MCM Expo: The Good and the Bad

I've been going to MCM London for about 6 years now. It's a biannual comic, video game and manga/anime convention in the heart of London's docklands. I've worked there as a member of staff on stalls and attended as a regular fan, amateur photographer and cosplayer. It's a couple of bright spots in my year, and one of the few times I really make the effort to get out there and be sociable.

In terms of sheer size, it's the biggest convention in the UK in the number of attendees - and it keeps growing every year! The last con in October 2015 boasted 130,560 con goers, in comparison to May 2015's 122,600. This growth in numbers is fairly typical of MCM, and as the expo expands in terms of contributors, stall holders and guests, it's draw only increases.

 

With such a large community, some of whom have been attending year after year, you are always bound to find someone with similar interests to you. Cosplay has always been an integral part of the event, from amateurs simply displaying their love of a franchise or character to professional cosplayers competing in EuroCosplay. It's common to see people travel to the event in cosplay over the weekend, sometimes leading to very amusing sights on public transport. It's not uncommon to see zombies on the Tube, trolls on the buses and Stormtroopers on the DLR!

 

Of course, the draw of MCM isn't wholly about community, although that is a large part of it. Stalls boast hard to obtain collectors items and geeky goods, signings with celebrities are always available, and panels from television's most popular shows run throughout the weekend. 

However, as MCM has grown larger, a couple of issues have come up, and chief amongst those is one of communication. I understand that running a convention of this size and scale is never easy, however important announcements of guests and attractions are left until the last minute. This is difficult for those who have to travel great distances to attend, and makes buying tickets difficult as when it is so close to the event, online tickets are limited, if they are indeed even still available.

The rising cost of attending is also becoming prohibitive. In May 2014, an early entry/priority entry weekend ticket cost £29.50. In October 2014, that rose to £35. In May 2015 it became £45, and October 2015 is the highest yet, with £50. Over one and a half years, a price increase of 69.49% seems pretty steep. On the one hand, people can obviously still afford it, if the increase in attendees is anything to go by, and the extra money does appear to be going to more floor space inside, more time within the center and more events and signings over the weekends. However, the cost of attending is making me question how frequently I'll be able to attend in the future. I'm sure I'm not the only long-term attendee facing that choice, either. In addition to the event itself, availability and cost of hotel rooms, the cost of travel and food, and a spending fund for any merchandise you might want to buy and MCM expo starts looking very expensive indeed.

There is often an issue with communication within the event itself. Many of the staff working at MCM are volunteers, and the security bought in for the event are an external company. In the past, this has lead to unscrupulous security staff 'confiscating' attendee's personal items, general misinformation over how to enter and renter the venue, where to go for specific events and what tickets you need to access them. In my experience working on a stall, stall holders are given very short set up and take down times in comparison to other similar events, and admin errors regarding staff passes issued aren't uncommon either.



Outside space - a boon for everyone in hot costumes or needing some air - has become increasingly limited over the last couple of expos. In October 2015, this was due to temporary railings to keep only those with wristbands inside and keep people who hadn't bought tickets outside. While there are people every year who do not buy tickets and enjoy the atmosphere from the outside, it seems suspect that this system was implemented the year when ticket prices became £50 for the weekend.

Despite all this, I have a soft spot for MCM Expo. They do try and fix issues, even if not always in effective ways. Every time attending over the past few years has resulted in a different method of obtaining wristbands, a different queueing system each day, a different door to renter by (often using three different doors on the same day). After the fiasco with the security firm, MCM hired a different firm. MCM has diversified and invited more guests over a wide range of fandoms. MCM is certainly improving, and on balance, I will probably wind up attending as long as I am able to afford to. At the end of the day, I've made and kept more friends through the event than any other single source in my life. So, despite all its flaws, I'll keep coming back to MCM for the community.

MCM London Comiccon's tickets and event info can be found here. 
Pictures © Amelia Springett

Let's Talk Tea

I have always been more of a coffee person than a tea person. The richer flavours of coffee appealed to me more than the 'posh hot water' of my mother's teas. Over time, though, I came to a very important realisation:

I have been drinking the wrong kinds of tea.

Enter Beastly Beverages, a creator of fandom-inspired luxury teas. I must admit, I was first drawn in by the fandom aspect, with the beautiful artwork on the labels, but as I was encouraged to smell the bags by the wonderful staff at an MCM expo stall, I realised that maybe I could give tea another chance. I am so glad I did.

Every tea I've tried has a series of layers of taste, some more unusual than others, yet all satisfyingly refreshing. It's what I imagined tea should be, and why more generic brands simply felt bland and boring. From 'The Trickster' (sweetly butterscotch) to 'The Morning Star' (fruity and sweet with a slight chilli tingle) to 'Exit Stage Crowley' (smoky and complex) and 'The Boy King' (calm and soothing), you can be sure there's something to suit everyone's palate. Personally, I've not encountered a tea from Beastly Beverages that I didn't like.

Which makes it all the more amazing for me that this all comes from an independent tea creator based in London. The way in which teas and flavours complement each other is handled so skilfully that I would have imagined a team with centuries of experience behind them had I not known! They also only use organic ingredients, which is wonderful news for those of us who enjoy our luxury without putting aside our ethics.

The Patreon for Beastly Beverages can be found here, and offers rewards such as samples of new teas, money off coupons, the chance to get a tea made especially for you and many more goodies. The Etsy store is here, and while the selection of teas is gradually being restocked, there is still a vast range of beautiful fandom teas to buy!

