Having never previously covered the behemoth known as Comic-Con, I’m currently feeling woefully unprepared (underprepared?) for the experience. But years of monitoring and reporting on the news coming out of the ‘con has prepared me for something – the incredible flood of tangible marketing material that accompanies the convention. We’re not talking about panel chatter, rumors, or announcements, we’re talking hard stuff like posters and banners, material spotted out in the wild of the convention floor as often as it’s released before Preview Night even kicks off that you may one day be able to possess for yourself (and your walls). After the break, feast your eyes on every poster and banner (within reason) released at Comic-Con, an ever-evolving gallery of both pretty pictures and essential information, including such highly anticipated fare as The Hobbit: An Unexpected Journey, Pacific Rim, Dredd, and some very special original works by the likes of Mondo and Gallery 1988.

Inside Just Like Being There, a fairly straightforward documentary about the world of rock show “gig posters” and the artist community behind them, is a big idea. Intended or not, the film presents us with the notion that in today’s pop culture landscape we do a lot of consuming of media. From mp3 downloads to streaming films to podcasts and the like, we spend so much of our time consuming everything we can get our hands on. Lost, in so many instances, are the opportunities to experience things. So in those increasingly rare instances — that time you saw The Black Keys play in a basement in Akron, Ohio, the time Tokyo Police Club played that tiny club in Buffalo, NY — it’s wonderful to have connective tissue to that experience. Such is the brilliance of a good gig poster. One look and you’re transported back to that experience. And the emotion you feel for that experience is no different than the emotion expended to make said poster. Therein lies the brilliance of what is exposed within Scout Shannon’s directorial debut: it’s not about the art, so much as it is about how the art makes us feel.

This week, on a very special episode of Reject Radio, author Stephen Rebello joins us to share the insight of “Alfred Hitchcock and the Making of Psycho,” and Gallery 1988 co-founder Jensen Karp gets crazy for cult and explains what Edward Scissorhands is doing in a painting with Jack Skellington. Plus, our very own Fatguy Kevin Carr joins me to play Good News/Bad News and tries to envision a spy thriller directed by Edgar Wright. Listen Here: Download This Episode

After scouring Gallery 1988, I found that they have alot more cool art. For instance, the coolest one I found was called “Nobody Wants To Play Sega With Harrison Ford.”