ComixTribe has announced the full list of creators contributing new stories and art that will be featured in Wailing Blade: Headtaker, the collected edition of its popular dark-sci fi fantasy mini-series released last year, which is currently funding on Kickstarter.
Wailing Blade is created by Rich Douek, writer of the IDW series Road of Bones and the upcoming Sea of Sorrows, and Joe Mulvey, artist of ComixTribe’s SCAM and Mummy’s Always Right and the upcoming Happy Hill.
Billed as Mad Max meets Masters of the Universe, Wailing Blade takes place in a future dark age, and tells the story of a bandit prince who will stop at nothing to save a father sentenced to death by the hands of the legendary Headtaker… even if it means falling to the Wailing Blade himself.
The four-issue mini-series is being collected for the first time and will be available in a softcover format as well as a deluxe, die-cut foil-enhanced hardcover edition. The new trade will include an extensive cover gallery as well as an additional final scene not included in the single issues.
ComixTribe has also enlisted a murders-row of comic talent to help add even more fire-power to this trade collection. This collection features an all-new “Legends of the Wailing Blade” section including over a dozen tales of the origin of the titular blade. In this world, no one truly knows where the Wailing Blade came from or why it wails… but in every tavern, a different tale is spun.
The full roster of participating creators announced include:
Michael Avon Oeming (Powers, The After Realm)
David Andry (Resonant)
John Lees (Sink, Hotell, Mountainhead)
David Pepose (The O.Z., Spencer & Locke, Scout’s Honor)
Liana Kangas (She Said Destroy, Black AF: Devil’s Dye & Trve Kvlt)
Ryan K Lindsay (Eternal, She, Negative Space)
Lane Lloyd (God Puncher)
Kenny Porter (Superman: Man of Tomorrow, Barnstormers)
Gavin Smith (Dead Legends)
Malissa White (Nightmare)
Russell Nohelty (Ichabod Jones: Monster Hunter, Cthulhu is Hard to Spell)
J Paul Schiek (The Lion and the Unicorn, Hush Ronin)
Tyler James (The Red Ten, Oxymoron)
Jarret Katz (The Foreigner)
Alex Cormack (Sink, Road of Bones, Sea of Sorrows)
Fraser Cambell (Alex Automatic, Ind-Xed)
Iain Laurie (And Then Emily Was Gone, The Edge Off)
Andrew Hahn (Powered by The Blood of Five Vampires)
Steven Forbes (Runners, The Proving Grounds)
Travis Hymel (Arkworld)
Rob Multari (Night Wolf)
Marc Thomas (The Monstrous Adventures of Beowulf)
Mario Candelaria (Killchella)
Daniel Earls (Hellfire, Tales from the Pandemic)
Matt Zolman (Epic)
The Wailing Blade: Headtakercampaign to raise $30,000 on Kickstarter to help fund the print run for the deluxe hardcover collection runs until Friday, November 20 at midnight. When funded, the books will ship in February, with digital rewards to be fulfilled in December.
Five years ago, if you told me I’d be publishing children’s books, I would have laughed in your face.
But if you also told me that the children’s book line would quickly grow to over six-figures in sales annually, I’d stop laughing.
And then I’d ask, “How the hell did you do it?”
Last week, Eisner-nominated writer Jason Ciaramella, artist Greg Murphy and I launched the 4th Kickstarter campaign for the C is for Cthulhu brand of Lovecraft-themed books and products, published by ComixTribe.
Our previous three campaigns, all successful, combined for over $120,000.00 on Kickstarter, supported by more than 2,800 backers.
Though we had high hopes for this latest campaign for a new book Sweet Dreams Cthulhu, a Lovecraftian bedtime story, even we were amazed that it has surpassed our previous campaign funding record in just 8 days.
The endurance and continued success of the C is for Cthulhu brand, as well as our ability to continue to grow and expand it to new heights, has caused me to reflect on a few of the things that we did right.
I’m sharing this article in hopes that other aspiring publishers and brand builders can follow in our footsteps.
Three Important Questions to Ask Before Launching Your Publishing Line
What follows are three important question you should ask yourself before launching a new publishing line.
And if your line is already underway, but maybe it hasn’t quite taken off yet, stop what you’re doing and answer these questions now.
Questions 1: Who exactly do you want to entertain? (The more specific, the better!)
To be perfectly honest, prior to launching the C is for Cthulhu brand with Jason and Greg, I had never read anything by H.P. Lovecraft and couldn’t even pronounce Cthulhu.
Jason, on the other hand, was a huge horror fan, and knew that there would be a market for a Lovecraft-themed alphabet book for all-ages, especially one that was exceptionally well-done.
While 99% of parents out there are like me and can’t pronounce Cthulhu, the 1% that can still leaves a market of hundreds of thousands of potential customers for us to sell to.
And what we’ve discovered about the Lovecraft/horror geek parents market is that they are, as Russell Brunson describes in his excellent new book Expert Secret, “irrationally passionate” about cool books and products when they find them.
And because of that, they share them with the 2-3 other Lovecraft fans that they know.
Who share it with their friends, and so on.
Now, before you dismiss the rest of the advice I have because you’re thinking, “Well, sure, you’re just building upon an existing brand (Lovecraft) so of course you were successful,” a few things…
First, no question about it, it’s easier to build on top of something that already has an existing fan base.
That was true for Robert Kirkman with zombies, it was true for Stan Lee with superheros, and it was true for Walt Disney with animated cartoons.
