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Sequential art department holds Editors’ Day Top Shelf Productions to distribute new anthology By Monique Bos Chris Staros, publisher of Top Shelf Productions, is returning to the Savannah College of Art and Design for the 2005 Editors’ Day, April 28-29. Staros has participated before, but this year he is going beyond his role of an industry professional offering advice to students. He has agreed that Top Shelf will serve as distributor for the sequential art department’s new anthology. Titled “Senses,” the collection features comics work by about 45 SCAD students, faculty and alumni. While the SCAD publications department designed and published the anthology, Staros said, “What we’ll do is act as the gatekeeper.” Top Shelf will help distribute the anthology to customers by offering it at conventions and other venues, he said. His interest in the project stemmed from last year’s sequential art publication “Little Voices,” which included 17 short stories. “The sequential art students have produced things from time to time,” he said. “The last one they did was very impressive.” The anthology will be released after Editors’ Day. In addition to Staros, Editors’ Day guests include Bob Schreck, Batman group editor for DC Comics; Axel Alonso, group editor for Marvel Comics; Jeremy Ross, editorial director of TOKYOPOP; Matt Milberger, White Wolf editor and SCAD alumnus; Jeff Mason, publisher of Alternative Comics; and Ollie Green from Cartoon Network’s “Adult Swim.” Guests will visit sequential art classes and conduct portfolio reviews April 29, 10 a.m. - noon and 2-4:30 p.m., in Norris Hall, 548 E. Broughton St. Staros said he was excited about his Savannah visit. “My relationship with SCAD is very important to me,” he said. “I really love the college … The students are so receptive. It’s rare to find such a large group of people who are there studying comics. The sequential art department is a great place to visit.” In addition to his role at Top Shelf, Staros is president of the board of the Comic Book Legal Defense Fund, a nonprofit organization that defends the First Amendment rights of comics creators. “You’re not going to be able to take advantage of the comic book industry,” he said. “We stand by our people.” Although he is very involved in the industry now, Staros said he didn’t read comics at all when he was growing up. “When I was a kid, I never read comic books. I was a musician for years,” he said. Around 1990, he picked up “V for Vendetta” by Alan Moore. “I was so impressed by this book and the potential,” he said. As he became more familiar with writers and artists working in the industry, he grew interested in helping publicize high-quality but sometimes overlooked work. In 1994-95, he began to publish a fanzine called the “Staros Report,” which discussed “what people should be reading, really the challenging, quality material. People were finding it a really good source.” In 1997, he made a pitch to Brett Warnock, founder and publisher of Top Shelf Productions, proposing that he join the company as a partner. “Publishing seemed to be the next logical step,” he explained. He now heads up the editorial office, with Warnock leading production. Staros said staff members attend approximately 20 conventions a year — including shows in England and France. Top Shelf graphic novels and comics “have helped to reestablish comics as a literary art form,” he said. “I always read a lot of literature … When I discovered comics, it was those things that had a more literary bent. How could these people write so well and be such innovative artists? You’re doing things that you couldn’t do in other media.” Staros said he is optimistic about where the industry is headed. “The comics industry’s future looks pretty bright right now,” he said. Interest from Hollywood filmmakers, the success of comics-based movies — such as “Sin City,” “From Hell,” “The League of Extraordinary Gentlemen” and others — and “the explosion of manga … have really helped create mainstream interest in comics,” he said. “These days there are so many publishing houses doing creative, interesting things. It’s got a chance for some real growth.” He cautions, however, that the field is competitive. “The comics industry’s always been a tough niche and not always a lucrative one,” he said. “Your portfolio’s going to speak for itself.” He advises students interested in breaking into the industry to practice their craft and to emphasize their top-quality work. ”My best advice for students is bring your best stuff, put your best stuff at the front of the portfolio,” he said. “Sometimes there are not enough complete stories. The more stories in there, the better.” He also recommends that students refine their style, learn to develop interesting characters, build suspenseful plots and incorporate humor. “Most of those things evolve over time,” he said. “Tell stories, tell stories, tell stories. Draw, draw draw.” “I’m really looking forward to seeing everyone at SCAD,” he said. “I’m also looking forward to providing information about the business, the brass-tacks things.”
By Monique Bos A year ago, Savannah College of Art and Design student Erica Reis met Jeremy Ross, editorial director of TOKYOPOP, at the sequential art department’s annual Editors’ Day. Now she is elbow-deep in creating a graphic novel for the publisher. However, Reis, a junior at the Savannah College of Art and Design, is quick to emphasize that her contract with TOKYOPOP didn’t just stem from that one meeting. “There were a lot of factors that went into it,” she said. “It was a combination of Ross’ visit last year and my involvement in the Shojo Phonebook club.” In addition, when she took professor Mark Kneece’s Comic Book Scripting course, she and other students were required to submit a proposal to a publisher as their final project. Since she had made contact with Ross, Reis chose TOKYOPOP. The publisher rejected her proposal. However, staff members liked what they saw of her work, and so senior editor Jodi Bryson — who visited SCAD as a featured guest at Comics Art Forum Nov. 11-13, 2004 — worked with Reis to develop another concept. “They liked me enough to keep trying and figure out a story that I could do that they would like, which is awesome,” Reis said. “My editor really helped me develop the story early on.” TOKYOPOP was seeking to expand its offerings in the children’s market, an area in which not many graphic novels are available. With Bryson’s assistance, Reis sketched out plans for a 160-page graphic novel called “Sea Princess Azuri.” The first in a projected trilogy, the book targets girls aged 8-10 and should be released in late summer or early fall. “It’s a mermaid princess story,” Reis said. “The princess will have to go on this quest to rescue somebody dear to her, and there’s the evil eel prince. It’s fun.” She admitted that scripting, penciling and inking a full-length project while handling a full course load can be a challenge. “It’s really hard to keep up such a hectic [work] pace and keep up with your homework,” she said. Taking courses that relate to her work on the novel — such as Manga Comics — helps, she said. “Plus, I can help out the other students with advice and a little experience of what it’s like actually working for somebody.” Although many professional teams include a writer and an artist, Reis said she likes doing both tasks, even though the dual role can be challenging. “I do like having the control over my own characters,” she said. “I didn’t think I’d be able to have such control so early in my career.” Ross is attending the 2005 Editors’ Day April 28-29, and Reis said he is a valuable contact for students. “TOKYOPOP’s definitely got their eye on our sequential art department,” she said. “They want more work from students. They’re looking for people to give book deals to. They’re looking to get this hybrid manga-Western thing going.” She also said she has enjoyed her work with the publisher. “TOKYOPOP is really creator-friendly,” she said. “The story is going exactly where I want it to … I have a lot of freedom to craft it how I would like.” For other students planning to utilize the opportunities Editors’ Day provides to network with industry professionals, Reis emphasized having a strong portfolio and following up after the initial meeting. “I was just looking for editors to give me reviews, I wasn’t expecting any sort of deal or anything,” she said. “Following up was crucial. Just keep trying, try to diversify your artwork just a little bit to cater to the specific people you’re submitting to, and don’t give up, Love what you’re doing … You can feel the love pouring off the page if you really put yourself into your drawing.” |
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