Comic-Con and the Business of Pop Culture: What the World’s Wildest Trade Show Can Tell Us About the Future of Entertainment by Rob Salkowitz

Comic-Con International, held every year in San Diego, California, is an event like no other. From passionate fans flocking to buy the latest comics and collectible action figures, to Hollywood studios and video game publishers setting up elaborate displays, Comic-Con has become a must-attend event for anyone involved in the entertainment and pop culture industries.

Rob Salkowitz’s book, Comic-Con and the Business of Pop Culture, provides unique insights into how the world’s wildest trade show has become the ultimate outlet for digital content, new business models, and entertainment trends. Through interviews with key players, essays from top industry commentators, and analysis of the Comic-Con phenomenon, Salkowitz provides a thorough and entertaining look at one of the most influential events in pop culture.

One of the major themes of Salkowitz’s book is the evolution of Comic-Con from a modest gathering of comic aficionados, to an international showcase for film, television, and video games. This evolution is largely attributed to the embrace of digital technology; according to the author, “Comic-Con has transformed from a fan-driven event, defined by prints in comic books, to a multimedia affair where digital comics, movies, and video games play a major role.” As the “big four” entertainment companies (Warner Bros., Disney, Sony, and Viacom) have embraced Comic-Con with corporate sponsorship, the event has become a major part of annual marketing strategies for Hollywood studios and video game publishers alike.

The book also examines the passionate fan culture that fuels Comic-Con—from the costuming and cosplay associated with the comics, to the droves of movie and television fans flocking to the event. As Salkowitz notes, this willingness of fans to pour money and time into attending the convention has made it a major focal point of entertainment industry marketing efforts. In particular, the author looks at how the studios have become adept at crafting special events around the convention through panels and exclusive clips, as well as how they’ve used clever merchandise placement to drive sales.

Moreover, the book considers how Comic-Con, as an engine for pop culture and entertainment, may shape future trends. By examining Comic-Con’s “culture of doing,” Salkowitz suggests that the spirit of independently produced content, from “do-it-yourself” production houses to homespun YouTube videos, may become an increasingly important part of the entertainment landscape. He also highlights the potential for collaboration between traditional media companies and these “indies,” something that could lead to bold new forms of content in the future.

For anyone interested in the business of entertainment and pop culture, Comic-Con and the Business of Pop Culture is an engaging and informative read. Rob Salkowitz’s accessible and well-researched look at the Comic-Con phenomenon provides a unique insight into how the event has evolved, how it is impacting the entertainment industry, and what the future may hold.