Second, while it’s true that Lovecraft stuff in particular does well on platforms like Kickstarter, simply throwing cthulhu in your campaign is no guarantee for success.
(I can point to about a dozen campaigns that failed this year with that strategy.)
The key is to plant your seed in already fertile soil and grow something new, different, and remarkable.
And that’s what’s the C is for Cthulhu line has turned out to be.
Question 2: How will you consistently reach that market?
Once you’ve found clarity on who it is you want to entertain, it’s your job to go out and find them and put your book in front of them.
If you’re waiting for your market to find you, you’ll be disappointed.
Because even though word of mouth from your existing fans and excitement and energy pumped up during a big Kickstarter campaign is important, to build an enduring brand, you need to have a plan for the other 92% of the year when you don’t have a Kickstarter going.
Our strategy outside of Kickstarter launches has been stupid simple.
But it’s also a strategy that’s involved doing two things that many young publishers are 100% dead set against doing:
Giving away the product for free.
Spending money on advertising.
Virtually every single day since that first successful Kickstarter has launched, we’ve given away free copies of the original C is for Cthulhu: The Lovecraft Alphabet Book in exchange for an email address.
Tyler James shares the lessons he’s learned managing ten successful Kickstarter projects supported by 6,000+ backers and raising more than $280,000.00 in funding on the weekly ComixLaunch podcast. Tyler is the writer of Kickstarter-funded comics and graphic novels including (The Red Ten, Oxymoron, Epic), and the co-creator and publisher of ComixTribe, an internationally distributed comic, graphic novel publishing company. He also runs the C is for Cthulhu Lovecraft-themed children’s book imprint that was successfully launched on Kickstarter and whose latest book SWEET DREAMS CTHULHU is on Kickstarter right now!
Tyler has also designed and produced award-winning learning games for companies like National Geographic and McGraw-Hill. He has an M.Ed in technology, innovation and education from the Harvard Graduate School of Education.
Contact Tyler via email (email@example.com), follow him on Twitter (@tylerjamescomic) and subscribe to ComixLaunch at ComixLaunch.com or on iTunes or Stitcher Radio.
While many are discussing the spiral death of the comic industry excuses as to the cause seem to vary depending on the position the person is in. Store owners often blame publishers for putting out too much, not marketing enough, incorrect pricing, lackluster product, a broken preordering system, and more. Indie creators focus on an antiquated distribution system, a market too focused on a few publishers, fans unwilling to take a chance. Fans blame stores for not reading their minds and ordering what they want, publishers for the product, creators who fight with fans.
In reality, it’s not one thing, it’s many that lead to the ups and downs of the comic industry.
But, there are some who are bucking the system. Creators who are talking directly to fans. Publishers who are going around the current distribution system. Stores who are finding customers and building their own communities.
There are roughly 284,163,264 individuals interested in comics according to Facebook demographics. That’s a large group of folks to advertise directly to. Stores, like Third Eye Comics in Maryland, are doing just that with engaging advertising to get folks to come to their store. Three years since I first covered Third Eye’s fantastic ad program they’re still going strong, so it must be working for them, right?
When I started these columns, I didn’t just want to highlight problems of the industry, I wanted to spotlight those who are doing things that go around the system and pave their own path like Third Eye Comics.
A prime example of this entrepreneurial attitude is ComixTribe headed up by Tyler James who recently spoke to us about Kickstarter and the things the publisher is doing there. The publisher definitely is blazing their own path working within and outside of the current system to create their own corner of comicdom and doing so by building a community.
Their latest project to break the mold is Sink. The series by writer John Lees, artist Alex Cormack, letterer Colin Bell has done its own thing to build its audience.
First: A series of emails to the ComixTribe list teased the new series
Second: After a series of teasers the comic’s first issue was given away for FREE to the dedicated email list. ComixTribe often gives away free first issues to incentivize individuals to join their list.
Third: A limited amount of print copies were released primarily at conventions.
330 individuals, and $3,300 above the goal raised as of this article being published, the Kickstarter and marketing plan is a success.
But, the email list could have been it to build a promotion. ComixTribe has gone an extra step with what I see as a rarity this day, a physical mailing. It feels like far to few publishers and creators take advantage of a cheap communication platform like email, but to see one send out a physical mailing is impressive, to say the least.
You think this is would be a pretty big outlay right? Some Google search has each postcard pegged at about 30 cents a piece. A 5,000 person mailing would cost about $1,500. With the postcards just hitting mailboxes, the return on investment most likely hasn’t been seen… yet, but the project is already above its goal.
If 5,000 individuals seems like too few individuals for your $1,500 investment, that same amount of money on Facebook gets you about 63,000,000 views of individuals who said they are interested in comics. If 1% of 1% of those views take action, that’s 630 new Kickstarter pledges, almost double the current amount of individuals pledged for this project.
With ComixTribe, what we’re seeing is a new type of marketing being used, one that bucks the press release, blog, individual, shop, dynamic that’s dominated the industry. And by doing this sort of hard work, ComixTribe is building their own community, one that will follow them through ups and downs and the market and most importantly, they can talk to directly.
ComixTribe might be a small publisher, but their ideas are pretty big, and they’re showing the industry you don’t have to beholden to the current paradigm, you can create your own and find success.
As the start of our Kickstarter coverage, I kicked off the year by interviewing Tyler James, who is a publisher at ComixTribe and host of the ComixLaunch podcast. As a successful project manager on Kickstarter, he graciously shared some of his knowledge on the makings of strong Kickstarter campaigns.
