The Official Mythopoeia Blog

The State of Crowdfunding: 2022

17/6/2022

Ahoy Mythopoeians!

Some big news in the world of crowdfunding this week with BackerKit announcing that they would be launching their own crowdfunding platform to rival Kickstarter. BackerKit, for those who don’t know, is the number one backend platform for crowdfunding fulfillment, and one we’ve used on our campaigns since the beginning of our journey as creators.

BackerKit has already announced a slew of creators on their new platform, including tabletop giants Cephalofair Games, the publishers of Gloomhaven. In fact, if you look at the wall of announced creators / publishers, over half of them are tabletop game publishers.

This is interesting as it clearly reveals the demographics of crowdfunding as a whole: according to Kickstarter, 28.8% of all funds raised on the platform have gone to the Games Category. As of writing there are almost two times (607 versus 345) the amount of campaigns in Games versus the next largest category, Design. Games - specifically Tabletop Games - are the undisputed 800 pound gorilla of crowdfunding. Comics stand at a measly $169 million total raised, peanuts compared to the $1.82 billion raised in Games.

The official statistics published by Kickstarter.

Gamefound is another growing platform that’s been making a lot of waves recently. Initially launched as a preorder / backend platform, the site now features multiple $100k+ projects on the front page, including major licensed products like The Umbrella Academy board game (based on the comics, not the Netflix TV series).

As of publication, Gamefound's front page projects.

What does this all mean for crowdfunding in 2022? Hard to say for sure, but here are some hot takes:

Decentralization is on the menu. One of the biggest advantages Kickstarter has had over the years as the first mover in crowdfunding is a massive audience. That audience now seems to be fragmenting now. With a number of options now available, it's likely that the crowdfunding segment is going to continue fragment into smaller fiefdoms rather than being consolidated to one large kingdom like it has been on Kickstarter for the past ten years.
Crowdfunding is probably less friendly now to new creators. For large established creators, it won’t be a problem migrating their fanbases over, but how will new creators find an audience? I’m not saying it’s impossible, but the advantage of more centralization is more theoretical eyeballs if your project rides the algorithmic waves. I’m interested in seeing how these new emerging platforms support new creators versus courting existing ones.
People who back crowdfunding don’t like blockchain. Kickstarter announced last year that they would be moving to a blockchain-backed platform. The backlash was huge. It’s safe to say that Kickstarter’s previously solid reputation took a hit from the controversy, which has directly led to some of its largest creators to migrate away from the platform. We actually experienced this ourselves when we planned to mint a collectible Glow NFT, only to receive huge backlash from our fans. It was frankly shocking how many people got angry over the idea of it, and something we’re steering well clear of for the foreseeable future.

The Glow Collector's Book Plate, originally intended to be minted as an NFT but later given royalty free (including source files) to all of our backers of Glow: Book 1.

And to close, here are some questions I have about the state of crowdfunding going forward:

Is crowdfunding recession proof? Crowdfunding actually saw a boom in the 2020 pandemic fueled recession, but many projects (including ours) have since struggled with the ensuing inflation and supply chain issues that have resulted. All indications are that we’re entering if not already in another recession. How does crowdfunding, an idea born in the aftermath of the 2008 financial crisis, fair this time around?
Are tabletop games in a bubble? We’ve been talking to distributors recently, and the amount of product entering the market every week is frankly astounding. How many board games can the average enthusiast own? Play? Back? It’s a legitimate question as we’ve only seen boom times since board games started blowing up because of Kickstarter. Will those boom times last? I personally own around 12 board games, and I already think that may be too much real estate taken up in my house. How does the bread and butter who support this segment feel?
Is crowdfunding now just another term for preordering? I see so many projects now from huge companies, it makes me wonder how much these companies view crowdfunding as just another revenue stream / indicator for demand (preorders) rather than an incubator for talent like originally intended. It may be nostalgia talking, but I do hope that there will always be room for discovering new projects, new creators through crowdfunding. Part of me isn’t sure though…

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Ad astra, into this strange new decade and beyond!

- Ray

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Convention Season: San Diego Comic-Con & Gen Con

6/6/2022

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Ahoy Mythopoeians!

Summer is here, and for the first time in two years convention season is upon us! Back before the pandemic times, we regularly attended comic book conventions as exhibitors, going from ones as far ranging as San Diego Comic Con to the Eastern European Comic Con held in Bucharest, Romania. As the world flipped upside down and began to normalize, we considered returning to the convention circuit several times, but in almost all cases decided to withdraw over anxiety over attending an in-person event with thousands of people in a closed air environment.

Well, no longer! This summer Mythopoeia will be attending San Diego Comic-Con 2022 as well as for the first time Gen Con 2022. We are excited to be getting back in person, meeting fans, introducing people to our work, and ultimately trying to make new inroads in this wonderful creative journey of ours.

The pause in shows over the last two years has given us plenty of time to think and reevaluate what conventions mean to us and our purpose for attending.

In our entire 8 year existence, Mythopoeia has never lost money on a convention. That is primarily because we have kept costs low and fans seems to be very excited by the comics that we produce. Although we don't do extraordinary numbers, we've managed to make conventions a small profit generator in addition to providing other benefits such as exposure and reach.

That's all about to change, however, as in 2023 we are expected to lose money at a convention for the first time at Gen Con 2022.

