How to use this Page

The Streamys will be televised for the first time ever next month.

Over the past few weeks, BOOM Studios has made a bevy of announcements to drum up excitement for their San Diego showings.  It’s their tenth anniversary, and they’re celebrating in style.

First off, Grant Morrison will be writing Klaus, which is what Morrison describes as “Santa Claus: Year One.”  He’ll be working with artist Dan Mora for the six issue run, focusing on developing the character’s Viking and Siberian mythological roots while shying away from the more corporate cola takes on the jolly red fellow.  Morrison describes the book as an all-ages title, but I’m not really sure I believe him.

Then, we have Ollie Masters, best known for his work on Vertigo’s The Kitchen, who recently announced that he’ll be writing a new BOOM series in the vaguest way possible.  Seems to be something about family and lies.  Maybe it’s The Sopranos.  Or Breaking Bad.  Oh god I hope it’s Breaking Bad.

Not to be outdone, Mike Carey and Mike Perkins have released a teaser image for their upcoming BOOM series.

Returning to the realm of specificity, Kris Wilson, Rob DenBleyker, and Dave McElfatric, creators of the hit webcomic Cyanide and Happiness, will be releasing a collected edition of works through BOOM.  This collection, entitled Stab Factory, will feature thirty new strips.  Four of them are available now on Comics Alliance.

Finally, BOOM is working with Philip K. Dick’s estate to bring cartoonist Tony Parker’s 24 issue Eisner-nominated adaptation of Dick’s Do Androids Dream of Electric Sheep? back to print as a collected hardcover.  Jay Shaw will provide the edition with a brand new piece of cover art.  The collection will also feature essays from prolific comics professionals including Warren Ellis, Ed Brubaker, and Matt Fraction.

The Kickstarter campaign to produce an animated series based on the online comic Cyanide and Happiness concluded a few minutes ago with a grand total of $770,309 from 14,242 backers. The amount of money raised obliterates the previous animation crowdfunding record held by David Fincher and Blur Studio’s The Goon animatic, which raised $442,000 last November.

Last month when the Cyanide and Happiness campaign was at its midway point, Cartoon Brew wrote about how well the effort was doing. The four creators of C&H—Kris Wilson, Rob DenBleyker, Matt Melvin, Dave McElfatrick—had set their fundraising goal at $250,000. They exceeded that amount by 300%, and with the money they’ve raised, their team will now produce eleven 10-12 minute episodes, as well as weekly short-form pieces for an entire year.

What is the most funded animation campaign currently running on Kickstarter? Is it:

• A short film by animation legend Ralph Bakshi

• An animated game by Oscar-winning Moonbot Studios

• A proof-of-concept film by Celebrity Deathmatch creator Eric Fogel

The answer is none of the above.

The most successful live animation campaign at the moment is Cyanide and Happiness, a long-running webcomic that aims to branch out into a series of long-form animated episodes. In the eleven days since the campaign was launched, over 7,300 backers have contributed $362,000, easily surpassing the project’s original goal of $250,000. It is already the third-highest funded animation campaign in Kickstarter’s history, and could break more records before it’s all over.

The four twenty-something creators of Cyanide and Happiness—Kris Wilson, Rob DenBleyker, Matt Melvin, Dave McElfatrick—are no strangers to animation. Before coming together to make the comic in 2004, they met each other as teenagers doing animation on Newgrounds. In 2009, they began creating brief animated segments based on their comic. Their YouTube channel has amassed neary 200 million pageviews with short-form bits and pieces of animation.

Now, they aim to do something more ambitious: a series of 10-12 minute episodes. Initially, they attempted to negotiate a TV series deal with cable networks. They wrote about the fruitless effort on their blog:

We walked away from the first two [networks] due to rights and creative control issues. We thought that we could settle those issues in the third deal, but things didn’t quite work out as we hoped. We’re starting to realize that TV as an industry just isn’t compatible with what we want to do with our animation: deliver it conveniently to a global audience, something we’ve been doing all along with our comics these past eight years. That’s just the nature of television versus the Internet, I suppose.

Now they’ve turned to Kickstarter to appeal directly to their fanbase:

We firmly believe the entertainment industry is changing, and the Internet will eventually become the only way people watch shows. Especially the people that make up our awesome fanbase. The Internet is already the largest network, available when you think about it. Why go anywhere else? By reading our comics over the years, you folks have given us the careers we dreamed of having as kids, and turned our silly cartoons into something much, much bigger than ourselves. The prospect of doing an uncensored, unaltered Cyanide & Happiness Show and giving it directly to the fans is an incredible opportunity. We’re really excited to see how far we can take things.

Besides the amount of money raised so far, there’s another noteworthy aspect, and that’s that the C&H artists developed their careers entirely online. This is different from many other high-profile animation projects on Kickstarter launched by mainstream artists whose reputations were established in entertainment mediums outside of the Internet.

It still means something to be Ralph Bakshi, John Kricfalusi or Bill Plympton—that is, being the director of numerous theatrical features, the creator of a groundbreaking TV series, or the king of American indie animation has an incalculable advantage over being an upstart. But as the Cyanide & Happiness campaign has shown, lofty reputations from other mediums can’t match the support of a well-established online following.

The C&H Kickstarter already has more backers than the combined totals of the three aforementioned animation legends, and will also achieve a higher pledge dollar amount before the campaign ends. With this success, as well as the success of webcomic campaigns like MS Paint Adventures and Penny Arcade, the once-maligned webcomic is re-emerging as the unlikley foundation of entertainment empires.