Diseased #Comicsgate - The Culture Wars Hit The Funny Books!

Have to copy and paste these segments from @Mister Dongs 's post because it doesn't have a reply button.

"No matter how you slice it, 2021 Comicsgate's collective take of $4,441,182.90 (not including the $315,222.57 raised from 2020 projects going into 2021) is less than the $5,978,621.71 raised over the course of 2021."

Are you guys also making sure you're not adding in 2019 campaigns that were also still active in 2020? I see it's a point to mention that if a campaign was open in 2020, what it made in 2021 isn't counted in the 2021 numbers. Is that also true of 2020 numbers?

"The final argument, put forward by Jon del Arroz, was that individual members of Comicsgate succeed or fail regardless of whether they are part of the group and that measuring the group's collective success is imposing a meaningless abstract upon a chaotic and unassociated group of individuals. While I agree with the former assertion (and I believe the data bears that out), I disagree with the latter. Success in the crowdfunding sphere, from what I'm able to see, amounts first on the ability of a creator to build a customer base for his goods with whatever platform is available and then second to retaining those customers with the timely delivery of what is expected. Comicsgate as a group's success (at least as I would define it) in turn would be the ability to attract, retain and support people capable of doing so."

I think I was the one to suggest this. But it's true. If you want to know if CG is dying look at individuals.

It makes no sense to lump Cridious, Andrew Huerta, etc. into 2018 numbers or 2019 numbers when they took the money and ran. Do campaigns like Brutas that haven't even fully fulfilled count? If Bigfoot Bill 1 was Comicsgate, does that mean we count Doug's future campaigns as Comicsgate? Because if Earthworm Jim is not counted toward CG numbers, obviously that's a huge sum that isn't going to count toward the total raised by CG. And if we count Doug's books, do we count Doomkicker, since he wrote it but it hasn't fulfilled and Elliot pretty much took the money and ran and started doing a new campaign? Does Elliot's new campaign count because he was once CG and on CG live?

And honestly, at the end of the day, who cares what was raised per year by dozens of random businesses lumped together? 2018 was 2018, 2019 was 2019, 2020 was 2020, 2021 was 2021. It's 2022 now, and I think people need to move on. Dwelling on the past never did anybody any good, and if you notice, it's NEVER the creators dwelling on what CG in 2018 raised. I think most of us are happy with how our campaigns do, but we're always trying to grow and do better.

I can only speak about my campaigns and how I've done. So if we're looking at my numbers, I see them going up. But success is much harder to handle than failure. I learned that already. When you have success now you need to have another success and keep it going. It's incredible that so many people have continually crowdfunded large sums. It's a great thing that so many people are able to make the books that they want.

Creepsters right now has raised $16,419. Let's say it ends with about $17,000. If Creepsters 2 makes $10,000 and Creepsters 3 makes $6,000, then we could say I'm dying or failing. But I hope that's not gonna happen.

But looking at my past campaigns, SCP, the first time I launched it, which was in 2020, failed and raised $3,000. Then I launched Asyl and did $4,700. SCP the second time got funded and raised over $7,000. Now Creepsters is past $16,000. Looking at individuals is a much better way of figuring out who is going in which direction. Because if I go up or down, I'm really not taking anyone with me. Nobody is reliant on my business but me.
 
Have to copy and paste these segments from @Mister Dongs 's post because it doesn't have a reply button.

"No matter how you slice it, 2021 Comicsgate's collective take of $4,441,182.90 (not including the $315,222.57 raised from 2020 projects going into 2021) is less than the $5,978,621.71 raised over the course of 2021."

Are you guys also making sure you're not adding in 2019 campaigns that were also still active in 2020? I see it's a point to mention that if a campaign was open in 2020, what it made in 2021 isn't counted in the 2021 numbers. Is that also true of 2020 numbers?