Why? Well, for a number of factors. Let's break it down:

1. Air Freight

First and foremost, we are behind schedule for The Wildsea RPG. As of one month ago we missed the deadline to conceivably have our books ocean freighted in time for Gen Con. All shipping is incredibly expensive as of 2022, with costs having gone up around 30-40% around the board. Air Freight certainly has seen an impact, and that means that our shipping costs for the show have gone up tremendously as a combination of the way the world is and our own internal delays as a publisher.

2. Travel

Gen Con is a massive travel show, located in Indianapolis, Indiana, a part of the world we've never been to and have few connections from. Typically we try to compensate the cost of a show by crashing with a friend in the city, but because we don't know anyone we're going to have to pay full price in terms of room and board for the show. We are also traveling with a relatively large contingent of folks, with around 8 of us attending. That means having to pay for a largeish accommodation, in this case an AirBnb, to house those of us that will be working at the show.

3. Scale

In the past, when we've exhibited at comic conventions we have applied for a spot at either Artist's Alley or Small Press. Both are typically smaller booths and areas of the show, designed to accommodate artists, independents, and newcomers. Not at Gen Con! We are exhibiting at Entrepreneurship Alley, a showcase of new companies who have never exhibited at Gen Con, with a booth starting at 10x10 and $2100.

We are fortunate in that we have been selected as a Marketing Fellow, meaning our booth has been upgraded to a 20x10 and we have some advertising support from the show itself. It's quite a daunting prospect, but this show will mark our entrance into the big leagues; where exhibiting at a show becomes much more about marketing and exposure with a long tail, as opposed to viewing the show as a profit gainer.

Our primary goal at Gen Con is to secure distribution for The Wildsea, and for future Mythopoeia products. If/when we manage to do that, we will have the opportunity to exponentially scale our business through wholesale. We have the platform; we have the game; now all we need to do is make the connections and show what we have.

If you build it, they will come. Right? Here's hoping so.

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You may ask: with all these costs, and with the prospect of losing money, why attend? Well, the reason is simple: we believe in what we are doing. The Wildsea is one of the most unique roleplaying games I've ever had the pleasure of playing in my 20+ years in the hobby, and I believe that it has the potential to transform - or at least become a huge player - in the entire industry.

We are at the end of a long journey releasing this game, and we are going to do so in the best way possible: at the home of tabletop gaming. Along the way, we hope to show others what an amazing experience the game is, and to perhaps make the inroads needed to take The Wildsea - and Mythopoeia - to the next level.

Without risk, there can be no reward, as they say.

That said, we'll see you at SDCC and Gen Con soon!

- Ray

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Creator Resources: Podcasts!

29/8/2019

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Today, we look at the podcasts of comic creation. The writing, the sequential art and the business of the production of your masterpiece. Here are 5 comic book creation podcasts that should skyrocket your project to the next level. Enjoy!

Webcomics Weekly!

If you’ve ever looked into comic creation podcasts before, this is probably the one you are most familiar with. Featuring Scott Kurtz, Dave Kellett, Kris Straub among others, discuss the ins-and-outs of drawing comics for the web. News, tips and tricks, technique and pet-peeves. This is a fantastic podcast for anyone who is at any stage in the comic crating process, be that a pro or a total beginner.

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Creator Resources: Comic Writing!

1/8/2019

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I first knew I wanted to create comics back when I read Alan Moore’s Watchmen. It was my brothers copy and he lent it to me when I was about 12 or 13 and said, ‘Just read it. You’ll love it.’ He was right.

I’m sure you've had a similar moment when you realised that creating comics is something you should at least investigate further. What ever that moment was, I’ve got some resources here that’ll help that creative flame burn a little brighter.

Write or Wrong

Indie comic creator turned pro, Dirk Manning, has written a comprehensive guide on how to create a comic book from the very first idea to the back cover. He then goes onto give you the basics of marketing and self-publication, but there are better books on those subjects. If you’re looking for a starter manual on how to get your idea onto the page, this is the book for you.

My personal favourite part of the book is right at the back where Dirk gives quotes from every artist he has ever worked with asking them what qualities they look for in a good writer. If you are serious that want to create comics professionally, then a large part of your working life will involve collaborating with artists – this part of the book above all other is extremely important. Great book.

Very good resource

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Creator Resources: Documentaries and Film Analysis

9/7/2019

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Today, I thought we could have a look at some resources for all you aspiring creators. I’ve done more than my fair share on research into the art of storytelling for the comic book medium, so here is a short list of resources pertaining to the moving image that I think may be quite useful. Enjoy!

Comic Books Confidential

Ron Mann's playful documentary works in two ways, first and foremost as an affectionate thumbnail history of comic books and the social attitudes that nurtured them, from the super patriotic fervour of the Second World War to the right-wing paranoia of McCarthyism to the counterculture underground of the '60s and beyond.

Elsewhere it's an introduction to almost two-dozen comic artists (the tag cartoonist doesn't do them justice) still plying their trade, all of them misfits, rebels, radicals, and malcontents.

Here’s an extract, an interview with Stan the Man from the 1988 documentary:

Here, the late father of Marvel Comics tells us about the need for heroes and how such a need spawned from US politics during his childhood. He also goes on to explain how his own creative influence was forged by the years of the depression. It’s a good interview in a very solid documentary that will be sure to aid any aspiring creative.

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