But it’s still pretty accurate. King Con was definitely fun. I am very happy I went.

It’s a small, laid-back show. The Brooklyn Lyceum has a pleasantly rough industrial aesthetic and I think it lends itself well to DIY culture. The space for exhibitors wasn’t very big so there wasn’t that many of them, but I liked that it was small.

I’ve been to a bunch of comic-related shows this year so I’ve seen many of the same people multiple times, so I sought those I hadn’t. Among them were Alisa Harris and Allan Norico, a fun, artistic couple.

I also had a nice chat with Dave Roman, who I was surprised recognized me. Roman and Raina Telgemeier are always awesome and I think they’re really good for comics.

As fun as the exhibitors were, King Con’s strength is in the programming. On Saturday I caught most of the Kyle Baker presentation with Chris Irving and it was delightful. But honestly, it’s Kyle Baker. How could it not be? I am always impressed by Baker’s work and I need to read more of it.

Next up was the Bored to Death panel. I don’t have HBO because I have the cheap cable, so I’ve never seen Bored to Death (yes, I know about this thing called the “Internet” and these things called “DVDs” but nonetheless, I’ve never seen the show). This panel was packed — I think quite a number of people came to King Con just for it.

Jonathan Ames and Dean Haspiel have an easy chemistry with each other and it was fun to hear them talk about the show, even though I was only vaguely familiar with it. Moderator Jeff Newlett did a great job — directing the conversation when he needed to but mostly just letting it evolve organically. I really enjoyed it. Even the giant drawings of penises.

(My friend says she saw Jason Schwartzman in the audience. I wouldn’t be surprised if he had been, but I didn’t see him so I can’t confirm.)

I stuck around afterward for the Daily Cross Hatch panel because I was interested in everyone on it (Robert Sikoryak, Julia Wertz and Lisa Hanawalt along with Alex Cox, hosted, of course, by Brian Heater) but I think most everyone can agree it kind of ended up being a mess.

I actually don’t think that was anyone’s fault in particular that it went badly — the room was cold, it was getting to a slumped part of the day (it started at 4:30 p.m.) and while there’s nothing wrong with comic book people not actually talking about comics, I think the creators were a little thrown off by being initially asked about sports and fast food. There was plenty of fun — Sikoryak is wonderfully sharp and Cox would randomly give people points for certain answers — but once it went off track, it never really recovered. I think everyone pretty much knew it (it will be interesting to see what the podcast version ends up being).

Today I did attend the Kid’s Stuff: Making Comics for All Ages panel, but that will get its own post, likely later tomorrow.

Other than a couple other small things (there’s a panel in town next week and maybe a couple of other events), King Con has capped off a very busy year. It did serve as a great finale.

I’ve felt a little critical of The Best American Comics in the past, and that could just be that I wasn’t that familiar with them, but I’ve always felt they had a somewhat limited perspective on literary comics. You were going to find the approved creators — you know, the kinds of people who create “graphic novels” and those that your non-comics friends would possibly read, but not much else.

And then I read Neil Gaiman was the guest editor for the 2010 edition. Yes, I kind of rolled my eyes at bit there. I like Gaiman as a writer, yes, and his contributions to comics have been notable, but they’ve mostly been in the past and his work is fairly mainstream (maybe not initially, but I think once he’s showing up on CBS Sunday Morning, yes, he’s mainstream). He wouldn’t have been my first pick to put together a book of the best comics of the year.

However, Best American Comics 2010 is pretty cool and I think a lot of that is because of Gaiman’s perspective. I think since he’s not as closely connected to comics as someone else would’ve been, he’s more open-minded in his selections. The stories being told are what’s important here — not who is made them.

Yes, you have a lot of the usual suspects (too much Chris Ware for my tastes, but then, I’m not really a Ware fan), but you also have Theo Ellsworth, Bryan Lee O’Malley, C. Tyler, Lilli Carre. In other words, you have a lot of my people. It’s a wonderful mix of high-profile releases, like R. Crumb’s The Book of Genesis and Jonathan Ames and Dean Haspiel’s The Alcoholic and smaller releases, like Jesse Reklaw‘s Slow Wave and Fred Chao‘s Johnny Hiro.

That’s awesome. That’s what comics is. It covers a broad range of styles and subjects. It encompasses creators and publishers of all ages, experiences and fame. This didn’t feel like “Oh, here’s a bunch of creators you’ve probably heard of and one guy who got a Xeric.” It felt more like “This is what was great in comics between Aug. 2008 and Sept. 2009.” I loved seeing a lot of the comics I loved in that time period showing up here.

Is the perspective still a little limited? Maybe. But overall, this ended up feeling a lot like a collection of comics I’ve read or would read.

So yes, it’s still not for me, since I’ve read a lot of these comics (and I bet you have to). But would I give it to a friend or family member who was interested in comics but didn’t know where to start? Absolutely. That’s what this book is designed to do and it does it incredibly well.

Advanced reading copy provided by Houghton Mifflin Harcourt through NetGalley.