One of the most anticipated projects is the adaptation of Alan Moore and Dave Gibbons Watchmen. I can’t fathom it as a theatrical release because the scope of the material is more suited to a miniseries, but director Zack Snyder has earned some capital after his brilliant work on Frank Miller’s 300. He has a great attitude and is respectful of the material. His hope for the project is for Moore to think they didn’t fuck it up too badly.

I enjoy the writing and ramblings of author Neil Gaiman, so after securing my lunch, a tasty Mexican salad and a side of onion rings, from the concessions in the showroom, I made sure to get a seat for that event by the only way to guarantee it at Comic Con: I sat in on the previous panel. It was Sony Pictures Television/Kids’ WB: The Spectacular Spider-Man, another animated take on the wall-crawler. Some of the creators behind this version worked on the animated series Gargoyles, and their fans showed up with questions. The audience seemed content with Spider-Man’s new look, but it’s terrible. The body looked unnatural at different angles, giant thigh muscles and weird edges around knees and elbows. I don’t understand the need to reinvent the wheel. Hopefully the stories will overcome the visuals.

Gaiman packed the room. Fans had to be constantly swept out of the aisles and from along the walls by the staff. Some were left outside shouting about the injustice of not being let in. Gaiman held court by himself, talking about the status of projects. Most of what he talked about regarding film work he covered at the Paramount Panel. He still hopes to begin directing Death: The High Cost of Living and Terry Gilliam needs $70 million to shoot Good Omens. He also discussed how Comic Con has changed over the years. He was very entertaining and opened the floor very early to allow as many people as possible to ask questions. A lot of aspiring writers were curious about where his ideas come from or how someone can be a professional writer. He did pass on excellent advice that he heard: when you sit down to write, you can either do nothing or write. No playing on the computer, no cleaning up the office, nothing, but those two options.

When the session ended, a new group of rapid fans lined the convention hall eager to see a script reading of American Dad. I wonder how the visual jokes will translate. I tried to catch the end of Marvel Comics in the 60s and 70s, but the entrepreneurs/artists in line for Business of Web Comics got cranky when I approached the door.