Graphic Policy: First, can you give us a little bit of background on how you first got involved in Kickstarter Projects? Were you skeptical at first or did you dive right in?
Tyler James:When I look back, I sat on the sidelines. I didn’t launch my first campaign until mid-2012 and it seems like it had already been here forever. But if you think about it, Kickstarter would only be in like, first grade if it was a human. It really was a game-changer in a lot of ways. I remember the first four projects I backed didn’t get funded, so it wasn’t until early 2012 that I started following projects that were doing really well.
I originally had a misconception or a mindset issue that really held me back with Kickstarter because I was looking at Kickstarter as a non-renewable resource. Like, you got your one Kickstarter card that you could play, and so I was like, “I’ve got to wait for the perfect project to launch Kickstarter” because I thought, “maybe you get one shot to go to the well on that.”
What I didn’t realize was that whether Kickstarter was a finite resource or a renewable resource depends on how well you run your campaign. If you run a kickass campaign, you’re going to excite the fans you already have, you’re going to draw new fans, and if you treat them well and treat your backers well, they’re going to be asking you when the next campaign is.
I studied the platform for about a year, year and a half and sat on the sidelines for a while before actually pulling the trigger. When I launched, I launched with a pretty cool anthology project and it did great. It was our first hardcover project that we did, and we shot for an $8,500 goal and raised $26,000 which was, at the time more than I had made in the previous four years of making comics.
It really ignited the growth of ComixTribe from there. That first Kickstarter really did kickstart things not only on Kickstarter, but for ComixTribe. It helped us get off the ground and put us on the map. I look at the growth and the things we’ve been able to do since and a lot of that goes to the initial success we had on Kickstarter.
GP: So, how many projects have you had on Kickstarter so far?
TJ: I’ve managed nine projects between me and my collaborators, and that’s across a couple of different Kickstarter profiles. I’ve managed my projects, I’ve worked with Joe Mulvey, who is a ComixTribe creator for his Scam Ultimate Collection hardcover and John Lees on his Standard hardcover. That’s one of the things we at ComixTribe realized. We can put out hardcover collections that are as good or better than any publisher on the planet can do, but the only way we can do that is with the support on Kickstarter.
The Diamond model for those oversize hardcovers, for what get ordered in the shop, that would never happen. The awesome thing about a platform like Kickstarter is that we can actually compete with the support of our small but dedicated fanbase and then make really great books. Kickstarter has enabled us to make awesome products, which is cool.
I also, working with Jason Ciaramella and Greg Murphy, started a new brand for children’s books that adults actually want to read, and that became the C is for Cthulhu brand. That’s the first book we did, and so I’ve managed three projects with that and I think those have done over $100,000 in funding just for the Cthulhu stuff.
All in all, I’ve managed nine projects that have raised over $220,000 with the support of 5,000+ backers. It’s been a lot of experience.
GP: It sure sounds like it! And now you’re holding Kickstarter workshops and challenges. Since the most recent one just ended, can you talk a little bit about the 6 Day Kickstarter Challenge?
TJ: Certainly. So in the middle of 2015, I launched a podcast called ComixLaunch. With ComixTribe, since the very beginning, we’ve always been doing two things. Sort of putting out our own books, under the ComixTribe label, and sharing what we know and what we were learning in the process, from going to complete unknowns to building a small press from the ground up. We earned a lot of goodwill doing that and a lot of our articles have been shared across–we’ve gone back and forth with Graphic Policy several times and had good relations with the folks over there.
As I was sort of paying attention and as I was continuing with Kickstarter and looking at the ComixTribe stats, the questions that were coming up the most and the articles that were getting the most traffic and uptake, the things I was hearing most about and the questions I was getting most at conventions and in emails were all around Kickstarter. I’d found a couple of kickstarter podcasts that I really liked that I got a ton of value on and good ideas from and one of my favorites stopped putting out new podcast episodes.
I’d started getting the podcast bug myself and was listening to a bunch of podcasts and in early 2015 and I thought, “you know what, there’s a need for this, there’s a need for a show that will go really deep and focus on mindset strategies and tactics for crowdfunding,” specifically for comics and graphic novels, but so many of the principles can be applied to any genre.
The idea was that being that focused and niche, it’s not going to be a blockbuster podcast, but there will be some creators out there who absolutely need it. That was what I launched ComixLaunch with.
In mid 2015, a little less than half of all comics projects got funded on kickstarter when we launched the podcast. I know how much ink, sweat and tears goes into launching, and dreams, creative aspirations and emotions go into launching a Kickstarter. The fact that it’s such a coin flip for creators was gutting to me, and that’s why I launched the podcast initially.
The podcast has been running weekly since we launched, which has been really great and it’s been a tremendous experience for me. As we’ve continued, to see and say, alright, how can we continue to add value and give creators a nudge? One cool thing, statistically, since I know Graphic Policy loves statistics, when I started tracking the comics success rate on Kickstarter, it was 49.95 percent, and since comixlaunch launched,t he overall kickstarter success rate has gone down 2.5 percent and comics have gone up 2.2 percent, so comics are trending in the right direction.
Obviously, ComixLaunch can’t take all or most of the credit for that and the creators out there and the community are pretty special when it comes to Kickstarter, but I think we’re helping. Our reviews and the feedback we get from creators are making an impact, but I think we can continue to do better. One of the things I found, because I try to survey and talk to my audience all the time, one thing that’s a little disheartening or points to the challenges, 70 percent of my audience haven’t launched projects on Kickstarter. There are a lot of reasons for that–creative inertia is one of them, you’ve got to get moving to keep moving and once you’re stuck, it’s hard to get unstuck.
