Tagged: Kickstarter

Marc Alan Fishman: Crowdsourcing All My Fears

blogpostcrowdsourcingimageOh what an age we live in! Marvel banks billions at the box office. DC hits homerun after homerun on the silver screen. And Boom!, Avatar, IDW, and Image continue to stretch the boundaries of the original source medium like no one before them. Yet, it’s we, the lil’ indie folks that are living in the most golden of ages. Why? Because the marketplace has found a way to make us matter; to give us a national (if not international) fanbase all at the click of the mouse. And now, before any art is ever born (outside some sizzling promotional pieces) whole projects can be given birth at only the pitch level. Rao bless you, Crowdsourcing.

Of course… they say the Devil is in the details. Right? Back in 2011, when Unshaven Comics was nothing but a lowly anthology series and an educational graphic novel, we opted to use Kickstarter to fund a dream – the creation of a cosplay suit of armor for our Samurnauts series. We had high hopes that if we really stretched out our arms and begged every single person we knew, we could raise the necessary funds (A whopping $1100 to cover the design, materials, and labor to produce a very high quality suit by some great artisans, Malmey Studios). Well, after an agonizing month of hustling? We succeeded. And in funding the suit, and sending out the prizes? We were left in the hole. When the magnificent suit arrived, we couldn’t be happier. And the joy that our live model (both in the suit and in the book, natch) brought to the kids at various cons over the next 2-3 years? It was well worth the effort.

What tickles me to no end is that what we raised then is a mere pittance in comparison to what our compatriots are pulling down today. And to be honest? It scares the poop right outta my colon for our chances, now that we ourselves are considering returning to crowdfunded-fracas. Even funnier? When Unshaven Comics needs 250 people to vote for them, for free, we’re still having trouble. But I digress.

I look no further than my northernly neighbors Tom Stillwell or Gene Ha, and marvel at their recent successes. Stillwell’s Fangirl garnered over 300 backers, and tipped the scales at over $12,000 to help him produce his excellent story of a murder mystery taking place at the largest comic con in the nation. And hey, if that sounds like you want a copy, look no further for a pre-order. And ole’ Gene? Well, not that long ago, he was begging Unshaven Comics for tips on attending a comic con successfully (no lie! He wrote about it here). And now? He’s proven how much of a powerhouse he is, with his Mae graphic novel project boasting over 1,300 backers, and more money than I’d like to type out. Girl power, indeed.

It would appear perhaps these successes are a boon; that finding a fanbase is totally doable, and with the right moxey, the money needed to see our dreams become reality is just a little elbow grease away. But alas, that’s the kind of fluffy talk that sounds wonderful until you try it. Back in October, my Unshaven cohort, Kyle Gnepper, sought backing for his project Toolbox. It’s a strong concept, paired with a wonderful artist (and no, I’m not talking about me, or the other Unshaven guy). But with all his gumption, moxie, and lucky rabbits feet in tow, Kyle was only able to see close to half his needed goal. In the fallout, he’s been paying for the project anyways, a page at a time. His passion – no different than Tom’s, Gene’s, or any of the other successes we know – wasn’t the key to success.

As it were, name recognition matters. The time you debut your campaign matters. The time you promise it takes to bring the completed project to market matters. The price-points of your wares matters. I could go on. What was once a breezy and open marketplace is now its own economic ecosphere, held in place by unseen forces and unknown rules. Where promotion was once tethered to your facebook fan page, a few reddit groups, and maybe your dusty e-mail newsletter list… is now a fully-developed campaign where updates are a necessary evil, along with stretch goals, and swag far beyond the standard tee-shirt or sketch promise. Heck, in the successful campaign for Albert the Alien, I paid a handsome fee to ensure Unshaven Comics be drawn into the book. Why? Because my money was burning a hole in my pocket, and the guy running the show, Trevor Mueller, is too damned nice.

So, here I sit, with a litany of burning questions broiling in my draft folder for those smarter than myself (it’s a long list, trust me). Does Unshaven Comics actually have a shot at seeing several thousand dollars for a graphic novel of our Samurnauts series? If so, should we be launching it before all the material is done, to ensure we’re far enough away from the holidays so-as to attract wandering buyers? Do we go with IndieGoGo where failure is far harder to achieve (with a lower bar to victory), or go all-in with Kickstarter? Do we seek way-out-of-the-box merch tie-ins for bigger backers? Do we offer wacky and wild limited prizes? Do we call in every favor owed to us by known names in an attempt to garner attention from those who likely don’t know or care to know us? Do we plan a staged coup at a big-time comic con in hopes of being written about on CBR, Newsarama, Bleeding Cool, or Ain’t It Cool News?

The answers, my friend, are all yes. Stay tuned for my greatest leap of faith, perhaps ever, in comics.

