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theanimeview · 2 years

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Comic-Con@Home 2021 - Manga Publishing Industry Roundtable - Notes!

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Credit: Peggy Sue Wood | @pswediting

About the Event

Date: 25 July 2021 | Link: https://www.youtube.com/watch?v=IkcbcyjYEHg&ab_channel=Comic-ConInternational

Panel Description: Manga sales are now at record highs, but while demand is up, unprecedented supply chain shortages mean that popular titles are frequently out of stock. With these mixed blessings, what's next for manga? Find out what's going from the perspective of top publishing pros, including Kevin Hamric (vice president – marketing sales, VIZ Media), Mark de Vera (sales and marketing director, Yen Press), Leyla Aker (director, publisher services, Penguin Random House), Ed Chavez (publisher, Denpa Books), and Ivan Salazar (senior marketing director, Kodansha USA). Moderated by Deb Aoki (Publishers Weekly, Mangasplaining).

Notes

As a reminder, these are not exact quotes from the speakers. I’ve done my best to match what they’ve said with some verbatim statements, but also summarization. I highly encourage those interested to watch the entire panel linked above. I took notes on what I felt was beneficial, but there was a lot more in this panel than the notes taken below. The panelists told stories from their careers so far, gave fantastic examples of different titles, and so much more. Their insight and information help inform on the culture and business behind publishing manga… with that in mind, let’s jump in!

Aoki: What goes into your decision-making process when you choose new titles to pick up? Obviously, what we get here in North America is the tippy-tip-top of the iceberg of what’s available in Japan, both on back-list and current titles.

Akler: Every publisher will have different considerations when they are evaluating what they want to pick up. What might work for SQUARE ENIX is not the same thing that’s going to work for VIZ, which is not the same thing that is going to work for DEMPA, which is not the same thing that is going to work for XYZ. There is still very much an issue of imprint and publisher identity when publishing books because we all have our specializations. This is concentrated in Shounen (still one of the top-selling genres across the board), KADOKAWA, and, therefore, Yen Press, which is heavily concentrated in Isekai and light novel tie-ins right now. Kodansha kind of covers the waterfront as they do just about any genre at present. Ed Chavez at DENPA has more of an artistic and independent sensibility in what he’s picking up, while SQUARE ENIX is a little bit more on the video game tie-ins and more on the commercial end of things. So the identity of the imprints and what your publishing is informed by that decision.

Akler cont.: Secondarily, as publishers, we’re looking at what will succeed in the market. And, I think that from the fan perspective, the whole thing is very opaque and mysterious. Why won’t a publisher pick up a title? It could be several things. Maybe the publisher doesn’t think it will work in the market here, maybe the sensibilities of the Japanese audience are not the same as the sensibilities of the North American audience, maybe it doesn’t fit the imprint’s identity, etc. Finally, there’s a certain kind of material that is more suitable for certain markets. The issue with which manga makes the evaluation is a little bit more complicated. If you’re a regular trade book publisher and a book doesn’t work, it’s one and done. Like, ‘okay, that title didn’t work. We move onto the next one.’ However, if you are a manga publisher, depending on the length of that series, you are locked in. So if a series doesn’t work, it’s not simply that a book doesn’t work. It means that book is not going to work possibly the next 64 times you come out with a volume under the title, and that is an incredible financial burden for any list to bear. Those aren’t the only reasons. As mentioned, there's a lot of considerations put into picking titles, and it just varies with every single publisher.

[All the panelists agreed.]

Salazar added that sometimes those series you're looking for are coming; they're just further down the list, so no announcements have been made yet. Not always, but sometimes.

