As his patron count increased, he was able to afford custom artwork for his video thumbnails, and even commission songs based on the games (I’m available Vaati!). When I finally clicked through to VaatiVidya’s Patreon page and realized how much work goes into each of his videos, I was more than happy to chip in. Lots of people were posting Dark Souls videos on YouTube, but the guy with the Australian accent was doing it best. One of the great things about gaming today, versus my formative cartridge and floppy disk years, is the community that surrounds the games. Patrons pledge as little as $1 every month to fund ongoing creations, the vast majority of which are released into the world for free. It’s like public radio without the pledge drive.īack in 2014, I was playing a lot of Dark Souls II. It’s a membership platform that makes it easy for artists and creators to get paid. If you meet your goal (and half don’t), making and fulfilling rewards from a dozen different tiers is expensive, time-consuming, and soul-sucking. It forces you to decide exactly what you’re going to make before you make it, and know precisely how much it will cost. Kickstarter/PledgeMusic? I’ve already written about my distaste for the glorified preorder route. For the most part, my fans just want the music. Merch? I’ve got partnerships with GearLaunch (t-shirts) and Modify Watches. It’s crazy tough to turn a profit, even for big names like Rihanna. Tour? I don’t perform, though I did for a few years in the late 90s. The data I’ve seen suggest that streaming actually boosts sales, rather than undercutting them. Hold back? Keeping my material off Spotify and YouTube is a losing battle. These days my albums get hundreds of thousands of plays, but I don’t make $1200 a year in actual sales. It’s tough to make a living selling music these days.īack in the mid-90s, I’d pull in $1200 a month from CD sales, and I barely had any fans.
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