Comics publishing has hit a bit of a slowdown, as I've noted a few times, and Kickstarter seems to be picking up the slack for a lot of publishers. Comicker's Dave Acampo wrote a piece looking at this is mostly about his own Kickstarter for Comicker, but has some general observations and a pie chart of where the money goes prepared by Comicker publisher Sean Williams:
Boutique apps for digital comics aren’t the big thing they once were, but they are still out there. Comicker, a website that was introduced earlier this year with five comics series, just launched an iOS app, powered by the Horizon Factory. The app is free; a monthly subscription is $2.99. Comicker series will remain available […]
Another new line of digital comics? Yes. Comicker, founded by Saori Adams and Sean E. Williams (Fairest) as a plat form to serialize digital comics. Collections can be purchased at DriveThru and eventually Comixology and a subscription mobile app, developed by The Horizon Factory. Adams:
“We realized that not all readers want their comics the same way, so we’re giving them as many options as possible. One size doesn’t fit all anymore.”
“The same goes for creators,” Williams added. “We’ve talked to tons of professionals who can’t take on a full second series, but have enough time for a few pages per month. Our release schedule and format gives them that flexibility. As a writer myself, this was something I wanted to see happen personally.”
There are eventual print plans. More of the duo’s thougths can be found in the piece from the Austin Daily Herald.
The line is launching with five titles
• “The Casebook of Rabbit Black,” written and illustrated by Kate Sherron.
• “Some Kind of Blue Moon,” written by Michael D. Stewart, illustrated by Thomas Boatwright and lettered by James Greatorex.
•”Grimfish,” written and illustrated by Aaron Pillman.
• “Lost Angels,” Written by David Accamp and illustrated by Chris Anderson.
• “Artful Daggers,” (webcomic edition) co-written by Sean E. Williams with Adam P. Knave, art by Andrew Losq and lettering by Frank Cvetkovic.
Comics publishing has hit a bit of a slowdown, as I've noted a few times, and Kickstarter seems to be picking up the slack for a lot of publishers. Comicker's Dave Acampo wrote a piece looking at this is mostly about his own Kickstarter for Comicker, but has some general observations and a pie chart of where the money goes prepared by Comicker publisher Sean Williams:
Boutique apps for digital comics aren’t the big thing they once were, but they are still out there. Comicker, a website that was introduced earlier this year with five comics series, just launched an iOS app, powered by the Horizon Factory. The app is free; a monthly subscription is $2.99. Comicker series will remain available […]
I appreciate Rosy Press and Janelle, but I want to point out that Spike Trotman really stepped up to help make sure this campaign was successful.
http://spikedrewthis.tumblr.com/post/140760299132/ironcircuscomics-hey-folks-spike-here
Her tweets and passion for women in comics was really sincere and she reached out to her Kickstarter backers, newsletter subscribers and more. It really helped make a HUGE difference in how it surged to success pretty much overnight.
Taneka: Thanks fo much for that link! I was astonished by the overnight groundswell for the Rosy Press KS and wondered what has caused it. i was unaware of Spike’s post but I’ll add it above.
I would have liked to see the pie chart separate out printing and shipping costs, just to show how significant shipping can be. I don’t see anything there for storage, which is another cost involved once you’ve got printed books.
Had a chance to talk with Todd Allen about the Economics of Comics and Kickstarter on the ComixLaunch Podcast a while back. Kickstarter’s impact on the comics industry can’t be understated… it’s expanded so many independent creators’ concept of what’s possible.
That Padnick article was something else. It was like reading an Outhousers send-up, except he seemed to honestly be incapable of understanding the type of comparison.being made. I get trolled a fair amount by people (and publishers) who don’t like the way the wind is blowing, but that one was one of the more memorable.
Jackie, I’ll make sure to share a final pie chart once all the final costs come in, for comparison. Here’s a link to our Kickstarter directly: https://www.kickstarter.com/projects/comickerllc/comicker-press-launches
Honest question: if you’re not crowdfunding TOWARDS creating a sustainable and *ongoing* platform of revenue what exactly is being “kickstarted”?
As someone who has been selling comics for three decades, the real prize isn’t just being in print for a second, it’s having ongoing repeatable year-over-year sales.
If creators can gain that by crowd-funding then I more than applaud that… but if crowd-funding is only funding the production of enough work to take care of backers, and then the work doesn’t get into the general Eco-system of the greater market (not *just* talking DM here)…. what’s the point?
-B
Very interested to see Brian Hibbs’ comment above, since this post did remind me of the column he wrote a few months back considering the impact of Kickstarter from a comics retailer’s point-of-view, (http://www.comicbookresources.com/article/tilting-at-windmills-kicked-at-the-start-and-other-thoughts )
Definitely interesting stuff to consider.
Touching on Brian’s point, there seem to be two models for Kickstarters: creators who roll from one project to another with them (which, as a creator myself, I say good for them if it works), and folks who are trying to build something long-term (like we are with Comicker). We don’t have Silicon Valley or Hollywood money backing us, so Kickstarter is the only way for us to raise funds quickly that will allow us to bring books to print – for backers, creators, and ourselves, as well as for the Direct Market and bookstores – and be the foundation for the next series of books (or second run of the first series, or second volume, or…). The other option is to take out a bank loan, which would only allow for a single printing, and not any long-term growth. The profit margins in publishing aren’t large enough to warrant it without screwing the creators over in the process (which some other publishers are very good at doing).
I’ve seen some great campaigns, but generally the postage to Australia doubles the cost. I wish more of it could make it through to retail, rather than as a possible second or third wave of printing.