Toolbox: Robot Justice Is Efficient Justice

I’m Kyle Gnepper, writer for Unshaven Comics on the books Disposable Razors and The Samurnauts since 2008. I’ve recently launched a Kickstarter to raise funds for the production of the all-ages graphic novel Toolbox: Robot Justice is Efficient Justice.

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Toolbox is the story of an inventor on an off-world human settlement who reprograms a construction robot to protect them from the planet’s dangerous wildlife and the ruthless bandits that terrorize the area. Equal parts Science Fiction and Western Adventure, Toolbox is a story about technology, sisterhood, character, and what it means to be a family.

We see the story unfold through the eyes of Sem and Merry, two orphaned sisters whose village is constantly under threat of roving gangs, led by the sinister Crim. Their only hope for salvation rests in the mind of genius but eccentric inventor Willy, whose fantastical ideas could be the key to wresting control of the town away from Crim and his men.

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Changing technology and its daily impact have been a pervasive part of my life. I grew up loving stories like Caves of Steel and Bladerunner for their use of robots as something other than mindless machines. In recent years, we’ve seen fewer stories showing mankind’s mechanical creations as something other than bringers of doom. I wanted to develop a story in which robots could be trusted and even loved.

The artwork is provided by Kristen Gudsnuk, the New York City-based creator of the webcomic Henchgirl. You can see her amazing work online at www.henchgirlcomic.com

Pledges as low as $15 will get a physical copy of the graphic novel sent to you. We also have an array of awesome packages for those who love getting swag and personal interaction with creators.

I’d love it if you’d give the kickstarter a look:

https://www.kickstarter.com/projects/1615697080/toolbox-robot-justice-is-efficient-justice

Marc Alan Fishman: The Mystery of Crowdfunding

First thing is first: I hope you had a most festive holiday – be it Chanukah, Christmas, Festivus, Kwanza, or the Winter Solstice. Second thing is second (geez, now I sound like a Katie Cook Facebook post…): I’m truly perplexed over crowdfunding these days.

Recently I’ve backed a pair of Michigan-based Kickstarter campaigns that were right up my alley. The first was for a table at the upcoming Detroit Fanfare  comic book and pop culture convention. Unshaven Comics has attended this show several times, and we’re big fans. The show-runners are nice, honest, and bring a solid block of comic-focused attendees every year. But, as it would seem, their show is under some kind of duress. With a shorter runway then I’ve been privy to seeing prior, they launched a campaign seeking $10,000. The rewards range from tickets to the show for attendees (with optional collectible artwork, etc.), tables for creators, and then tables for vendors. As of my writing of this article, they are still about $4,000 shy of reaching their goal, with less than a week to go.

Note: Right prior to Christmas, the managing team behind Fanfare closed down their Kickstarter campaign. With only a few days to go, and thousands away from reaching their goal… they opted to simply end things, sadly.

The second project, The Luminous Firefly is a little indie book being put out some passionate fans-turned-creators. The fact that the creative team behind the book – Rapid Fire Entertainment – are big supporters of Unshaven Comics made my backing a no-brainer. Their concept is pretty straight forward, straight out of the Stan Lee-meets-Milestone playbook. They’ve spent considerable time and effort perfecting a memorable costume for their titular hero. Suffice to say, for what little they were seeking from the campaign – $2,000 – I figured supporting them would be a no-brainer. For such a little amount being sought after, all things considered, I’m apt to join the rank and file of those who support the arts and artists who are trying to succeed and do so modestly. Sadly, they too are not close to completion of their goal. With about two weeks left, they are still shy upwards of $1500.

What has me confused, to a point, is how crowdfunding seems easy-peasy one minute, and dreadfully impossible the next. In the day and age where a person selling potato salad can see over 6,000 backers, and a check upwards of $50,000 – all when the initial project was literally meant as a joke… and legit creators and passionate artisans can’t scratch the surface with actual projects? It’s enough to cross the eyes of any Gen Xer (or am I a millennial?).

As a point of reference, my own brother-from-another-mother, Kyle Gnepper, is set to launch his own campaign for an upcoming project. He was all set to go, and then opted to wait until the new year – citing several sources that proved December crowd-sourced projects are less-likely to succeed due to people using their disposable income on holiday related purchases. Obviously, come January, we’ll see how good that knowledge is. Even more obviously, I’ll be likely to pimp Kyle’s project to see his success. But I digress. Actually kiddos, I don’t!

You see, that to me is exactly where I was headed when this piece began. Crowdfunding in the modern era (as opposed to what era, I don’t know) is really just an ongoing marketing experiment. How one chooses to shape their projects – from the goal amount, to the backer prizes, all the way through to the day-to-day promotion of the campaign – all becomes a massive undertaking that literally makes or breaks a creator’s livelihood.