Vera added: [For] What goes into deciding what manga companies like ours (Yen Press) to acquire, I’m going to quote a wise mentor figure of mine’s saying: ‘Can I sell it?’ That’s kind of the essential question that’s asked when considering what manga books get brought over/what books to acquire, and there are two ways to look at that sentiment of ‘Can I sell it?’--The first is when, you know, when one hears that they may think, ‘oh, you’re looking out for those obvious anime hits and tie-ins’ and, yes, of course, those are things that are looked out for as that does increase the likeliness of a title series being acquired. But, in my time in the industry, I’ve been most satisfied by the other half of ‘Can I sell it?’ and that’s when gambles have been taken, which is why I am really happy to work for a company like Yen Press. Yen Press is a company that historically has shown itself to be the kind of business that’s taken gambles such as light novels, which once upon a time was looked at as not a viable category when it was given a try before. Then we give it the full Yen Press treatment, and now it’s doing amazing for us. This year we’re the first to publish Korean webcomics in a pretty significant manner, such as Solo Leveling.

Vera cont.: Solo Leveling took off as one of the best selling graphic novel series of the year, so it may seem like an obvious choice now, but there is definitely an element of risk-taking that went into it. In my time in the industry, whether it’s the examples laid out here or in other cases I’ve come across, I’d say that I’ve been, personally, most satisfied at the time where the companies I’ve worked for took risks on titles, on series, and on categories, that might not have seemed like obvious bestsellers in the market. But, we believed that there were fans for it, we believed that there were markets that we could sell to, and it did well. It’s a combination of going for the obvious choices and also gambling for those that might be less obvious.

Aoki: Building on that question, let me ask: can you maybe name some titles that’s on your list or that you consider to be something that’s maybe a little outside of your comfort zone, but that people should take a chance on? Or, is there a category of books that you’ve started to publish that are kind of like, ‘Wow! I couldn’t have done this five years ago.’

Vera: There are lots of smaller genres that have always had an audience but have been hard to bring out. BoysLove, for example, has really expanded in the last few years in the English market and even classic series (like the re-release of Fruits Basket) are getting bought out.

Vera cont.: All the panelists agree that the rise in BL/Yaoi sales have gone through the roof. Maybe this is because of more want for representation--who knows? But it’s a really expansive introduction into the market that is very popular right now.

Chavez: Josei titles are still difficult to sell right now. (Josei manga are Japanese comics catered specifically to women's interests, and marketed towards older teenage girls and adult women demographics.) Not sure why they’re hard to sell, but we’ll keep trying as it's a section I believe has potential.

Aoki: How is piracy impacting sales and titles? Piracy along with fan-scanlations was something I’ve heard a lot about previously but have not heard as much in recent years. Is it still heavily influencing your business or …?

Chavez: Piracy is still out there, of course. I feel where it hurts the most is when publishers are already working on the title for publication and then fan-scanlations start coming out. We, as publishers, don’t like to break the perception of what a marginal title could be, which is not helped when--about half-way down the line--we see a slow down of purchases, and see that people are ripping off ebooks and posting them to websites.

Vera: Does it affect acquisition decisions and sales? It does not generally affect acquisition decisions as typically pirated titles are things already popular, so being afraid of that is not really a thing. It would be foolish to say it does not affect sales, but we’re also in an unprecedented time where we cannot keep certain titles in stock because so many people are buying them. Here’s the thing, though--it’s just not a good thing to do (to an artist or for yourself or the publisher) because it affects the business overall.

Aoki: Where do you see the business of publishing manga going in five years?

Hamric: The business goes in peaks and valleys for the book business in general. Where I see manga and the industry right now is a peak and we’re in a time, potentially, of something historical happening. We may see anime and manga go from the pop culture side of things into the mass-culture side of things like we see in Japan. Never before has things like manga, anime, and stuff like science fiction been as popular as it is now. For whatever reason that is, whether its Marvel or DC or Big Bang Theory--the people our age are passing things down and it’s growing in a way that is exciting. I think, in the next 5 years, it will settle into the mass-culture like we see in Japan currently. The last boom and bust is not something I see repeating.