I think a lot of creators don’t know what they don’t know, and so the challenge is the idea of “let’s try to do it at the beginning of the year, let’s get creators moving and if they’re already planning their Kickstarter, let’s make them better, and if they’re just getting started, let’s get them started on a good footing.” That was the big idea behind the challenge. Let’s spend six days, and each day there will be a lesson and a challenge activity associated with it.
This is something I could have done myself and put together the challenge and the lessons, between ComixLaunch and last year, when I decided to put together a full course called the ComixLaunch Course, which is basically a step-by-step system. Now that i’ve done nine projects I don’t recreate the wheel every time, I actually have a set system that i put in place to plan and launch and execute and fulfill my Kickstarters. So in January of last year I did a pilot program and took eight creators under my wing and taught them the strategies and tactics and systems that I use, and had a lot of success.
That was the pilot version of the ComixLaunch course, so I could have taken some of those lessons and done the challenges myself, but I thought it would be more fun and more of an event to reach out to some of my past ComixLaunch guests and people that have had success on the Kickstarter platform and who have the heart of a teach and like sharing what they know with other creators. I reached out to five other creators and asked them if they want to participate in the challenge and everybody said yes, so I taught day one and then I had five other creators–Dirk Manning of Nightmare World, Ryan K. Lindsay, Russell Nohelty of Wannabe Press, the folks from KrakenPrint, and Madeleine Holly-Rosing who’s the author of Kickstarter for the Independent Creator.
A great collection of guest instructors, and I’d set an initial goal of getting about a hundred creators and a stretch goal of about 250, and last I checked we had about 270 that actually registered for the challenge. It was definitely a big success and something that went from idea to “hey, this is a real thing that’s happening” in about two and a half weeks.
GP: With that success, do you think you’ll be holding future Kickstarter challenges?
TJ: Yeah. Right now I’m still sort of in–this is a big experiment, right?–so I’m getting some lessons learned and feedback from creators. Over the next week, we’re going to leave the challenge open, all the activities and lessons and challenges and resources were housed within a private Facebook group so people could register and get in. We’re going to keep it open for a couple of weeks, so if somebody hears about it and wants to hop in, it’s still open and they can go to comixlaunch.com/challenge and they will get started on day one and can do it on their own time.
I’ll be getting feedback and seeing what people liked, what can be improved and doing some debriefs and we’ll likely run it again. By and large I think it was a big success–a lot of work, because it was the first time doing it, and it’s kind of par for the course–whatever you think something’s going to take to get done, plan on it taking ten times as much work to get done. That’s a lesson most Kickstarter creators will find out, so be careful of those great ideas. But it’s been a great experience.
It’s great because there’s a range of teaching styles and approaches from creators, and different creators resonated more, some less, but it was a good cross-section. I’ll probably survey the challenge group and get some feedback and suggestions going forward, but it’s something I plan on holding again.
Right now, for the next couple of days enrollment is open and will soon close for the next section of the ComixLaunch Course. I’ve got a new batch of creators I’ll be working with starting in the next couple of days and we’re going to be working together to plan and execute and launch their Kickstarter projects using my system. A bunch of the creators in the challenge will be upgrading to the ComixLaunch Course and working with me.
I think the great thing is that everyone who participated in the challenge got something out of it and I know I did, as well. One of the things I think is very important, especially in the winter when conventions are fewer and farther between, is keeping that community going. Within the challenge group, people were signing up for each other’s emails, sharing their Facebook pages and backing each other’s Kickstarters for the folks who have Kickstarters going right now. So much of a successful career is having a network, and anytime i can help facilitate connecting creators with other creators doing cool stuff is definitely a valid and worthwhile use of my time.
GP: Why do you think–I’m sure part of it is because ComixLaunch has given creators a resource on how to build up their Kickstarter skills and whatnot–but what else do you think has been a factor in the growth of comics project success rates on Kickstarter?
TJ:I think there’s a few things going on. I think comics creators, probably more than a lot of categories, set more attainable goals. You look at the success rate for tech projects and it’s something like, sub-20 percent. I think it’s like 18 percent, and a lot of that is because just to get those things off the ground, they need forty thousand, eighty thousand dollars, just to make a prototype.
With comics, most of us are used to putting some skin in the game, rolling up our sleeves, doing it for the love and really, a lot of the time, comics creators are just going to Kickstarter with help printing and maybe some colors, or to recoup some of that stuff. We’re not always going to Kickstarter and saying, “We need to raise ten, twenty, fifty thousand dollars,” especially if we don’t have a big audience. I also think, more so than most industries, there’s a lot of mutual support–creators supporting other creators. I feel like we do have a good community where people are more likely to share what other people are doing, and I think that’s a good thing.
There’s a lot of negativity that you’ll see if you’re on quote-unquote Comics Twitter, but I feel like you get so much of what you focus on.
Every year, if you look at any year-end recap, “what do you want to see in comics?” article, diversity in comics is a thing. If you look at Kickstarter right now, you’ll get all the diversity in comics you could ever want. And you’ll also see a lot of creators sharing each other’s stuff.
I think we have a community that, by and large, a lot of good information gets shared. I don’t know that it’s all that cutthroat. I hope that over time, the message of ComixLaunch is that Kickstarter is not a zero-sum game, and that my success on the platform does not mean your success is less likely. That was a big thing behind the Six Day Challenge. One of my most recent podcasts was about your mission, your impact, and your legacy.