I did my due-diligence and took Wesley Sun (a multiple Kickstarter funded creator) out to a nice dinner to pick his brain. Over sumptuous Chinese food, Wes was quick to point out all the common sense tactics I myself largely considered must be par for the course these days. Creating a pre-launch marketing plan. Building backer prize packs that are both affordable, and often built to up-sell to the next price point. Setting a goal that isn’t insurmountable, but does absolutely cover the costs necessary to complete the project… and to shamelessly promote it as if your life depended on it.

Of course, when one does all of these things and one still comes up short? That leads to sobering conclusions. Especially when Wes’s biggest successes came in part to being promoted by Kickstarter itself, in “picks of the week” e-mail blasts. How one gets on said blasts? To quote Two-Face from the absurd comedy that was Batman Forever: “Blind, stupid, doo-dah lllllllluck.”

Crowdfunding largely remains a mystery in my mind. How success can be earned versus hitting the lottery is seemingly becoming a business unto itself. A new marketplace of analysts and marketers sprout up weekly boasting their ability to turn your campaign into a success. And my initial reaction to most of their pitches is akin to those attempting to sell me diets and exercise equipment at two or three in the morning: I don’t buy it, even if it sells me in my most desperate of moments. Seeing my Motor City cohorts grasping at air in the dead of December only compounds the feeling. Because at the end of the day, how often do people put aside money they don’t have to launch a successful crowd-funding campaign in the first place? The old adage of spending money to make money seems oddly inappropriate given the very nature of crowd-funding. But I could be wrong.

At the end of the day, the best chance one has at succeeding at crowd-funding is inherently tied to the ability to reach out in every possible direction with as succinct a pitch as possible. Much like selling at a comic-con, I’m apt to believe that creators only have 30 seconds to really grab someone by the brainstem, and make them pay attention. After that, they have minutes at most to then convince the would-be backer that they create a worthy product, can deliver said product on-time, and with proper quality for the price asked.

Beyond that, the project has to feel like it’s something someone won’t get otherwise. In few other cases could I say that part of what must make a crowd-funded campaign successful is the je ne sais quoi of the project itself. And even having to type that confounds me. I’m open to you, my faithful friends and readers… what your take is on all of this.

And in the mean time, I’m going to dump some potato salad down the garbage as a precaution.

 

New Gerry Anderson TV project “FireStorm” launches via Kickstarter

Anderson Productions has launched a Kickstarter campaign today to fund production of a pilot for Gerry Anderson’s FireStorm, a new adventure series in the tradition of the original Anderson series like Thunderbirds and Stingray. Only hours after its start, the campaign has already been 25% funded of its initial goal.

Once funded, the pilot will be filmed in “Ultramationation”, described as a new hybrid process “using a combination of puppetry, practical effects, physical props and sets, and model miniatures”. Fans of iconic Gerry Anderson shows like Space: 1999, Stingray, Captain Scarlet, UFO and Thunderbirds will be able to back the project to help fund the pilot episode in return for special limited edition rewards from props and collector edition DVDs, to set visits and film credits.

FireStormOriginally developed by Gerry and his business partner John Needham, the project  originally became a Japanese animated series produced in 2003. The new series starts from scratch, re-developed from Gerry Anderson’s original notes, synopses and designs.  (more…)

On The Economics Of Digital Comics

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Have you been noticing that the digital comics scene is a little… active… these days? You’ve got the market getting estimated at $90M for 2013. There are a lot of different reports about how many copies the same day digital editions sell. I’ve heard anywhere from 10% to 25% of the print sales. It seems to vary from title to title and by publisher.

Amazon bought Comixology and it looks like that sale has been completed. Marvel’s announced they’re going to be selling current issues on their Marvel Comics Unlimited app, but nobody is quite sure what that means for Comixology and Amazon. Diamond is bringing back their digital initiative with new partner, Trajectory, after shutting down the old version earlier in the year. It looks like they’re going to be having DC on board with new version.

The money in digital comics in increasing. The distribution contracts are moving around like pieces on a chess board. We’re still largely stuck with DRM – partially at the insistence of publishers and the corporations they license properties from. The formats are anything but standard and the lessons of digital music seem lost on publishing, particularly comics publishing.

Over on the webcomics side of the world, crowdfunding is the new new thing. Oh, Kickstarter’s been a tool of the trade for a while, and an effective tool for pre-orders and financing color print runs. The new kid on the block is Patreon. Where Kickstarter and its class of crowdfunding sites tend to focus on the creation of an object, like a graphic novel or reprint collection, Patreon is more like a monthly subscription. SMBC (the webcomic sometimes known as Saturday Morning Breakfast Cereal) is over $8500/month in Patreon pledges. That projects as over $100K/year in crowdfunding income with no books to ship. OK, Zach Weinersmith (the man behind SMBC) might be a bit ahead of curve on this, but there seems to be an increasing amount of money flowing in this direction and the revenue mix is changing for a lot of people.