Aker: I don’t see the last boom and bust from the 2009/2010 period happening again in the next five years. The circumstances seem fundamentally different from back then. You know, back then, almost 50% of all manga sales came from BORDERS which has since shut down (right around the same time as the bust). BORDERS, Waldorf books, and B. Daltons comprised the majority of sales for manga titles then and the economic crash of that 2009 period took them out. So unless places like Amazon go belly-up, the distribution and sales is probably not going to walk back. Culture, too, does not seem like it’s going to take a step back.

Chavez: From a pessimistic perspective, anything could happen so while I hope there isn’t a bust--if there is one, it would not be unheard of. I hope it doesn’t happen, but there probably will be a dip at some point. So, I hope we get to keep expanding with better outreach and distribution.

Vera: One of the biggest readerships in comics is on the digital platforms--something Korea has really done well and is popular here so I think a turn towards the digital will be booming as platforms for manga and other comics. I feel like we will see a continued growth in legitimate consumption of the medium rather than continuing with piracy. (As a note here, when legitimate means come out at affordable rates, piracy tends to drops significantly, so with continued growth of the industry this is reasonable prediction.)

*As a final note, in reviewing this post before scheduling it, Salazar’s addition to the conversation seemed missing and I wished to address this. Salazar added a lot more to this panel through case examples. I didn’t feel like taking notes as he often was expanding on someone else's point rather than making new ones, as well as listing titles, BUT that does not mean that his inclusion and contribution should not be recognized. I, once again, highly encourage those interested to watch this panel fully to get a better grasp on the information within.

#COMIC CON #COMIC-CON #COMICCON #COMIC CON 2021 #COMIC-CON 2021 #CC@HOME #CC@HOME21 #COMICCON@HOME 2021 #COMIC-CON@HOME 2021 #COMICCON 2021 #SUMMER 2021 #NOTES #san diego comic con

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theanimeview · 3 years

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Comic-Con@Home 2021 - Comics Arts Conference Session #1: Comic Art in Museums: 90 Years of Progress - Recommended Watch

Credit: Anonymous | @TAVmedia

About the Event:

Panel: Comics Arts Conference Session #1: Comic Art in Museums: 90 Years of Progress | Comic-Con@Home 2021

Panel Description: Comic art is gaining traction in the world of museums as audiences and curators recognize its aesthetic and cultural value, but today’s high-profile exhibits build on a rich history that goes back 90 years. Please join the contributors to the first book focused on this topic, Comic Art in Museums (University Press of Mississippi). Moderator Rob Salkowitz (Forbes), book editor Kim Munson, Charles Hatfield (California State University Northridge), Diana Green (Minneapolis College of Art and Design), Denis Kitchen (Kitchen Sink Press), Damian Duffy (University of Illinois Urbana-Champaign), and Eric Boime (San Diego State University) look back at influential comic art exhibits including Misfit Lit, R. Crumb’s The Book of Genesis, Comic Book Apocalypse: The Graphic World of Jack Kirby, Masters of American Comics, and more.

Why Watch?

While this one might now be for everyone, it is a great exploration into comic art and its cultural significance. Comics, rather--visual storytelling--have been around for a long time. Much longer than the word “comic,” and have played various roles in our culture--from education, to entertainment, to political propaganda, to expressionism, and more. The curation of comics found rising up in museums and across academia is a showcase of their developed uses beyond entertainment. So we recommend checking this video out if you find the time.

#comic con #Comiccon@home2021 #comiccon #san diego comic con #comic #comics #notes #summer 2021 #comic con@home #comic con 2021 #comiccon@home 2021 #COMICCON 2021 #comic-con@home #comic-con@home 2021 #CC@HOME21 #CC@HOME

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theanimeview · 3 years

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Comic Con@Home 2021 - Crunchyroll Virtual Industry Panel - Notes

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Credit: Peggy Sue Wood | @pswediting

About the Event

Date: 23 July 2021 | Link: https://www.youtube.com/watch?v=bHKH3htEpxY&ab_channel=Comic-ConInternational

Panel Description: Hear about all the latest and greatest anime & manga coming out of Crunchyroll straight from the source!