I sort of threw down the gauntlet and said, “The goal for ComixLaunch and everything we do going forward is to make comics the category that has the highest success rate on Kickstarter.” To do that, that means better projects and better prepared creators. I don’t think every project deserves to fund on the Kickstarter platform if the project is not well thought out–Kickstarter should never be looked at as an ATM or a given, but there’s no reason that only 5 out of 10 need to fund. Why not 6 out of 10? 7 out of 10? So a big part of the ComixLaunch challenge was how can we best impact that? Right now comics is the third highest category on Kickstarter, but we can do better.
I have some other things I’ll be putting out over the next year. I have a book on Kickstarter page design that will be coming out later next year, which is another thing I can add to the mix and help make better projects and get more funded and help make an impact.
GP: You kind of touched on something I was going to ask you about as well, which was are there things that crowdfunding allows authors and artists to do that they wouldn’t get to do otherwise?
TJ: Oh yeah, definitely. There are so many creators out there on Kickstarter that have been able to have tremendous impact. You look at some of the stuff that Spike Trotman does; I don’t know that there’s many quote-unquote big or standard publishers that would jump at what she puts out, but there’s definitely a big audience that she has built for herself, and Kickstarter allows her to go directly to that audience and do it in a way that really magnifies the audience she does have and allows her to put out great books and great projects. There’s so many examples of that–just about everybody is an example of that.
A creator that I work with that was a creator in the pilot version of the ComixLaunch course is a guy named Joshua James, and he’s a very talented artist who has been working for other people’s projects forever but has always been pushing his own creator-owned stuff to the side. What Kickstarter allows him to do is not just get his book out there, but he was able to get it funded, his first project, and carve out a little bit of time for himself to do his own project. That’s exciting, too.
It’s been talked about, but Kickstarter does invert the funnel where it puts funds directly into the creators’ control first, where in the publishing model creators are often the last to get funds. It always seems a little bit backwards, though having done the publisher side as well, I know why that is, especially when you’re talking smaller books, smaller projects, and smaller print runs.
GP: And I would think it allows each member of the audience to ensure they get something out of the Kickstarter as well, instead of going to a store and finding that the first, second, and third printing of something is sold out.
TJ: The ability to have your favorite author know that you backed him or that you bought his book, that wasn’t possible really prior to Kickstarter in a lot of cases, right? You buy a book off a shelf and no one knows that, but here you have a direct connection to some of your favorite creators and support them directly. A lot of creators get super creative with rewards–from original art, to original stories, to getting your name or message in a book. There’s so much cool stuff you can do with Kickstarter.
There’s a quote by a guy named Jeff Walker, who’s a master of launches and has been doing it for years that’s like, “If you can turn your marketing into an event, you’re going to transform your results” and that’s really what Kickstarter does. Kickstarter campaigns, when done well, they’re events, and events get people fired up, and when people are fired up, good things happen.
GP: It’s nice that it also gives people a way to directly support creators instead of other publishing models, which don’t necessarily do that.
TJ:And you get that direct, instant feedback, too. I go in and back a book for ten dollars and immediately see that I just made him ten dollars closer to his goal. And even those little psychological triggers all contribute to the special sauce that is Kickstarter. It’s pretty amazing.
GP: What would you say is your best single piece of advice for someone looking to launch a Kickstarter?
TJ:Well, besides listening to ComixLaunch, my best piece of advice would be to go to comixlaunch.com/session050 and listen to ComixLaunch Episode 50, because I asked that same question to fifty creators, and so fifty successful Kickstarter creators shared their number one tip.
My Number One Tip A would be to do that and my Number One Tip B would be that you don’t have to launch alone. You should be rallying a support team, because one of the things in surveying and talking to so many creators about their kickstarter process was that for veteran Kickstarters, one of the things that just kept coming up and coming up was the emotional rollercoaster that is running a Kickstarter campaign and the loneliness of running a Kickstarter campaign.
It might sound a little weird but in every Kickstarter campaign there’s the high of launching and the high of finishing, if you’re successful. But in every campaign, and it’s happened to me for every single campaign, there’s a low in the middle. I call it the “dead zone” where you’re not sure if you’re ever going to get another backer or you might, in some cases, backers drop off and your totals go down, and it’s an emotional thing to go through as a creator. You really do feel like your work is out on display and there’s a judgment thing.
That’s why so much of what I try to do with ComixLaunch is try to make it feel like there’s such a community, to make it feel like when somebody who’s a ComixLaunch listener is launching, they’re not launching alone and they’ve got people rooting for them. That’s really where the value came in with the ComixLaunch course. In the first version we had eight creators, and we’ll probably have a lot more in the next one we’ve got going on in this next January version, but those are all creators who are rooting for this person. They’ve watched this person build their campaign alongside your campaign and it’s impossible not to root for them and share strategies and provide real-time feedback.
People that want to work with me in the course, that’s great, but if not, find somebody else that’s launching or working on a Kickstarter and buddy up, be an accountability partner. I tell most people, if you can think of the time in your life when you were in the best shape, you probably had a coach or a workout partner or a team that you were working out with. Same goes for doing something that’s a big event like a Kickstarter. You want to team up, put together your Justice League, and don’t launch alone if you don’t have to.
GP: And on the flip side of that, what do you think is the biggest mistake you see people make when they launch a campaign?