The digital comics world continues to evolve and we really have two schools right now: an eBook school that’s from the comic book/graphic novel tradition and a webcomic school that’s from the newspaper strip tradition. There’s a little crossover between the two and the world of print. A whole lot of cartoonists see a print book as one of the endgames for making money no matter whether the initial publishing is done on paper or with pixels.

If you’re interested the world of digital comics and how the money flows through it, I’m Kickstarting a book on the subject… through this afternoon. Time’s almost up on that. Feel free to pop on over to https://www.kickstarter.com/projects/1524990961/the-economics-of-digital-comics and have a look.

Exclusive Image Reveal: “The Horror Lovers” Hot Tub Print

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The cast of “The Horror Lovers” do their best to beat the summer heat in this image exclusively available as a print to backers of their Kickstarter!

“The Horror Lovers” is a screwball horror/humor comic book by Valerie D’Orazio (“PunisherMAX,” “Beyond: Edward Snowden”) and Bobby Timony (“The Night Owls,” “Detectobot”)—a love-letter to the types of slapstick movies, humor comics and grade-B horror movies we loved as a child. You can read the entire 8-page preview for “The Horror Lovers” right here, for gratis!

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The first issue features an Introduction by Craig Yoe (the editor/curator of “Haunted Horror” and “Popeye” for IDW/Yoe Books), pinups by legendary artists Paul Gulacy and Fred Hembeck, “Archie” artist Dan Parent, the acclaimed Dennis Calero and “Wapsi Square’s” Paul Taylor.

And the modest stretch goal will produce a SECOND issue of HORROR LOVERS for early 2015, featuring pinups by Dan Goldman, Josh Bayer, Andrew Pepoy, and more!

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If you are a fan of classic comics—with a twist—and want to support independent creators, please check out the “Horror Lovers” Kickstarter and consider supporting the project.

 

Oculus Rift, Facebook, and Sharing With Crowdfunding Backers

OculusIt’s amazing how money changes things.  Norm McDonald once did a bit about buying a friend a lottery ticket for a Christmas gift – “You don’t actually want it to win…”

Oculus Rift, the latest uber-cool project amongst video game mavens, just hit the jackpot, and a lot of people are annoyed about it.  The VR-goggle system, designed primarily for videogame use, but bursting with potential other uses, got its initial funding via crowdfunding site Kickstarter, much to everyone’s joy.  But this week, the company made news when it was sold for a staggering two billion dollars.

Sounds like good news, right?  A rags to riches, Local Boy Makes Good story, yeah?

It was bought by Facebook.

You can actually hear the Internet’s face fall. (more…)

Review: “Comic Book Babylon”

Comic Book Babylon

Comic book writer, editor, and raconteur Clifford Meth took to Kickstarter to fund the publication of Comic Book Babylon, a collection of essays, stories, and interviews drawn from the almost ten years worth of columns he had written for various comic book news sites across the Internet, including ComicMix itself. Promising an introduction by Stan Lee and illustrations by noted comic artist/political crackpot Michael Netzer, Comic Book Babylon almost quintupled its original funding goal with $11,219 in pledges. Last week, Meth delivered with the release of Comic Book Babylon, published in print by Meth’s own Aardwolf Publishing or digitally through the Amazon Kindle store. (more…)

Box Office Democracy Review: “Veronica Mars”

In the interest of full disclosure, I should tell you that I backed the Veronica Mars movie on Kickstarter.  In addition to a myriad of cool perks this gave me, and thousands of other backers, access to regular updates on the process of making this movie, a level of access rather atypical today and totally unheard of a decade ago.  I watched this movie grow from a cool pipe dream to an actual thing that is actually playing in theaters.  This all adds up to a movie that I liked a great deal but am unable to assure myself that this affection is genuine, or is it more like the love a parent feels for their potentially mediocre child?

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Marc Alan Fishman: Crowdfunding Fist To Your Face

Bereft of much else on my mind this week, I turned to my social media outlets. I asked the world to inspire me, and seconds later, the world responded. “Monkey Fist”! It shouted at me. Well world, what about it?

“Monkey Fist” is in fact a crowdfunded project being thrown by fellow indie-in-arms studio, the Sun Bros. I myself am proud to proclaim myself a backer. Perhaps you should too. The Sun Bros, Wesley and Brad, are two hard-working dudes I’ve seen successfully launch now their third project, by way of crowd-funding. They hit the scene (which given the fact that Wesley knows Kung Fu means the pavement is now dead) with the apropos “Chinatown” in 2012, followed it up a year later with “Apocalypse Man”, and are now amidst their campaign to fund the fist. Suffice to say, they are making their way in the industry 1 great fan at a time. Not unlike Unshaven Comics. But given a look at their crowd-funded kitty, perhaps we should be asking them questions and taking serious notes… instead of shaving.

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