Stumptown Comics Fest was the first comic convention I ever attended, way back in 2009. One year later, it was the first comic convention I tabled at. Located that year in the Lloyd Center Doubletree ballroom (really one floor of a parking garage with carpet installed), Stumptown set the tone for me for how comic conventions should be. It was packed with interesting people, some of whom I now proudly call my friends. It taught me about trading the comic I made for another comic somebody else made. I met famous cartoonists, who mingled with us self-published nobodies and didn’t even complain about our smell.Was Stumptown perfect? Heck no! Cartoonists love to complain as much (if not more) as other people. But I’ve come to realize that the “faults” of a show can also give it character. Make it special, even. MoCCA is held in a century-old armory that is stuffy in even the best weather conditions. Emerald City promoted Patrick Stewart every day for nearly a year but failed to mention all the cool kids in Artist Alley. SPX’s website crashed the second it was open to the public. In the end, these bumps bring us together, or at least give us fodder for in-convention sketches to pass around.
The last few years it was pretty clear that the directors of Stumptown had lost interest in the show. I can’t blame them for wanting to move on. Organizing a comic convention every year can be sweaty thankless work. If you’re not 100% into it, you shouldn’t force yourself. Having the mantle of Stumptown hanging over your head, while dreading the angry tweets from indie cartoonists if it doesn’t go well, is no way to live your life. Better no Stumptown than a Stumptown everybody hates.
I’m sorry to see Stumptown go, but am forever grateful for the world it opened to me. My path in comics would be quite different had Stumptown not existed. To use a handy metaphor, Stumptown is my George Bailey.