As Comic-Con prepares to descend on San Diego on July 24^th, it’s worth taking a quick look to see just how this small gathering of comic book aficionados became such an annual powerhouse.  Some will say things really took off when the “Harry Potter”, “Lord of the Rings”, and “X-Men” franchises were all released – three enormously popular (and successful) science-fiction/fantasy film series that had a home at the convention; it was there that fans could find the actors, the stories, and all the additional merchandise they could want.  Yet it is simplistic to say that Hollywood has only recently taken notice of the event; it has had a presence there almost since the beginning, after all, with Lucasfilm setting up a booth at the 1976 convention to promote “Star Wars”.  Even Mark Hamill – Luke Skywalker himself – was once a young comic book fan; he recently set his film “Comic Book: The Movie” at the convention, knowing what it’s like to both be on the stage and in the audience.

Beyond merely the industry taking notice, the growth of Comic-Con lies with those actually attending the event.  What we’re seeing is a growing trend of quality.  Comic fans have always been passionate about story; they’ve always had an exacting stance on what the characters can and cannot do.  And they now have the power to demand that quality from the studios and the filmmakers.  As films like “Iron Man” and the new “Star Trek” and “The Incredible Hulk” are brought to the big screen, their fans scrutinize every detail for authenticity… they discuss rumors, dig for advance copies of the script, and theorize to no end.  Some filmmakers find this intrusive, feeling it hinders the creative process.  Others, though, have taken notice, and have in fact embraced these fans (called “fanboys” for their devotion).  For these filmmakers, it makes sense to use this resource.  These directors and writers understand full well that any work based on an existing product will have to get these people’s stamp of approval… an advance thumbs-up can do wonders; conversely, early bad press can be hard to overcome.

In the end, the fans just want to see the best product they can, and while it’s not possible to satisfy all of them all the time, one can still get close. With the growth of the internet – a realm dominated initially by those who love computers – we’ve seen an influx of fan sites like “Ain’t It Cool News”, whose sole purpose was to analyze, discuss, and review their favorite films and television shows.  Now, this site has grown so much since its inception that its founder, Harry Knowles, is now being invited by directors like J.J. Abrams to view a clip of his newest “Star Trek” film – months before its release – in the hopes that he’ll relate something positive to his readers.  This kind of buzz is vital to a film’s success, especially those in the science-fiction and fantasy realms, and guys like Abrams are smart enough to realize it.  That’s why he also uses Comic-con to promote his hit show “Lost”, drawing in the audience with mysteries and teasers well after the show has hit its summer break. 

Comic-Con’s growth can also be attributed to the development of its truest fans.  Back in the 70’s, the convention started with only a few hundred people; one of the first notable guests was not a filmmaker but the sci-fi author, Ray Bradbury.  As the convention grew, it attracted kids of all ages, whose love of comics and films brought them together.  Now, these children are adults, and are themselves responsible for many of the films and TV shows that screen there.  The kids have grown up, yet they still have the same exacting standards as when they were young.  It is this dedication to quality that keeps the convention going, and it will continue to thrive so long as it stays true to this vision.

That, and it also doesn’t hurt that Ray Bradbury will be there again this year…

Call it a renaissance if you want.  A rebirth of a specific aspect of American cinema: the franchise.  Whatever label you wish to give it, we are witnessing a revival of film series that were once thought dead – moribund franchises, that were had long ago outlived their usefulness.  “Batman”; “Superman”; “Rocky”; “James Bond”; even “Die Hard”.  It doesn’t take a film expert to see that these movies had descended into self-parodying shells of their former selves (admittedly, the first three more so than the latter two, but still, they were on their way).  Banking on brand awareness, producers were down to giving us stories that were basically dressed up recycling, always reliving the same plots but never pushing new bounds.  Brand awareness can only do so much, before you find yourself stuck with the conventional missteps of filmmakers eager to use a franchise for what it can offer, rather than what they can do for it.  “Batman & Robin” was a prime example, as was “Rocky V”.  (Of course, there are those who feel both films are good, fun storytelling, and wouldn’t change a thing.. this is not meant for them).

It now appears that it can sometimes take a decade of futility, and an utter lack of interest from the audience, before you can get a new lease on franchise life.  It takes time before you can get a Christopher Nolan to the table, or a Martin Campbell – men who re-create a series based on quality, not merely the recognition of the name.  All these years we’ve waited, and we finally have filmmakers who can take all the memorable images and ideas from our iconic heroes and make them real again – and can also make them relevant in a more modern world.  Whether it be Batman’s beginning, or James Bond’s first kill, we’re treated to an analysis of what makes these men great – faults and all.  In fact, it’s a testament to these filmmakers that they’re able to recognize the greatness in our most flawed characters – and it marks the beginning of an era in which our creations truly reflect the best and worst of us all.  That is what these writers and directors have done in re-imagining classic franchises, and as fans of cinema we should be grateful.

As a final note, one can’t mention “Rocky V” without also discussing the fabulous work that Sylvester Stallone did in “Rocky Balboa”, the 6^th Rocky film – and perhaps the best since the very first.  More so than any of the other films mentioned above (even more than Bond’s “Casino Royale”) this newest Rocky film is remarkable because it not only reinvigorated a franchise that had become a joke (“What’s the latest movie up to, “Rocky 12”?), but it did so using the some of the same actors, in very much the same setting.  What Stallone did was, at its core, very simple: he wrote an incredibly truthful, self-assessing cinematic gem, that never tried to be more than it was.  And the result was dialogue so honest, that even as we’re watching Rocky say the lines, we’re also seeing Stallone say them himself.  Stallone should be credited with having the depth and technique to pull this off, and the self-awareness to make this one of Rocky’s best moments.

I for one am off to watch the new “Rambo”.  After that, I will eagerly await the next Batman and James Bond films, knowing they’re in good hands… for now.