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Memphis Comic And Fantasy Convention 2014

Since a few dozen proto-geeks gathered for the first WorldCon in 1939, sci fi, fantasy, and anime fan conventions have grown into a huge phenomenon. Dozens of regional and speciality cons have sprung up all over the world, with 150,000 people gathering for Comic Con in San Diego and Dragon Con in Atlanta every year. Now in its 5th year, the Memphis Comic and Fantasy Convention has not yet achieved that level of success, but founder Joe Thordarson likes to think big: “I still have big plans for this. We want to grow every year.”

This weekend, the Hilton Memphis will play host to a few thousand people of all ages browsing through the wares of dozens of comics and collectables vendors, meeting some of their heroes, playing games, and generally letting their geek flags fly. “Even though the convention is basically a three-day geek celebration, when you walk through it, you can’t help but be struck by all of the talented artists, writers, and filmmakers,” Thordarson says.

“My goal from the beginning was to make it more than just a once-a-year event,” he says. “I wanted to make it a year-round thing and use the talented artists and filmmakers we deal with as a way to promote art in schools. Throughout the year, we host workshops and filmmaking camps and animation camps and things like that.”

One of the ongoing student projects is Live Cartoon.”We take a character created by one of the students, and then we write a script around it.” Students collaborate to create storyboards for the script, which are then projected behind voice actors who read the script live to a con audience. This year, Live Cartoon will be hosted by voice actor and host of That Anime Show J Michael Tatum. “It’s a neat thing for the kids,” Thordarson says. “It teaches them about what a real production is, it teaches them about deadlines. It hopefully gets them excited enough to go out and do it themselves.” The same program will include a sneak peek of Department of ReQuests, a pilot produced for the Cartoon Network by animators Travis Fowler and Krickett King, alums of both Memphis College of Art and previous Live Cartoon projects.

A series of Memphis-rooted films will screen at the con this year. Timid Monster will premiere their new short film After Light, a Kickstarter-funded science-fiction film that began life as a book trailer for Cameo Renae’s zombie apocalypse novel ARV-3 before growing into a fully realized short. “After Light takes a chapter out of the ARV-3 book,” says director Dan Baker. “A group of survivors who have weathered the apocalypse underground are trying to navigate their way through the city. They get lost and confused. Their map says they’re in the right place, but there have been barricades thrown up, which confuses them. So the young girl, the hero of the story, volunteers to climb to the top of a nearby building so she can get a bird’s eye view and scout ahead. So she and the male lead embark on a trip to the top of the building where they get ambushed by these zombie creatures called ARVs.”

The project had its genesis at Nashville’s Utopia Con, but Baker says he is looking forward to his hometown premiere. “Memphis Comic and Fantasy Contention is the con that we kind of cut our teeth on. We’ve been going there since 2011,” he says.

Geekland, director Lara Johnson’s documentary, was funded by the Rhodes College Institute for Regional Studies. “I grew up in Nashville, so I saw there was a conflict between traditional Southern culture and conservatism and geek culture,” Johnson says. “I had a friend in high school who is interviewed in the film whose father was a Southern Baptist pastor. She wasn’t allowed to read Harry Potter until she rebelled when she was 16. So I was going to see what that looked like in Memphis. But once I started getting into it, I found that it didn’t really exist in Memphis. People here are really cool about that kind of stuff, and there’s not really any conflict that you find in a lot of other places in the South. Memphis is unique in that way. So the film kind of turned into a showcase of all of the different, cool, geek things that are happening here.”

Johnson says making Geekland has introduced her to a new community: “The Memphis Comic and Fantasy Convention, along with a lot of other geeky people in Memphis, have totally embraced me.”

The evening will close with a screening of Mike McCarthy’s 2009 sci-fi film Cigarette Girl. Set in a dystopian future Memphis where tobacco is contraband, the Cigarette Girl, played by Cori Dials, must live by her wits and a handy .45.

“You combine Sexual Persona with Elvis Presley, and you get a great deal of my work,” McCarthy says of his art-house-meets-grind-house aesthetic. He calls Dials his “Gothic Brigitte Bardot.” “If you don’t quite have a million bucks, but you have somebody who looks like a million bucks, then you have a million bucks,”

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Film Features Film/TV

Failed Fantasy

I’ve read all seven Harry Potter books. I’ve been up one side of Mount Doom and down the other with Tolkien. I’ve chased (and finally caught) Stephen King’s Dark Tower since prepubescence. And I’m here to tell you that love them all though I do, none of them can hold a candle to Philip Pullman’s “His Dark Materials” trilogy.

Composed of The Golden Compass, The Subtle Knife, and The Amber Spyglass, Pullman’s books are teenage-appropriate fantasy with an adults-only allegorical kicker. It’s a coming-of-age story about coming-of-age. Wondrous, ambitious, original, black, profound — the series exists, as far as I’m concerned, in a hyperbole-free zone.

