crowdfunding Archives - Page 2 of 2 - Robot 6 @ Comic Book Resources
After this post went live, a representative from Kickstarter reached out to clarify some of the points made below. I don’t think it changes my basic conclusion, but when you’re working with statistics, it’s good to have all your caveats in a row, so I added a few more comments after the cut.
Simply put, I’d be wary of allowing my ability or inability to successfully fund the printing costs of a book to have any influence over whether or not I saw said project through to completion.
Pre-failing financially, would undoubtedly undermine any chances I have of succeeding creatively.
Allowing a kind of market to pre-determine if my project has value… that would alter my own perception about it’s worth, no matter how hard I tried to fight that.
Failing to raise funds would mean I’d scrap the story and try something else. And I think that’s a crappy outcome.
(Emphasis in the original.) It’s not the same as getting rejected by a publisher — that, he feels, could be written off as the opinion of one or two people. If the entire market rejects your work, it’s a lot harder to get up the enthusiasm to complete it.
But hold on a minute. After looking at the Kickstarter statistics presented by Jeanne Pi of AppsBlogger and Prof. Ethan Mollick of The Wharton School of the University of Pennsylvania, I wouldn’t be so quick to scrap a project just because it didn’t get a lot of pledges. Pi and Mollick present their findings in a handy infographic, but here’s a quick summary:
Auctions | Todd McFarlane’s original cover art for The Amazing Spider-Man #328 sold at auction Thursday for $657,250, shattering the record for a single piece of American comics art set last year by a splash page from The Dark Knight Returns #3 ($448,125). However, the price falls well short of the $1.6 million shell out last month for the original cover art for Tintin in America. A 9.8 graded copy of X-Men #1 was also sold by Heritage Auctions for $492,937.50, more than twice the previous record for that comic. [ICv2]
Publishing | Lily Rothman takes a look at iVerse’s newly announced comics-only crowdfunding platform Comics Accelerator, which will allow immediate delivery of digital rewards in a more sophisticated format than an e-mailed PDF and cap its share of the take at $2,500. As Laura Morley of Womanthology points out, it can go both ways: Being on Kickstarter, a trusted platform with wide visibility, helped boost the project, but on the other hand, “Any site that’s able to take advantage of the fact that comics online already work as a big community, as a place where people talk to their friends and promote things they’re interested in, is likely to do well.” [Time]
Small comics publisher Alterna Comics is running what it calls a “reverse fundraiser” on the crowd-funding platform IndieGoGo. The term “reverse fundraiser” suggests the company will be giving the money to us, but alas, it’s not that good. What is reversed is actually the chronology of events: Alterna is looking for funding for comics that have already been published. Alterna founder Peter Simeti explains:
When these books originally went to print, fundraising sites like kickstarter and indie gogo weren’t super popular so we ended up putting print runs on credit cards. I’m still in a bit of debt because of this (about $30K) but it’s been getting better every year. I pay about $5K a year in interest fees though because of this, so it’s been a really hard upward battle to pay off the bills, pay creators, and produce new product. Especially on a substitute teacher’s salary… ($11K a year)
Compared to those numbers, the fund-raiser is quite modest; the goal is $2,500. And the rewards are pretty good: For $10, you can get a hard copy of any Alterna comic or a digital collection of 25 graphic novels in PDF format. But this does raise the question of what crowd-funding is really about. Johanna Draper Carlson recently commented that she prefers to donate to a project that is already complete and just needs funding for printing costs. This carries that to its logical extreme — the books are finished — but looked at another way, it is really just using IndieGoGo as a temporary storefront. There’s nothing wrong with that, but it’s definitely another wrinkle in the crowd-funding model.