TJ:There’s a reason it’s called “crowdfunding” and that’s because the crowd is always going to come before the funding. Seth Godin, who is one of my favorite authors, says that Kickstarter looks like a shortcut, but it’s not, it’s simply a profit maximizer. It’s a maximizer of the audience you already have, and so if you don’t have an audience, your first job, before you start trying to film a video, or craft a great Kickstarter page or dream up rewards, is you have to build that audience.
I have a workshop I do–a free workshop–called Ready for Launch, which is basically how to get a Kickstarter funded even if you don’t have a big social media following. I’ll be doing a few more of those this year–comixlaunch.com/ready is where people can sign up for that. Basically, your job number one is to energize and excite a crowd before your project. Too many creators make the mistake of going away and working in their basement in solitude for weeks, months, years, and then they launch to crickets. That can be completely avoidable but you can’t work in the dark and you need to build and audience. The good news is, there are strategies that we talk about that help you do that.
GP: Yeah. Like, Beyonce can just drop an album because she’s Beyonce, but that doesn’t just work for everybody…
TJ: Yeah. Everybody’s going to talk about that. So many creators, I think, don’t want to market themselves and they don’t want to market their work and they want their work to speak for itself but the problem is, your work will never speak for itself if nobody’s reading it. More often than not, people aren’t going to read your work until they know, trust, respect you.
That’s one of the challenges inside the challenge by Dirk Manning that was very well received, and it was all about building a more professional brand for you as a creator and one that’s going to help sustain you and support you. Dirk has had more than $100,000 worth of projects on Kickstarter over the past few years, and it’s a testament to the personal brand that he’s built. Somebody that built most of that without the support of giant publishers and it’s great to see.
GP: Last question for you: Do you think there are any downsides to Kickstarter?
TJ:Here’s the downside of Kickstarter: Creators don’t have a beyond Kickstarter strategy. Kickstarter works so darn well, but the reality is, you can only run so many Kickstarters, and if Kickstarter becomes your sole channel and you only run one or maybe two Kickstarters a year, what are you doing the other ten months to build a brand, to make sales, to grow an audience, to energize your audience? That’s definitely something a lot of creators struggle with. Kickstarter does work so awesomely but you need to have a beyond Kickstarter strategy as well. Because Kickstarter can work so well, I think it can make creators a little bit lazy about some of the other stuff like building an audience year round and finding ways to sell products and books.
That’s one downside. There’s lots of little nits I have about the Kickstarter platform, but one of the questions I ask all of my guests on the podcast is, if the powers that be at Kickstarter were listening, what’s one thing you would improve about the platform? So we’ve got a whole laundry list of things–better management for add-ons, better ability to see in real time what the actual profitability is of your campaign outside of the gaudy funding number because that funding number looks great, but 20-30 percent is already allocated toward shipping and isn’t available to spend. There are little things here and there, but by and large I think that Kickstarter keeps getting better and better. I think Kickstarter Live will really get going in 2017, it’ll basically let anyone turn their own Kickstarter page into a live telethon, which I think some savvy creators are really going to run with, and I’m excited to get my hooks on it.
Another thing I think Kickstarter is doing–and my most recent podcast was on this–I think Kickstarter sort of realized one of the problems they are having is the perception of a Kickstarter project is this huge, gigantic undertaking, and for some creators, they’re ready for that, but a lot of creators aren’t.
I think Kickstarter is realizing, oh crap, we’ve got a lot of creators who have logged on, hit “Start Project” and then never started it. I’m willing to bet that for every project that’s launched, there are four or five projects sitting not launched, and many of those–most of those–never get launched. I think Kickstarter has noticed those, because this month they’ve started a Make 100 initiative, where they’re basically encouraging creators to launch a project where they’re going to make a hundred of something.
A hundred isn’t a huge number, most people can do a hundred of something and everybody knows a hundred people, but it’s not a small number either. If you sell a hundred books at a convention, you had a great convention. What that tells me is that Kickstarter is trying to make it so that people understand that hey, you don’t have to make $50,000 or $100,000 to make it worth your time.
That’s a trend I think we might see a little bit more, with Kickstarter encouraging people to get off the fence and maybe not go for a huge project, just tone them down a little bit.
GP: That’s a good way to get your feet without having to go all in on something, because it is daunting. I took a class where we had to make a fake Kickstarter and it was so much work! I don’t know if people realize how much goes into it.
TJ:One of the things I concluded the challenge with was I put together a Kickstarter self-assessment. You can go to comixlaunch.com/assessment and take this, but basically what the assessment is, is it asks you 16 questions and asks you to rate yourself on 16 different elements of running a Kickstarter. I was just crunching some numbers–we’ve had over 100 people take the assessment now–and I asked people to identify themselves as “never launched a Kickstarter” and “have launched a Kickstarter.”
What’s kind of interesting is when you average out everybody’s overall Kickstarter self-assessment score, the people who have launched a Kickstarter and the people who haven’t, I don’t know what you would think, but I would think that the people who’ve launched, their scores on things like “how prepared are you to make a Kickstarter video?” and “do you think you’d survive the Kickstarter dead zone?” or “how confident are you that you could make a page that would be compelling?”–I would think the scores for people who have launched would be higher than people who have never launched. But actually, they were within .1 percent of each other, with creators who have never launched a Kickstarter rating themselves higher in confidence than people who have.
