiple price points $2, $5, 10, $20
If you draw someone else stands and engages with people
Have stall display

Even having been a "guest" at a few of these shows over the last couple of years guarantees nothing. Especially interstate where in most cases costs like airfares and accommodation are still an overhead and you're still burdened with expenses such as printing costs, art materials, promotional material etc.

So, you know, some shows are better than others. Comics have been a small part of these shows for some time and so i find it a little funny when people get upset about this fact.

Every subculture has an attitude of entitlement. We're special unique snowflakes who demand to be treated with deference and the fact you don't realise that isn't my problem. And yes, yes, i know you're not in the subculture to realise that…but you know, buy my book! Welcome!
So in large part, the community needs to grow up a bit. Not everyone needs to buy your book. Not everyone who walks through the door is going to take one look at you and start carving idols in your honour.

Thats not to say that there aren't legitimate things to say about how these shows could tailor things like floor plans, advertising etc. to maximise the experience for the comic making contingent but this stuff doesn't work in a vacuum. You paid your money to be a part of the show, If you're unhappy with the layout, send an email to suggest what changes you would like to see (putting ALL comics people in the same general area, INCLUDING international and local special guests has been something i've been trying to champion for ages). Send a note with suggestions for future comics artists or writers or publishers you think would be great as guests.

In San Diego the last couple of years there has been a sub show called Trickster that has been incredibly popular. As San Diego has become unwieldy and less and less about comics as a medium, trickster is trying to fill that need, by smartly piggy backing off of the audience San Diego attracts. This isn't a show that San Diego's organisers put together it was put together by comics creators and animators who felt that there was a diminishing culture at the con and a need that needed filling. And lo and behold.

I guess the point would be, get over yourself, dust yourself off, harden the fuck up and learn from the experience.

For those of us who are ridiculously pedantic, the coins are a bit of a curse – collecting as many as possible, you forget that there is a clock running!! But that's a good point about coins as guidance – maybe also as an experiential tool to engage with the mechanics? (think water levels….)

As for the coins, it sometimes feels like Nintendo is, once again, using subtly. This time, though, to guide players in the right direction. It's like developers who use lighting to make sure you don't get lost. I like it. :)