"The final argument, put forward by Jon del Arroz, was that individual members of Comicsgate succeed or fail regardless of whether they are part of the group and that measuring the group's collective success is imposing a meaningless abstract upon a chaotic and unassociated group of individuals. While I agree with the former assertion (and I believe the data bears that out), I disagree with the latter. Success in the crowdfunding sphere, from what I'm able to see, amounts first on the ability of a creator to build a customer base for his goods with whatever platform is available and then second to retaining those customers with the timely delivery of what is expected. Comicsgate as a group's success (at least as I would define it) in turn would be the ability to attract, retain and support people capable of doing so."

I think I was the one to suggest this. But it's true. If you want to know if CG is dying look at individuals.

It makes no sense to lump Cridious, Andrew Huerta, etc. into 2018 numbers or 2019 numbers when they took the money and ran. Do campaigns like Brutas that haven't even fully fulfilled count? If Bigfoot Bill 1 was Comicsgate, does that mean we count Doug's future campaigns as Comicsgate? Because if Earthworm Jim is not counted toward CG numbers, obviously that's a huge sum that isn't going to count toward the total raised by CG. And if we count Doug's books, do we count Doomkicker, since he wrote it but it hasn't fulfilled and Elliot pretty much took the money and ran and started doing a new campaign? Does Elliot's new campaign count because he was once CG and on CG live?

And honestly, at the end of the day, who cares what was raised per year by dozens of random businesses lumped together? 2018 was 2018, 2019 was 2019, 2020 was 2020, 2021 was 2021. It's 2022 now, and I think people need to move on. Dwelling on the past never did anybody any good, and if you notice, it's NEVER the creators dwelling on what CG in 2018 raised. I think most of us are happy with how our campaigns do, but we're always trying to grow and do better.

I can only speak about my campaigns and how I've done. So if we're looking at my numbers, I see them going up. But success is much harder to handle than failure. I learned that already. When you have success now you need to have another success and keep it going. It's incredible that so many people have continually crowdfunded large sums. It's a great thing that so many people are able to make the books that they want.

Creepsters right now has raised $16,419. Let's say it ends with about $17,000. If Creepsters 2 makes $10,000 and Creepsters 3 makes $6,000, then we could say I'm dying or failing. But I hope that's not gonna happen.

But looking at my past campaigns, SCP, the first time I launched it, which was in 2020, failed and raised $3,000. Then I launched Asyl and did $4,700. SCP the second time got funded and raised over $7,000. Now Creepsters is past $16,000. Looking at individuals is a much better way of figuring out who is going in which direction. Because if I go up or down, I'm really not taking anyone with me. Nobody is reliant on my business but me.
The only reason you make any money in comics is because of the @FROG endorsement and he's a regular on your terrible show. Do you think Adam Post made all his money because of his charming wit and entertaining personality?

Speaking of FROG, it looks like some of the backers of Reignbro Brute are starting to get impatient.
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"No matter how you slice it, 2021 Comicsgate's collective take of $4,441,182.90 (not including the $315,222.57 raised from 2020 projects going into 2021) is less than the $5,978,621.71 raised over the course of 2021."

Are you guys also making sure you're not adding in 2019 campaigns that were also still active in 2020? I see it's a point to mention that if a campaign was open in 2020, what it made in 2021 isn't counted in the 2021 numbers. Is that also true of 2020 numbers?
Yeah; CreatorGo does not have the 2019 or 2018 campaigns plugged in so the year for 2020 consists only of projects launched in 2020. So in order for an even comparison, it should be compared against only the projects launched in 2021.


I think I was the one to suggest this. But it's true. If you want to know if CG is dying look at individuals.
Okay:

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I can only speak about my campaigns and how I've done. So if we're looking at my numbers, I see them going up. But success is much harder to handle than failure. I learned that already. When you have success now you need to have another success and keep it going. It's incredible that so many people have continually crowdfunded large sums. It's a great thing that so many people are able to make the books that they want.