That actually doesn’t surprise me too much, once I think about it, because you don’t know what you don’t’ know. Something similar like that happened–I asked the same question to people that I’ve worked with and asked them to rate themselves on skill. And people with no comic book credits to their names tend to rate themselves 3-4 points higher in skill than people with actual books with big name publishers. You don’t know what you don’t know. I just thought that stat was a little interesting.
GP: Thank you so much for taking the time to speak to us!
The serial killer Oxymoron takes center stage in ComixTribe’s Oxymoron: The Loveliest Nightmare, and it’s right where he wants to be. Writers Tyler James and John Lees pull no punches with the story, and Alex Cormack’s art makes the reader feel the weight of Oxymoron’s gruesome actions. Oxymoron: The Loveliest Nightmare collects issues #1-4 of the comic of the same name.
Though Oxymoron was first a character in James’ The Red Ten, this story stands well on its own and doesn’t force the reader to work too hard to figure out the villain. Oxymoron’s character has all the showiness and brutal tendencies of Heath Ledger’s Joker, but with more restraint and a hard R rating. This particular arc doesn’t delve into Oxymoron’s past and decidedly focuses on the events at hand, though a little more insight to the character would certainly be interesting. However, the plot survives well without it, and consequently isn’t bogged down by backstory.
The first pages of this arc introduce Mary Clark, a Swanstown police with a shot of her lying on the ground next to a man who has been shot in the head. The story immediately jumps ahead six months to Mary’s return to the force, but doesn’t get any less brutal in the coming chapters. Readers only get glimpses of Mary outside of her life at the S.P.D., and part of the fun and suspense of the comic is trying to figure out not only Oxymoron’s next move, but Mary’s, as well.
The Loveliest Nightmare has all the blood and guts of a slasher and all the slow reveal of a good psychological horror story. The pacing plays up the psychological aspect, and the tension doesn’t slow its build until the climax, resulting in a story that leaves the reader guessing until the very last panel. It might be beneficial to read with a stress ball in hand.
There are two elements to this comic that really distance The Loveliest Nightmare from nearing the realm of “Joker copycat.” Firstly, Oxymoron recognizes and often states that he is a terrible person doing terrible things. While this is glaringly obvious to Mary, the people he has murdered, and hopefully the reader, it serves as a built-in criticism of this type of character that isn’t always present in other stories. Secondly, the story prioritizes ordinary people as the heroes. James and Lees make an effort to include different types of characters who don’t normally see much narrative space in Mary and Deborah (a disabled woman of color and a lesbian, respectively).
Cormack does a great job of bringing every vicious detail of the story into reality. Oxymoron himself is creepy and sinister, with a terrifying and omnipresent grin that may take clown phobias to a new level. Cormack’s dynamic illustrations will haunt readers indefinitely–or at least until the comic returns with a new and equally twisted arc.
Story: Tyler James and John Lees Art: Alex Cormack Story: 9.0 Art: 8.5 Overall: 8.75 Recommendation: Read
ComixTribe provided Graphic Policy with a FREE copy for review
ComixTribe announced today the upcoming release of Oxymoron: The Loveliest Nightmare, a new monthly crime/ horror series debuting in August. Writers John Lees and Tyler James are joining forces with Alex Cormack to tell a cop versus contradiction-obsessed killer thriller in the vein of Hannibal and Se7en.
The Loveliest Nightmare tells the story of Mary Clark, an afflicted detective suffering from a debilitating chronic illness, and reeling from a demotion back to street cop after her partner’s death. She hates being in uniform, resents her young, wide-eyed partner, and is persona non grata with the rest of the police department. She’s sleepwalking, but the Oxymoron case wakes her up.
When what appears to be a lone nut job in a mask jumping off a skyscraper turns out to be the opening gambit in a killer’s master plan to cleanse a corrupt city of its many contradictions, Mary sees taking him down as a chance to prove herself and earn back her Detective badge. But once the true severity of the Oxymoron’s plan is revealed, she realizes there are much higher stakes than her career in play.
Each issue of the series features a standard cover by Alex Cormack and a variant cover by industry superstars and upcoming talent, including Charles Paul Wilson, III, Iain Laurie, Joe Mulvey and more.
Story: Tyler James
Art / Cover: Fico Ossio
May 7 / 32 Pages / FC / T / $3.99
DIAMOND ID: FEB141121
Miami’s newest teenage superhero has a weakness for beautiful girls…literally! Hot on the heels of its world-wide FREE COMIC BOOK DAY debut, your new favorite superhero action comedy begins its EPIC ongoing series run! Witness the frightening origin of EPIC’s first fearsome foe, the half-man/half-spider monstrosity DADDY LONG LEGS! See the scintillating first appearance of SCAREWOLF! Watch our hero whiff at his first attempt to woo the pretty new girl at school! All that and a FOIL-EMBOSSED COVER, brought to you by writer Tyler James (The Red Ten) and rising-star artist Fico Ossio (Critter)!
SCAM ULTIMATE COLLECTION Vol.1
Story: Joe Mulvey & Others
Art: Joe Mulvey & Others
Cover: Joe Mulvey
May / 256 Pages / FC / Hardcover/ T / $34.99
DIAMOND ID: FEB141122
Imagine you had superpowers…in Vegas! SCAM is an “X-Men meets Ocean’s Eleven″-style yarn that follows a team of super-powered grifters on the biggest con of their lives…taking down a Vegas casino and getting revenge on the former teammate who double-crossed them.
