The New York Times is writing about the bursting forth of crowdfunding on the net for comic publishing, how it’s drawn big names like Keanu Reeves into the fold, and even already established vets like Todd McFarlane, and they say:
Part of the appeal of crowdfunding, they say, is that it allows them to connect directly with their audience, bypassing the industry’s traditional distribution model. Some critics argue, however, that heavyweights with deep pockets are muscling into a marketplace intended to help beginners introduce their creations.
But Kickstarter has evolved since it was established in 2009 to become more inclusive, said Greg Pak, a comic book writer and the author of “Kickstarter Secrets,” a book of crowdfunding tips. “There was a sense early on if you were an established person, you were stealing someone else’s opportunity,” he said. “There is an understanding now that Kickstarter is for anybody.”
And unfortunately, that includes at least one shady name, along with somebody who, while not particularly appealing himself, was targeted by the former:
Other comic book projects have seen success.
Alex de Campi sought funding in May for the science-fiction graphic novel “Madi: Once Upon a Time in the Future,” with the film director Duncan Jones. They shot past their $50,000 goal, earning $366,000.
In August, the writer Scott Snyder and the artist Tony Daniel offered supporters a behind-the-scenes look at their series Nocterra, which will have its premiere next year with Image Comics. The target for the project, which ends Sept. 17, was $40,000, and it has so far earned $169,000.
Mr. Snyder found other opportunities with the campaign. He used it to announce his new imprint, Best Jackett Press, and proceeds will help pay for Mr. Daniel’s work as well as for the artist for a second series. The money helps alleviate worries that this project was taking time away from paid opportunities.
Yes, one of the Whisper Networkers has made use of crowdfunding sites, and unfortunately, seems to have had success in gathering a bundle, probably due to the filmmaker’s much wider ranging influence, though I wouldn’t buy her work after the way she’s behaved online, even with the presence of another source co-writing. Granted, de Campi may have stopped inciting against Snyder after the Whisper Network was exposed, but seeing as she’s continued to be a troublemaker in some way or other, that’s why it’s best to avoid a project with her name attached.
As for Snyder, I do wonder what he thinks of de Campi’s potentially noxious attacks on him in the past year, and if he realizes she’s far more a problem than Comicsgate, or, does he have any wish to complain that she’s going about her business the wrong way? If not, that’s certainly strange. I’m willing to wish him best of luck on his new independent project, but it still won’t excuse that he hasn’t made any improvements at the Big Two, and he fails to recognize that constant negative attention to Comicsgate won’t prevent his SJW co-workers from betraying him.
All that aside, it’s interesting how the NYT considers indie productions like these a big deal, but won’t pay an iota of attention to any of those launched by Comicsgate supporters themselves, some of which have brought in plenty of dough to pay for the development and deliveries. It shows that even focus on independent publication at a mainstream paper like the NYT is selective only, and doesn’t focus on the “anybody” in serious fashion.
Originally published here