Notes

Don’t forget at the Crunchyroll Expo is happening from August 5-7 this summer (2021)! It’s less than two weeks away now and we’re really excited here at TAV to be attending digitally once again! At the Crunchyroll Industry panel we got to hear a little about the convention coming up as well as updates on some new releases from the company. This Industry panel was a little different from the one shown at AX 2021 (shocked me since this convention was so close to AX).

Anime Releases

“Tokyo Revengers”

On-Going series, Released 11 April 2021 (Spring 2021 Season)

Trailer: https://www.youtube.com/watch?v=idlLFNNpZiI&t=70s&ab_channel=CrunchyrollCollection

“To Your Eternity/Fumetsu no Anata e”

On-Going series, Released 12 April 2021 (Spring 2021 Season)

Trailer: https://www.youtube.com/watch?v=oJg6BeGxl-c&ab_channel=CrunchyrollCollection

“Fena: Pirate Princess” / “Kaizoku Oujo”

Releases October 2021

Trailer: https://www.youtube.com/watch?v=nAL8BFya75U&ab_channel=CrunchyrollCollection

“Tensei shitara Slime Datta Ken 2nd Season Part 2″ / “That Time I Got Reincarnated as a Slime Season 2 Part 2”

Released 6 July 2021

Trailer: https://www.youtube.com/watch?v=nle-73CcG1k&feature=emb_title&ab_channel=CrunchyrollCollection

“100-man no Inochi no Ue ni Ore wa Tatteiru 2nd Season” / “I’m Standing on a Million Lives Season 2”

Released 10 July 2021

Trailer: https://www.youtube.com/watch?v=CW7Js8eB_aA&ab_channel=CrunchyrollCollection

“One Piece” - Wano Country Arc

On-Going Series

Trailer: https://www.youtube.com/watch?v=l_98K4_6UQ0&ab_channel=animelab

“Boku no Hero Academia” / “My Hero Academia” Season 5 + Movie 3: World Heroes' Mission

Season Released: 27 March 2021

Season Trailer: https://www.youtube.com/watch?v=kkmW-tppFPM

Movie Release: 6 August 2021

Movie Trailer: https://www.youtube.com/watch?v=cwka0cj-OBg&ab_channel=%E6%9D%B1%E5%AE%9DMOVIE%E3%83%81%E3%83%A3%E3%83%B3%E3%83%8D%E3%83%AB

“Sakugan”

Releases October 2021

Trailer: https://www.youtube.com/watch?v=YBZCuDWjA9A&ab_channel=CrunchyrollCollection

“Orient”

PROBABLY Releases January 2022 - (But we are not 100% sure)

Still, be on the look out! https://myanimelist.net/anime/45560/Orient

“Peach Boy Riverside”

Released July 1st

Trailer: https://www.youtube.com/watch?v=SqqjGKk80tw&ab_channel=CrunchyrollCollection

“Girlfriend, Girlfriend” / “Kanojo mo Kanojo”

Releases July 3rd

Trailer: https://www.youtube.com/watch?v=4UPbSj0D_CU&ab_channel=CrunchyrollCollection

“Tsuki ga Michibiku Isekai Douchuu” / “Tsukimichi -Moonlit Fantasy-”

Releases July 7th

Trailer: https://www.youtube.com/watch?v=DJRLAMtq_54&ab_channel=NationofAnime

“Seirei Gensouki: Spirit Chronicles”

Releases July 6th (this week!)

