Big Apple Con: Nostalgia at its Greatest.
Joseph Watkins Da Watcha
When I first started writing about comic-cons, I was interested in the cosplay. The creativity, the enthusiasm, the artists. To put it mildly, I was fvcking stoked to see these amazing and colorful aesthetics, but as time went on, my interests slowly expanded to the panels. The panels offered various points of view in the realm of pop culture, visual media, literature, social media and cosplay based themes. Despite the cosplay, and panels, there is now, another foundation of pop culture that is of interest to me…..The Comic Books.
At the heart of every convention are the visual mediums of both childhood and adult; Comics. The indies, the majors, the minors, the up and comers, those trying to breakthrough in the industry. These books of imagination have made people achieve the incredible and create extraordinary ways for some, to get through life.
I remember during one of my interviews, someone mentioned that their father used to go to conventions and that his love of cons was cemented in reading and debating comic books, engaging in comic book discussions, and showing everyone their genius by going character to character with comic book dealers and enthusiasts…
….and while that is both special and rare, especially in the age of comic cons that incorporate, video games, in-screen movie premieres, multiple digital panels, special guest stars that cost hundreds to thousands of dollars for an autograph, and a host of innovative technological practices that include phone map apps of the conventions with panel reservations included, Big Apple Con’s primary staple is its rustic charm that encompasses a rented suit of rooms, with a major ballroom in one of NYC’s famous hotels, The New Yorker.
No apps, no maps, no long wait in lines for a panel, just vendors, artists and comics. Normally, these annual events are a testament to comic con’s humble beginnings, but being confined in the home with COVID, masked up, missing the physical aspects of pop culture due to the harsh winter winds…. This place felt like disneyland. I use the lowercase “d” on purpose. Now, normally, I would express the vastness of any con, but really this is it; a split-level rustic mansion that encompasses a Master bedroom, an Eat-in-kitchen, and a series of Bedrooms, that each screams studio apartments. But within this microcosm, this universe, herein lies the beating heart of what comic-con is all about…the fans and comics.
…and I loved every minute of it.
It felt good to go back to the essence. It’s a rebirth to the soul. I’ve never been to Big Apple Con and yet, I’ve seen the imagery for this place at many conventions. I needed a comic-con hit. Some motivation to shock and stimulate the soul in pop culture again. This was what I needed.
Big Apple Con, despite its small scale, created a jump start for me and those who possibly are in love with pop culture. It was packed, filled with enthusiasts, but my love hit an all new high when I patronized the comic book section. This mini utopia is the core, the foundation of where Disney+, Marvel, DC and many indie titles came from. Within that room and those pages are the foundation that created this universal Shangri-La of Superheroes, Mega Villains and Sultry Devils (Sweet Paprika, Thank me later). When I walked in, a business-like mindset took over as I heard people haggle over prices and discuss priceless comics. To describe it here in detail is too broad, I’ll give you the parallels: The Troll Market, Diagon Alley, The Grand Bazaar NYC. You get the idea?
I was able to see a $10,000 Venom: Lethal Protector in its Black foil variant form from Geek Inc, Comics. Fortunate to see it, unlucky enough to have it. Asking for the milder version, I was able to pick up a reasonably priced one for $25. Journeying further into the comic verse, I saw my former prized possession: The Amazing Spider-Man #361, The Beginning of Carnage. I recently had this issue stolen from me a few months ago and I’ve been traumatized ever since. The loss of this gem led me to the rebirth of my collecting, The NEW Yorker just sealed the deal for me….
The negotiations, the haggling, the “lemme get this for____ instead of______”. Big Apple Con’s truest business acumen is its ability to get patrons and sellers to get the best price for their items. For me, my goal here was far simpler, Amazing Spider-Man #361. The first dealer offered me $220, the next $950, and the last $1100. At its least expensive…$180. One day, just not today.
The cosplay was present, but the spacing limited their presentation as many were in close quartered areas flexing their outfits. The hall corridor was a popular spot as the area reminded many of the Jacob Javits center’s double shoulder length spaces.
Overall, Big Apple Con’s main focus was the eclectic blend of generations of comic book enthusiasts, followed by some well-known names in the industry. Shout out to Alitha E.
I loved it, but it left me wondering, “Is there more ?”, “Did I miss something?” I asked an attendant if there were panels? One said, “I don’t know”, and another said “we have, maybe two”. A map of the premises would have been nice as I saw the Legendary Bruce Leeroy on the second floor hallway as I was going to the bathroom. Wasn’t even prepared, just embarrassed. Looking online, the Sutton Room was the Gem dropper of wisdom that I missed out on.
Big Apple Con seems to have been great once, maybe in its grander days, but its rustic charm brings a nostalgia that some appreciate as this con continues to pump blood. I loved it. The retailers there were knowledgeable and the God of them all was a 10x5 table with a guy who was flipping comic books with a phone and a generalized knowledge of past and present titles. He flipped a Tales of Suspense #41 for about $220 and when I saw an Amazing Spider-Man #315 for $20, I asked if he took cards, he responded, “You don’t have cash?”. One day, just not today.
