| ▲ | wrsh07 2 hours ago | |||||||||||||||||||||||||
And what alternatives existed for Wolf in the 80s? What value were publishers providing? Like many industries, book publishers integrated: editing, production, marketing, and distribution. They may have also helped with licensing. Would _Who Censored Roger Rabbit_ have been the success it was with a different publisher? These counterfactuals are hard to prove! (Look at the discussions this year around k pop demon hunters - how much credit does Netflix get for growing an objectively good film's audience? Reasonable people debate this!) The big publishers do provide utility, but there's also an incredible asymmetry (they have trivially made many more book deals than any of their authors) | ||||||||||||||||||||||||||
| ▲ | echelon 2 hours ago | parent [-] | |||||||||||||||||||||||||
You don't need to tie yourself to distributor control if you catch fire and maintain your rights. It's never been easier to build your audience and personal brand. VivziePop with Hazbin Hotel and Helluva Boss was able to do this on YouTube and then ink deals with Amazon and merch retailers (where the real money is). Her shows alone rake in over $100m and the merch significantly more. Glitch with Murder Drones and Amazing Digital Circus did the same. And they've stolen a lot of high profile folks from Disney for Knights of Guinevere and upcoming shows. Psychic Pebbles did it and how has an Adult Swim show. Joel Haver, lots of others... This is basically what George Lucas was able to engineer with his 20th Century Fox deal to maintain merch rights. But it's even better for creators today. | ||||||||||||||||||||||||||
| ||||||||||||||||||||||||||