Trailer: https://www.youtube.com/watch?v=HpU71cy3e-Y&ab_channel=NationofAnime

“The World’s Best Assassin, To Reincarnate in a Different World Aristocrat / Sekai Saikou no Ansatsusha, Isekai Kizoku ni Tensei suru”

Releases October 2021

Trailer: https://www.youtube.com/watch?v=bgeKehNn93M&ab_channel=JPAnime

“In the Land of Leadale” / “Leadale no Daichi nite”

Releases January 2022

“Restaurant in Another World Season 2″

Releases October 2021

Trailer: https://www.youtube.com/watch?v=auIcebhIzMc&ab_channel=ANIPLUSAsia

There will be a panel about this returning anime at the Crunchyroll Expo this year!

“The Night Beyond the Tricornered Window” / “Sankaku Mado no Sotogawa wa Yoru” (Shounen Ai)

Releases October 2021

Trailer: https://www.youtube.com/watch?v=IeuXATblr0o&ab_channel=Infamous

“Platinum End”

Releases: October 2021

Trailer: https://www.youtube.com/watch?v=Jk9KM2HWcKE&ab_channel=CrunchyrollCollection

Game Releases

“Princess Connect - Re: Dive”

Released in English on mobile 2021

Trailer: https://www.youtube.com/watch?v=HTZMbs2X-B4&ab_channel=CrunchyrollCollection

Other Releases

CrunchyCast - A new anime podcast from Crunchyroll!

And, for those interested, you can tour Crunchyroll: https://www.museandcompany.com/crunchyroll-tours

Check out new merch available at the Crunchyroll Store - You can also learn how the company connects with creators of anime/manga to create some of their custom merchandise here:

youtube

Here is a link to their connected channels on youtube: https://www.youtube.com/c/Crunchyroll/channels

#COMIC CON #COMIC-CON #COMICCON #COMIC CON 2021 #COMIC-CON 2021 #CC@HOME #CC@HOME21 #COMICCON@HOME 2021 #COMIC-CON@HOME 2021 #COMICCON 2021 #SUMMER 2021 #notes #san diego comic con #crunchyroll #crunchyroll expo #CrunchyCast

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theanimeview · 3 years

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Comic-Con@Home 2021 - For Indy Comics Creators: How to Powerfully Brand Yourself - Notes

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Credit: Peggy Sue Wood | @pswediting

About the Event

Date: 24 July 2021 | Link: https://www.youtube.com/watch?v=yad9Tjnx0ac&ab_channel=Comic-ConInternational

Panel Description: Brian Pulido has been a thriving, independent comic book creator for thirty years, and has a clear easy to identify brand. What role does branding play in the world of independently-produced comics? Through his “branding rules,” case studies, and examples, Pulido will show you all you need to know . . . and more!

Notes

Brian Pulido is back again at Comic-Con 2021 to host a panel on branding. We have notes from two other panels that he has done before, “Calling All Creators: How To Build a Loyal Fan Base From Scratch” from Wonder Con 2021 and “How to Thrive as an Indy Comics Creator Now!” from last year’s Comic-Con (2020). He’s an experienced creator and well-known name in the industry, which makes this panel a must for our “Notes!” style of posts.

What is a brand?

A brand is more than just a color palette or logo. Pulido asserts that it could also include a state of mind for your company. It’s a way to look at what kind of outcome you are hoping to create for your company and audience. For example, his company, Coffin Comics, aims to create fun and excitement in the domain of rock and roll-inspired supernatural comics. That’s what Coffin Comics is about in terms of branding. So content focuses on that, and everything serves that mentality.

If you think of Nike, you think of their logo (a swoosh) and the simple design of it; you may also think of sports and highly physical activity. They focus on the spirit of moving forward quickly and with excitement.

Rule 1: Define Your Brand

You need to define yourself and your potential customer/patron. This could be anything and everything from your name to your logo and color choices--even fonts.

The goal is to create something that is instantaneously definable or recognizable. Think of Google, Nike, or other major brands and how easy it is to define and identify them in comparison to other companies in the same industries.

