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SOF #8 + GLOW: B1  - Kickstarter Post-Mortems

11/7/2022

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Hey Mythopoeians! 

Today I want to take a step back and talk a little bit about the challenges and lessons learned from the first six months of 2022. This is a long read, but in all honesty it's been a while since we've done anything like this, and I think it's important in the spirit of transparency and, well, mental health. 


This year has been, without a doubt, one of the most challenging years of my life, and the difficulties faced from this campaign and Glow: Book 1 contributed no small part to that. ​

3PL

The big theme this year for us was Third Party Logistics (3PL). After years of shipping thousands of packages ourselves, we just simply weren't up for it anymore. It took too much time, energy, and the amount of packages we were sending out per year got to a point where we needed some help. 

We didn't handle this very well. In terms of vendors, we thought going with a warehouse fulfillment that was familiar with crowdfunding and our categories - geek products - would be the way to go, but it turned out that we were a bit too small to be a good fit. One thing that we've learned and relearned this year that when looking for vendors and partners, it's always good to match one another, in terms of size, ambition, and demeanor. 



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Vince and Ray back in 2014, fulfilling our first Kickstarter campaign.
With Quartermaster, I think we just were a little bit too small for them to really matter. Nothing against them, but we found our fulfillment constantly pushed back which was a really tough pill to swallow. On their end, it was a challenging year as well with a lot of the same market forces at play leading to delays everywhere, but unfortunately that often left us as the low man on the totem pole as the queue from their warehouse fulfillment grew with other larger projects. 

Another aspect we should've thought more about was geographic location. QML is located in Florida and I'm located in Los Angeles. That's around 2,568 miles or 4,132 km between the two locations. The distance added another layer of complexity to things like ocean freight, and a lot of small customer support issues could've been solved had we been in driving distance. Lesson learned - for our next campaign we're going with a local fulfillment center, which incidentally has quoted us cheaper rates and we have a prior working relationship with (Bear with Me Toys - the manufacturers of the Tanvir Plushie!) 

​

Europe / Brexit
​

We've known Brexit to be coming for a number of years, but 2022 is where the rubber really met the pavement with regards to tariffs and shipping. Specifically, July of 2021 saw items of less than EUR 22 imported into the EU to no longer be exempt from VAT. 


In addition to increased prices, that meant increased handling and holding of the shipments, and an extra payment barrier for you, our backers, to go through if their shipment was held up by the post office / customs. As many of you know, that resulted in a very, very expensive situation for everyone involved.

We've since been looking into IOSS and providing Customs Friendly shipments to our fans / backers in the EU, and that has proven to be difficult as well. The startup fee to obtain IOSS status is somewhere in the $7,000 region, which, given our volume at the current moment, remains prohibitively expensive.

The silver lining here is that we are not the only ones to have faced this issue from the UK to EU, and Bezos, our 3PL Partner in England, has also been working to resolve this issue. As of writing they are implementing some form of customs friendly shipping sometime in August, meaning that orders will hopefully not be held by customs and all postal fees will be baked in. 

For our UK backers, Bezos has been a great company to work with. Fast, responsive, with good shipping rates. We're excited to continue working with them and we think that their addition of IOSS clearance will make things better - not great, as yknow, Brexit - for our EU fans. 

​

BANDWIDTH

For the past couple of years we've been juggling both Skies of Fire and Glow with some consistency. We also have a comic we've been working on behind the scenes for a long time, Sansha and Blanco. In 2021 we forayed into publishing with The Wildsea RPG and followed up with CBR+PNK: Augmented this year. 
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This didn't quite happen...
It's been extremely challenging growing from two projects to five.  Although our role as a publisher is very different from that of a creator, there's still be a lot to juggle in terms of project management, communication, manufacturing, fulfillment, etc. This has at times proven difficult from a bandwidth standpoint, especially when you factor in creative work. I've done less creative writing I have this year than maybe in the past five years, and that's been very hard for me personally. I love writing, it feed my soul, and I know at the end of the day it's my fault - don't have anyone else to blame - for not prioritizing writing as much as I should, but finding the balance between growing the business of Mythopoeia and the worlds of Skies of Fire and Glow is something I'm still trying to figure out.  
​

On Writing

In terms of the next edition of Glow, we're debating whether or not to release #5-6 as a single hardcover volume. It just makes more sense for us to be able to continue the story that way, and to be honest that 60 page hardcover format was something we've thought about for a long time. Thoughts on the change of format? Should we go straight to hardcover instead of releasing individual issues? 

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One of the variant covers we have upcoming for Glow.
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Snippet from the journal.
In any case, we have some cool covers cooking up. The story itself along with codexes is now wrapped up, but we're waiting for a launch window for the project. Per usual this year, we're backed up and need to get the Skies of Fire Collected Edition off the ground first.
Not withstanding, the past few weeks have been really great from a creative standpoint for Glow. Truth told, I've been blocked on the writing for quite some time now. Last year I wrote a draft all the way through to #8, but just wasn't happy with the story that came out. It felt convoluted, confused, and I didn't really know where to go. 

I had an idea of the themes, and a large sort of ... point... where I wanted to hit plotwise, but there were a lot of things that were up in the air. I kept drafting and redrafting, pitching Vince new ideas to which I would see him furrow his brow intently (never a good sign lol). He's been monumental in lighting the way, but it's been a maze of a story this entire year. 


I went back to writing analogue in a journal for Glow at some point, pushing down little anecdotes of lore in lieu of any new pages. Finally, a couple of months ago I made the decision to scrap what I had written for #8 and parts of #7. As often the case, I found myself revisiting old plot points and exploring character motivation, still so stuck, stuck, stuck.


Work in progress...It's been hard to find a way through, and what's more I've on more than one occasion let other concerns of distract me from writing. So, that is to say I'm working my way back into a rhythm and this week was has been good.  Really good. I think I broke a key beat of the story, and for the first time in a long time I'm happy with what I'm producing.  I've switched to late evening creative writing from early morning too and with the rest of the stuff going on in my life that seems like a good time. 


So yeah, the struggles. Is there anything more stereotypically writeresque than having writer's block besides maybe procrastinating actually writing? Truly sometimes a miserable form of alchemy, the craft of writing :) ​

communication

Throughout these challenges, I've been reminded about the beauty of fans and the generosity and spirit you've come to embody through this thing called crowdfunding. I know things have changed since 2014, but one of the principles I've learned and constantly need to relearn in all of this is that communication is key. 

Back when things were looking especially dire, those closest to me urged me to reach out to Kickstarter and communicate what was going on behind the scenes. Somehow, that still was very difficult to me - I have a announce things when there's good news mentality, but I know that can lead to large gaps of silence (like the last few months with Skies of Fire). When I did write that post, the response from all of you moved me. 

So many times this year I've felt so... inadequate. Some of it has been out of my control but some of it comes down to my own shortcomings and mistakes. I know how much I have to learn when it comes to handling all of this, but still I need to remind myself that the most important part of my job is communication - to you, our fans, to our artists, Vince, vendors, and everyone else that helps us make these wonderful worlds. 

I know there have been times this year where I've been lacking, and I know I need to and will do better. Thank you for being patient with us as we go through all of this. I don't take it for granted one bit, especially not when my butt's being kicked to the curb by *gestures wildly* this. 

Thank you for being empathetic to the challenges we've faced. 
Thank you, for being critical and helping us get better.
Thank you, for sticking with us and fostering our growth.

 - Ray

This post was syndicated from Kickstarter updates.


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The State of Crowdfunding: 2022

17/6/2022

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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.
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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.

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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. 

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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). 

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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!

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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.
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Very good resource

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