Which does not mean that the new film adaptation of The Golden Compass is anywhere near as good. Directed and adapted by Chris Weitz (About a Boy, Down to Earth), the film is clunky in exposition — a forgivable sin, except it’s all exposition.

The missteps begin immediately, with a narrated prologue that spills the beans on some primary mysteries that the book withheld to build tension. It’s sickening. Imagine if the opening crawl in Star Wars bluntly stated what the Force was, that it was indisputably real, and that, oh yeah, Darth Vader is Luke’s dad: Obi-Wan would come off like a preening know-it-all, Luke like an imbecile, and Han Solo like a recalcitrant asshole. If The Golden Compass doesn’t guard its secrets jealously, why should anybody else be invested in it?

Skipping past some of the more frustrating revelations, Pullman’s world opens up: Jordan College, Oxford, England, something like the 1800s. Except there are fundamental differences from our own world: Primarily, each person has an animal-like creature companion, called a daemon, that is much more than just a friend — that is analogous, in a way, to the human soul.

At Jordan College lives Lyra Belacqua (the very convincing Dakota Blue Richards), the 11-year-old clever, wild child who is the protagonist of the story. The orphan Lyra rules the roost at Jordan, palling around with Gyptian children (an ethnic group similar to the Roma) and getting into trouble with her daemon, Pantalaimon (voiced by Freddie Highmore). She encounters her uncle, Lord Asriel (Daniel Craig), a kind of English Richard Halliburton who has made a scientific discovery about the mysterious particle “Dust” in the Arctic and wants funding from Jordan College for an expedition.

After Asriel heads north, Lyra meets Mrs. Coulter (the perfectly rotten Nicole Kidman), another dignitary visiting Jordan. Attracted by her ethereal beauty and confidence, Lyra accepts Coulter’s invitation to go home with her to London. Before leaving, the college master gives Lyra an alethiometer to safeguard, a small, extremely rare device that is said to be able to tell the truth, but it doesn’t come with an instruction booklet. (This is the titular golden compass.)

In London, Lyra learns that Coulter may not be everything she seems, and, soon enough, she escapes to head north on a journey with the Gyptians. Oh, and lurking in the wings is the Magisterium, the ruling authority in this world, who have set themselves in opposition to Lord Asriel, the existence of Dust, the use of the alethiometer, and a laundry list of other things. But Dust, we learn from the prologue, is real. Therefore, the Magisterium, believing otherwise, is set up as the bad guys right away, and not very intelligent ones at that. Does it matter that the Magisterium will turn out to actually be the bad guys much later in the series? Only if you haven’t read the books.

Dakota Blue Richards in The Golden Compass

And then there are the witches, and the armored bears, and the prophecy, and … well, I could go on, but it’s just too much information — especially when the film tries to cram it all in about 20 minutes of screen time. The Golden Compass doesn’t take enough time to establish the ground rules for this familiar but fundamentally alien world. It acts as though it needs to do no work to gain the trust of the audience or to establish any credibility, or, for that matter, that there’s any doubt that the audience is going to buy any of this.

The film has garnered a lot of pre-release bother from some religious groups, who accuse it of having an atheist message. Inevitable questions about whether many of these protesters have even seen the film aside, the argument gains no traction. There’s no doubt that the Magisterium resembles the Catholic Church, just as there’s no doubt that in the books, especially The Amber Spyglass, certain key religious elements come under fire. As a fantasy, it’s the anti-Narnia.

But Pullman’s books — it remains to be seen how true it is of the films — don’t decry religious experience so much as the organization that traps it. If it’s atheistic, then I hate college football just because I detest the Bowl Championship Series.

The Golden Compass also struggles almost every minute with editing. This is a three-hour fatty crammed in a two-hour corset. The story is globetrotting in breadth, and there’s a lot of plot to put in play, especially since it’s based on a book that is all set up for the breathtaking last two installments.

Unfortunately, the big payoff in the book is remaindered by the movie for its presumed sequel. The Golden Compass ends exactly one sequence too soon and loses out on what could have been a saving grace. Herein is yet another basic flaw in the film: trusting that by playing off the audiences’ built-in fantasy-film expectations and desire for a happy ending, it will be enough to lure them back for a sequel. Instead, the movie is all empty calories. If my interest in the series weren’t rooted in the books, there’s no way this film would have me asking for more.

I can’t stand the idea that films have to be faithful to their source material, and I won’t respect myself in the morning for saying this (but I’ll respect Chris Weitz even less): would that The Golden Compass treated the book it’s based on like it was the gospel truth.

The Golden Compass

Opening Friday, December 7th

Multiple locations