Rule 2: Create a Value Proposition

What is your brand doing for others? How is it worth supporting? Is it entertaining? Is it educational? What makes you valuable to the audience is the key point. Define it and keep it in mind as you are branding, advertising, and creating.

Rule 3: Find Your Brand Voice

Clarity - Speak clearly, without complicating your message. Select some buzz words that are easy to categorize your content and focus your way of writing/producing things under those categories so that the audience knows what you are about as a person/company.

Consistency & Constancy - The premise of this is that, no matter what, you are always out there communicating. You never stop, and you repeat processes or styles consistently.

Rule 4: Keep it Real & Authentic

Be your genuine self and do what you love. If you hate it, that will show even if you put on a smile. You need to do what you love so that you can push through and use that passion even if you have a rough day.

Don’t guess the marketplace. Following trends might work for a short while, but you'll come to hate the work if you don't have a passion for the subject. Moreover, you won’t really build a brand because you won’t have a base to build off of for your content to succeed long term.

Consider being aspirational in nature. The literal definition of aspirational is “having or characterized by aspirations to achieve social prestige and material success.” It’s a good mindset to have and can help you remember that gaining the success you want will mean more if it’s because of who you really are and not who you pretend to be.

Rule 5: Let the Work Rule!

Your purpose and your work should be obvious to people within one second of looking at your website/logo.

Let the work do the talking. For example, it would be better to write in a query letter: "Hi, my name is ___. I have a story about _____, and I'm looking for an opportunity to have someone read it."

This is way better than being boastful and long, like saying: “I wrote the best thing ever and if you need to read it because it will make us rich” or “it’s about [insert long summary].”

Rule 6: Stand Out from the Crowd

This seems obvious, but it’s not always easy. Branding on a personal level and for a company can look different. For example, a personal brand might be a uniform or hairstyle. But a company needs those categorical breakdowns and logos. A key message to stick to and evolve from--think Disney and the “magical” part of their branding. It’s a primary focus, it’s their key message, and it works.

For Coffin Comics, the key message is great customer service and building trust with customers. That’s the key message and what they strive for behind the scenes. Pulido asserts that “there’s no sense in having the greatest book in the world, or anything, unless people really trust you and they could trust you if you are worthy of their trust.”

Branding could also be working inside a particular genre, powerfully. For example, this could mean you work in horror, and your "powerful" approach uses a particular art style that is more so associated with cutesy stuff than typical dark/horror styles. (Like, Happy Tree Friends...)

Carve out a niche in your genre, essentially.

Rule 7: Live Your Brand

This isn’t just image. It’s that key message part. Living the philosophy of what you want your brand to be is part of it.

One way to do this is to tell your story. The more you show, the more people know, and the more likely you are to build trust (look at Pulido's Wonder Con 2021 panel, “Calling All Creators: How To Build a Loyal Fan Base From Scratch” to understand better what this means.)

You need a website and a presence on social media. Content-wise, it’s always good to do a bit of documentation such as in what you are doing/who you are out with, etc. It’s a powerful way to show your audience the kind of person/company you are without needing to stray from your message or get too personal.

Rule 8: Repeat Rules 1-7!

Like everything, it takes work. It takes time. And it takes passion.

Good luck!

#COMIC CON #COMIC-CON #COMICCON #COMIC CON 2021 #COMIC-CON 2021 #CC@HOME #CC@HOME21 #COMICCON@HOME 2021 #COMIC-CON@HOME 2021 #COMICCON 2021 #SUMMER 2021 #NOTES #san diego comic con

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theanimeview · 3 years

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Comic-Con@Home 2021 - Breaking Into Comics and Staying In! - Notes

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Credit: Peggy Sue Wood | @pswediting

About the Event

Date: 23 July 2021 | Link: https://www.youtube.com/watch?v=7A1zu_DvmGo&ab_channel=Comic-ConInternational

Panel Description: With the shifting landscape of the comics industry, this is your invaluable guide to breaking into the comics industry. Join Comics Experience founder and former Marvel Publishing editor Andy Schmidt, along with industry veterans Bon Alimagno (former Marvel editor), Kyle Higgins (Radiant Black), Marissa Louise (DC colorist), and Paul Allor (Hollow Heart) for an in-depth discussion about workable strategies to launch your comics career!