Creepsters right now has raised $16,419. Let's say it ends with about $17,000. If Creepsters 2 makes $10,000 and Creepsters 3 makes $6,000, then we could say I'm dying or failing. But I hope that's not gonna happen.

No argument on my end here, I think you're doing well and the numbers show that. Congratulations on beating Warcampaign in 2021 Nasser. I went ahead and attached the spreadsheet.

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So it's bad to have friends or connections or help? You can pick out anybody in any field and say "YOU ONLY MAKE MONEY CUZ __"
Nasser, you fail to understand what you are in the grand scheme of things.

The reason Ethan props you up and always puts himself next to talentless hacks, people with zero charisma and just general pieces of shit, is because it makes himself look better by comparison. The same way a mean girl in high school will have a DUFF (Designated Ugly Fat Friend). It's just a microcosm of how faggoty CG has become.

Never forget to thank God everyday Ethan decided to shine his sunbeam upon you, because we all know if you had to rely on your own talent & personality to sell books, you would have to wait tables for a living.

At the end of the day your entire business is beholden to the whims of a man who runs his community like a dime store gangster, never forget that...
 
Some of you ponder whether or not doom on the horizon, but I already know all is lost.

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On a more serious note: What are the chances that those numbers and charts are just showing the logical (maybe) conclusion of the weeding out/stabilizing process? CG doesn't seem to be in much as a high gear as it's just trucking along. The people who produce continue to produce (... at least livestreams, i guess) and a lot of people just either had one time projects (like Charlie's London) or dropped of the face of the earth for one reason or an other. The only one's I actually worry about are the small timers who made money in both 2020 and 2021 but went into the negative over time. Seeing Zack's numbers in black and white(red) is horrifying, but "I am not mad, I am just disappointed."
 
Didn't know where else to post this or where to ask about it since I didn't see any thread on the farm discussing it, so I hope no one minds if I bring it up here.

A capeshit obsessed associate kept sending me annoying messages, telling me that Marvel "bent the knee and rebooted She-Hulk to make her sexy again" and released a comic that he claims was "nothing but fanservice for dudes, made her stereotypically girly and that its pissing off woke readers" and some other bullshit.
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I honestly don't give a damn about capeshit and this all sounds like bullshit to me regardless of pictures, but I'm curious if there's some sort of drama tied to this. Like are Marvel sales so terrible that they had to backtrack and resort to old fashioned fanservice? Is there any actual outrage over this? Is Marvel that desperate for relevance and knows that they're falling into irrelevancy as manga and maybe indie comics gain more steam?
 
It's a group, unless looking at it as a group makes it look bad, in which case it is actually individuals.

I appreciate the tireless efforts of the info gatherers. They continue to make this thread readable despite certain annoying nerds trying to turn this thread into advertisement space. I think that talk of the money, while interesting, is really just a measure of how effectively CG's retarded customer base is being scammed out of money for sub-par, late, or non-existent books.

There are certainly some non-late, acceptable quality books. It's just that I could lose 2 fingers and still count them on one hand. What is CG really? It's a hype machine for nerds in desperate - desperate need of a hype machine.
 
Didn't know where else to post this or where to ask about it since I didn't see any thread on the farm discussing it, so I hope no one minds if I bring it up here.

A capeshit obsessed associate kept sending me annoying messages, telling me that Marvel "bent the knee and rebooted She-Hulk to make her sexy again" and released a comic that he claims was "nothing but fanservice for dudes, made her stereotypically girly and that its pissing off woke readers" and some other bullshit.
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I honestly don't give a damn about capeshit and this all sounds like bullshit to me regardless of pictures, but I'm curious if there's some sort of drama tied to this. Like are Marvel sales so terrible that they had to backtrack and resort to old fashioned fanservice? Is there any actual outrage over this? Is Marvel that desperate for relevance and knows that they're falling into irrelevancy as manga and maybe indie comics gain more steam?
It probably has to do with the TV show coming which features a girlier Shulkie so they want the comic to match her.
 