This stunning over-sized hardcover collects the sold-out SCAM mini-series written and drawn by Joe Mulvey, “the most dangerous man in comics.” It also features the never before released SCAMthology – 15 brand new SCAM stories, over 100 pages of new content, written and drawn by a handpicked crew of outstanding comic creators, including Nick Pitarra (The Manhattan Projects), Joe Eisma (Morning Glories), Ben McCool (Choker), Jason Ciaramella (The Cape), CP Wilson, III (The Stuff of Legend, Wraith), Tyler James (The Red Ten, Epic) and many more! “It’s better to die a conman, than live like a mark!”
What it is: After a freak experiment gives teenager Eric Ardor incredible powers, he does what you would do…he puts on a costume and becomes EPIC! Super strength, speed, flight, optic blasts…it’s a fanboy’s dream come true. Unfortunately, he’s just discovered he has one weakness…pretty girls! While most boys his age lose their cool around the hotties, EPIC loses his powers! Living in Miami, home to the zaniest super-villains AND the most bikinis per capita in America, it’s gonna be a problem…
Why I like it: I read the completed first issue, and it’s a solid entertaining read. The characters are fun, the discovery of powers entertaining and how the story is plotted out keeps you on your toes. I can’t recommend the issue enough. It’s another fantastic release from an independent publisher and a feather in their cap.
Best Pledge: $10 – You get two signed copies of the comic. One for you and one for you to share plus a signed postcard and a digital “director’s cut” copy.
Risk: LOW – The prices seem a bit low for a printed comic with shipping, but all of the production is paid for, so it’s going totally towards printing and shipping. Comixtribe has done Kickstarter’s before and they’ve delivered solid product each time. It’s a publisher (and creators) I’m confident in getting behind.
On the final day of the 2013 New York Comic Con independent comic book publisher, ComixTribe, announced Oxymoron: The Loveliest Nightmare, the fourth of four new titles to be released in 2014 revealed at the convention.
Oxymoron: The Loveliest Nightmare, a new series written by Tyler James and John Lees and illustrated by Alex Cormack, will be a new take on The Red Ten villain. Suffering from a chronic illness, and reeling from a demotion after her partner’s death, Detective Mary Clark finds herself on the trail of a serial killer obsessed with contradiction, who is painting a bloody canvass of carnage with the entrails of politicians and powerbrokers in Swanstown.
“While the Oxymoron has been a scene stealer in The Red Ten, and the star of a successful hardcover anthology, I’m thrilled with the prospects of letting him cut loose in his own mini-series,” said James.
Co-Writer John Lees is also excited to get his hands on this character once again. “As far as I’m concerned,Oxymoron: The Loveliest Nightmare is the biggest comic project I’ve ever been part of. In The Red Ten, Tyler James and Cesar Feliciano created an instantly iconic villain who has quickly built up a cult following, and it’s intimidating to now come in and try to add to that legacy. Tyler and I have a story worked out that is going to take readers to some dark, twisted places. Alex Cormack is an incredibly gifted artist who is going to make this one of the most horrifyingly gorgeous (an oxymoron!) books on the stands. If you liked the Oxymoron Volume 1 anthology, you’re going to love this, and you’re going to be horrified, too. Life’s full of contradictions!”
James says that Oxymoron: The Loveliest Nightmarewill explore new territory for the character, “This will be a take on the Oxymoron that we haven’t seen before. Oxymoron: The Loveliest Nightmare is a cerebral serial killer police procedural in the vein of Hannibal or Seven. It’s the perfect jumping on point for new readers, especially fans of smart crime and horror,” he said.
Alex Cormack, who will illustrate this series, says the series is a welcomed opportunity to reunite with the Oxymoron character, “I’ve loved the character since I read the first issue of THE RED TEN, and drawing him in the Oxymoron Volume 1 anthology was a blast! It’s great to be working working with this psycho again!”
James seems enthusiastic about the dynamic of this creative team, “In the Oxymoron Volume 1 anthology, I worked with John Lees on the delightfully nasty short, Selfless Man. John has a great grasp of the character, and as he’s showing with star-making work on his horror series And Then Emily Was Gone, he is right at home in this genre. Collaborating with him on this was a no-brainer.”
James went on to say, “Likewise, Alex Cormack draws one hell of a creepy Oxy, and his storytelling has grown leaps and bounds over the past few years. I’m thrilled to be working with Alex on this.”
Oxymoron: The Loveliest Nightmarewill be a new mini-series debuting in 2014. A second Oxymoron anthology is also in the works for next year.
At this weekend’s Boston Comic Con, ComixTribe announced SCAMthology, a new project expanding Joe Mulvey‘s Scam universe, featuring top and up-and-coming comic talent telling thirteen new stories featuring super-powered con-men taking Vegas for all she’s worth.
The full roster of SCAMthology creators includes Joe Eisma, Ben McCool, Nick Pitarra, Paul Allor, Brian Shearer, Tyler James, Adam Masterman, Rich Douek, Daniel Logan, John Lees, Doug Hills, Aaron Houston, Kirk Manley, Josh Flanagan, Alex Diotto, Jonathan Rector, Jamie Gambell, Amy Chu, Nolan T. Jones, Steve Colle, Ryan K Lindsay, Alex Cormack, Steve Forbes, and Daniel Picciotto.
That’s thirteen teams, all tasked with developing the Scam mythos. And that’s an impressive line-up.
The first four-issue Scam mini-series concludes this November with a double-sized final issue, and SCAMthology will follow directly after. ComixTribe has created a special SCAMthology Tumblr Page that will feature frequent teasers and more details about the project over the next few months. SCAMthology is set to be released in early 2014.