Notes

Writing, Penciling, Inking, Coloring, Lettering

Three Fundamentals to Breaking Into Comics

1. Talent

This means:

Having a ready-made and easily accessible way to show your talent.

Do you have a portfolio? Are you sharing work on social media? How can people get in touch with you? These should never be more than a few clicks away from a google search.

Portfolio Set-up

Are you showing all the different styles and experiences of your work and writing? The more evidence to your talen the better.

2. Persistence

Remember that there are a lot of people in the industry and being persistent without overstepping or being annoying is a key element. That means keeping up contact with your contacts, staying in touch with your collaborators and editors too so that you stay on their radar.

3. Luck

When preparation meets opportunity. Those that have been prepared and take advantage of opportunities are the ones that get moving faster because a lot of this business is people you know and people you meet. You often don’t know the opportunities those relationships will bring.

How do you stay in comics?

1. Art Style

It needs to evolve. It needs to keep up, for the most part, with modern art styles and tools (by that--no blurry, pixelated images--higher quality color, etc.). Webcomics can sometimes skate by on this, but those are the ones that often hit a specific niche where the art can be either ignored or is an integral part to the story.

2. Professionalism

It’s a very collaborative environment. If you miss a deadline, you are holding up a much bigger line of people than just yourself and people remember.

3. Be Nice

It’s often the nicest and the meanest that get remembered. If you’re going to be remembered, it's much better to be the person that was supportive and nice to others than the one that was mean. It will help you stay in comics. It will make others want to keep you there--sometimes longer than your initial entrance through talent!

4. Avoid Burnout

Some signs of burnout may include excessive junk food eating, addictions (drinking, smoking, etc.), and inconsistent sleep schedules. Not to condemn, but those are signs you are pushing yourself too hard. Figure out goals and needs, make a schedule and try to stay healthy. It will help a lot in avoiding burnout.

5. You can be a professional without getting all your money from comics.

Especially in the early years, it’s important to know that it’s hard to get fair wages. It’s a hard job and you may need to take on other forms of work or a “day job” to get by. Just remember that you need to know how much you can do without burning out.

6. Avoid Getting Pigeon-Holed

If you get known for something, you will get “type-casted” for it. Are you the eleventh hour person? That’s who you become in some people’s eyes. Therefore, do a lot of other things with your art when you can.

One thing to note from an editorial perspective is that if you close a series, you may become type-casted as a closer, not an opener. If that happens, you will get skipped over for new launches (and the editors WON’T tell you that!)! So try to do a mix of both at the same time if the opportunity arises.

BUT, JUST SO YOU KNOW... (the panelists tell us:)

Even if you do all of this and everything right, you still may not be able to break in or stay in comics. It shouldn’t prevent you from trying. There are many paths to breaking into comics and staying in. Traditional publishing for comics is REALLY hard to break into, but you can start self-publishing a comic on webcomic platforms and transition over later if you want to get started now.

Should you go to art school?

You don’t have to but an important take away to look into if you don't is what one panelist called “Studio Practice.” This means:

1. Know how to read contracts (Understand what your contracts is saying about your requirements for the job)

3. Understand how what you’re doing is affecting your body

4. Learn how to keep yourself interested in your work.

#COMIC CON #COMIC-CON #COMICCON #COMIC CON 2021 #COMIC-CON 2021 #CC@HOME #CC@HOME21 #COMICCON@HOME 2021 #COMIC-CON@HOME 2021 #COMICCON 2021 #SUMMER 2021 #NOTES #san diego comic con

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