These guys have a point @NasserRabadi13 , you shouldn't be throwing around epithets about old women. Old women are the backbone of CG! Let me explain:.

One of the strongest markets for CG is old women - because elderly people are the only ones who still insist on paper reading matter over digital. They fear the screen, they shrink in terror from it.

On top of that, CG comics are so overpriced they only make sense as slightly ridiculous gifts - and only women engage in these, or any kind of gift exchanges.

Finally, the preponderance of hunky muscle-men in these American superhero comics, such as your Brutas character, is something that primarily appeals to lonely women, with a secondary market in womanly, latent homosexual dorkmen.

So that's THREE clear reasons why older women are the backbone of CG. To reiterate:

One, they are the only ones who care about printed books (because they like to smell them and cradle them, like babies).

Two, they are the only ones who like to buy utterly valueless, overpriced nonsense things. There's a whole economy of it, the woman economy Nasser, you should see it, the things they spend their money on. CG comics are just right for them, they fit well alongside the women's magazines, make-up and jewelry.

And finally reason three: hunky square-jawed muscle-men like your Brutas fantasy male, are exactly the cup of tea older women enjoy, they like to warm themselves up with fantasies of being ridiculously banged by the hunk. Latent homosexuals also enjoy for the same reason, but they are the lesser minority compared to old women.

Now before you dismiss me without processing anything I've said, just go and look at those refunds for that other hunky Brute, Frog's one. Look at the names - Felicity, Katie, Jennifer, Mary, Jess.... and some homosexuals to be sure, but they are outnumbered by the ladynames.

YOU did that Nasser!

Now apologize to ALL old women Nasser! Meaning apologize to the majority of CG.

Stop causing Frog to get mass-refunded with these market-alienating, incellious utterances about ladies' wombs - which are something you even admit to knowing absolutely nothing about.
 
It probably has to do with the TV show coming which features a girlier Shulkie so they want the comic to match her.

Even so, when was the last time Marvel Comics tailored their books to match whatever Marvel Studios production was popular at the time? I don't necessarily think Marvel is ditching the woke, but if this is a tie-in, it still smells slightly desperate.

Also, I have visions of 40 year old Nasser bussing tables, hoping against hope that this will be one of the nights that Ethan turns up to drop a big tip.
 
  • Agree
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Even so, when was the last time Marvel Comics tailored their books to match whatever Marvel Studios production was popular at the time? I don't necessarily think Marvel is ditching the woke, but if this is a tie-in, it still smells slightly desperate.

Also, I have visions of 40 year old Nasser bussing tables, hoping against hope that this will be one of the nights that Ethan turns up to drop a big tip.
The amount of crossover from film/TV to comics must be absolutely abysmal.

One of the big reasons manga is kicking ass right now is because anime is a thing. Anime that follows the source material very faithfully, that is often also incomplete/in progress, giving watchers who want to find out “what happens next” in the story an easy solution: read the fucking source material. Anime convinces a lot of people who have no interest in the comics medium to give it a shot, and once you’ve read one manga, you’re way more likely to branch out and read more.

Marvel/DC’s biggest problem isn’t wokeness, it’s that nobody knows that comic books are apparently still being written and published in current year, despite their characters being household names thanks to Hollywood.
 
The only reason you make any money in comics is because of the @FROG endorsement and he's a regular on your terrible show. Do you think Adam Post made all his money because of his charming wit and entertaining personality?