If, after all this, you are still more of a coffee person, I have good news - Beastly Beverages does also sell flavoured coffees. They are a little rarer, as each batch takes time to flavour fully, but they are crafted with the same care and attention to flavour as the teas are, and well worth keeping an eye out for.

Fanfiction and Fanart: What is 'Real' Art, Anyway?

Every fan-artist or fanfiction writer has heard a variation of this at least once: "Why don't you do real art instead?" Sometimes it's phrased more like concern: "You're really talented, and you'd be successful if you only stopped drawing/writing 'x'" or "You'll never make a career out of fanworks".

I don't like this at all. It devalues not only creative endeavours, but the people who create them. It's a a social problem, and it needs to stop. You probably think I'm overreacting, and right now, that's fine. Just read on a bit before you make up your mind completely.

Fanart is seen as 'lesser' because it draws on existing work and doesn't require the artist's own imagination or creativity.

If anything, people are more critical of fanfiction and fanart because it draws from an existing work, one that people admire enough to find and read fanworks of. Characters are judged against the standard of the original - if they are too different, works easily become out of character and unappealing to fans.

It takes a lot of close analysis to truly understand complex characters - to not only understand what they do, but why. This 'why' is essential to fanworks, to understand how a character may react in circumstances they aren't shown in in the original media.

Original art and writing has the privilege of being judged on it's own merit, outside of a pre-existing idea of setting, tone and character. It's far easier to work out the motivations of your characters - you should know them intimately, having created them - than the motivations of another's characters, where you only have what limited knowledge the creator has made public about them.

If fanart was somehow a 'lesser' art form, you would be writing off a vast proportion of art through the ages. Every biblical and mythological painting would be inferior, because it's just fanart (often commissioned fanart) of the Bible and classical myths. Not to mention the wealth of literature you'd be passing up. Tolkien was inspired by Shakespeare, Shakespeare was inspired by Chaucer and Plutarch. All classical literature were inspired by word of mouth tales, embellished over years of oral storytelling tradition, before writing and reading were commonplace.

The Arthurian tales are a good example of this: Celtic folkstories were passed down by word of mouth over hundreds of years, finally being written down in the Mabinogion. These tales were later embellished by Geoffrey of Monmouth, and framed in a way to be more appealing to French audiences. These chivalrous tales became reinterpreted time and time again - Thomas Malory, Alfred Lord Tennyson, Mark Twain, Marion Zimmer Bradley - they've all had a hand, big or small in changing the way we perceive the Arthurian legends. This is of course, without mentioning the many film and television adaptations of the myths; from Disney to Monty Python, so many people have reworked and re-imagined the tales. It is a truly successful fanwork, in it's current state. It bears little resemblance to the original Celtic myths, barring a few recognisable details, and yet it's known internationally.

Of course, delve a little deeper, and you'd see that there aren't many 'original' works of art, anyway, even in modern media. Films are predominantly sequels and adaptations of other media. Any long running television show has to employ writers to carry on the existing story, as it is too much work for one writer to do alone. Long running comics and graphics novels are in a constant cycle of renewing artists and writers to carry on the story as previous artists and writers move on to different projects. Even games are often sequels or remakes of existing games. In fact, if you wanted to eschew any unoriginal ideas, you'd have to search for obscure content creators - independent film festivals, small press books, small art shows - it'd be a huge boost for independent media, until you noticed the reoccurring tropes in all these things, even as original as they are.

The thing is, art doesn't exist in a vacuum. It's meant to ask questions, to be explored and responded to. The problem is, the people who are against fanworks aren't really against the idea of fanworks. They want their favourite series to continue, and they want to keep enjoying film adaptations even if they aren't aware of the original media it came from. If they were against the idea of fanworks, these logical arguments would have won out against them a long time ago - I'm certainly not the first to make these points. The world would also be much poorer for the amount of art that got spurned as they rejected anything that could be feasibly termed a fanwork.

No, they're really against the people who make fanworks. Fanfiction and fanart is primarily a term applied to female artists within fandoms. It's certainly not to say that male don't create fanworks - they do, and face a lot of the same criticisms, but the problem is caused by the way society sees and codes fandom as female. There is a long history of bias towards work that is coded as 'feminine' as being valued less than work coded as 'masculine'. Fandom creators become seen as amateurs, creating work for free - ignoring the fact that some creators are professionals, and dabble in fanworks as exercise, for publicity or even just because it's fun - and further devaluing the idea of fanart in capitalism (the argument being that if creators are so talented, why aren't they making money from it, which implies that money is the materialistic end goal for all creative endeavours).

When a caricaturist draws a celebrity, it's not fanart, it's just art. When a woman does the same, it's fanart. When a screenwriter writes the script for the latest book adaptation, it's not fanfiction, it's just a script. When a storyboard artist or a concept artist or a digital painter is doing the work that makes any movie possible, often referencing earlier designs or movies or media, they are creating art, not fanart. All of these positions are male-dominated, where female artists are the exception, not the norm. There are social, economic and cultural barriers in order to limit the amount of women in these jobs (and this is not limited to the art world and creative jobs, either). It's not the fault of any one person, but a system of exclusion that is upheld to maintain the status quo as much as possible. Disregarding fandom and fanworks as 'not real' art helps maintain that status quo.

While I have many issues with '50 Shades of Grey', it's undeniable that it is an example of fanwork that has become successful. It's far from an isolated incident, either; many authors have been discovered through fanfiction, many fanartists have gained work through their fanart. I only hope this becomes more usual, and that the stigma around fanworks ceases for good. It helps no one to put down fanworks - not the artist creating them, nor the established artists making a name for themselves through 'original' works.