Speaking of FROG, it looks like some of the backers of Reignbro Brute are starting to get impatient.
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I remain baffled by Ethan's decision to launch Reignbow The Brute while he was still eye deep in the artwork for Cyberfrog. Like a New Jersey mobster wearing a pair of cement brogues, the campaign seemed to immediately sink to the bottom of his in-tray where other projects have been allowed to pile up on top. Let's say, optimistically, Rekt Planet fulfils by mid-2022. Reignbow isn't going to require the same level of artistic labour but it's still a complex campaign with a lot of moving parts. The absence of updates and the strong Mary Celeste vibes emanating from the campaign's Indiegogo page, indicate Ethan's focus is elsewhere. There's still a thermos and a lunchbox to design. Presumably he will want to see prototypes before they go into production. None of that happens overnight. I can't see this book launching until the end of 2022. That's not so much taking the piss as freezing it inside a cryogenic chamber, then burying it in a time capsule.

If Ethan's goal is to establish himself as the George R. R. Martin of comics, then he should allow his backers the courtesy of naming an heir - possibly a grandchild or great grandchild who can be a recipient of the book when it is released.
 
This malt liquor guy has actually provided entertainment which is rare.

He's a sensation! Frog was watching him eat a large burger tonight.

He's what America is all about, he's what CG is all about!

Namely, monetization.

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Ooooh, dark whisperings from the STEELEWORLDWIDE community tab!

Is Moltie going to go full CG? Or anti-CG, or whatever that is, that Pan is saying to do?

As always, Frog shows us the way:


What a genius!

Here's a little number, going out to a very special @FROG out there... I think it will resonate with him right now:

 
The amount of crossover from film/TV to comics must be absolutely abysmal.

One of the big reasons manga is kicking ass right now is because anime is a thing. Anime that follows the source material very faithfully, that is often also incomplete/in progress, giving watchers who want to find out “what happens next” in the story an easy solution: read the fucking source material. Anime convinces a lot of people who have no interest in the comics medium to give it a shot, and once you’ve read one manga, you’re way more likely to branch out and read more.

Marvel/DC’s biggest problem isn’t wokeness, it’s that nobody knows that comic books are apparently still being written and published in current year, despite their characters being household names thanks to Hollywood.
To me, wokeness is an effect of the comicbook industry decline, not the cause.
People want big articles to maybe sell an issue and "diversity" is a way to do it.
 
I honestly don't give a damn about capeshit and this all sounds like bullshit to me regardless of pictures, but I'm curious if there's some sort of drama tied to this. Like are Marvel sales so terrible that they had to backtrack and resort to old fashioned fanservice? Is there any actual outrage over this? Is Marvel that desperate for relevance and knows that they're falling into irrelevancy as manga and maybe indie comics gain more steam?

Marvel sales are actually dominating the direct market at present, but this should be interpreted as DC doing really badly right now.

The other day Perch put out a video citing ICV2 statistics about how all but 2 of DC's books in the Top 50 were Batman or Bat-related comics and that this should be taken as an objective sign that the publisher is in a state of freefall. DC's upcoming event, "Death of the Justice League" and replacing them with woke replacements, stinks of 2017. For their part, Frog and Shane Davis are right now cranking out agitprop carrying water for their beleaguered former colleague Geoff Johns, right now getting dogpiled by DCEU fans/Snyder Cultists (now that Joss Whedon has been destroyed) as Joss Whedon's henchman, the guy that wrecked Batfleck and getting blasted by Grace Randolph as a "functioning sociopath". The Comicsgate Kings by contrast are going so far as to say that Johns is the only one able to save DC Comics from its current dire state which, erm, lol. Not to put too fine a point on it fellas, but the only thing that Geoff Johns can do better than Grant Morrison is shit on Alan Moore's work.

Restoring She-Hulk I think shouldn't be seen as the result of editorial direction from Marvel so much as lack of it; YA writer Rainbow Rowell just wants to make some twee She-Hulk comic that girls would actually want to read and maybe even pay for instead of continuing well-known inept retard Marvel writer's Jason Aaron's repellant tranny They-Hulk dogshit that nobody wanted. The lack of any editorial direction or pushback is just a rare instance of this working out in Marvel fans' favor instead of against.
 
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