Took a break to play Jonas Kyratzes’ recent short game “The Fabulous Screech“.
It was very sweet, and characteristically humorous, but sad. Without wanting to spoil it for anyone, let me just say that anyone who owns a cat will be able to relate to the main character, the eponymous Fabulous Screech, a cat who runs a circus featuring trained humans. Who knew they could talk!
It won’t take more than 20 minutes to play, and though it’s point-and-click, it, like Jonas’ other Lands of Dream games, is the sort where clicking inspires curiosity, not frustration, as almost every visible feature in every scene is clickable, and every clickable feature is visible.
Anyway, go play it. And click on everything. God’s bookshelf is particularly interesting – I was not surprised to learn he’s a Carl Sagan fan, and it was moving to see how all the other gods sent him birthday cards like that – there might be a culture war here on Earth, but it’s nice that all the various deities can be above all that.
PS – for those who read my last post on patronage, Jonas operates under another variety of patronage that you might find interesting – for a small fee, he and his wife, Verena, create pages of an encyclopedia detailing the Lands of Dream, dedicated to and based on guidance from the contributor. I gave a while back, and got in return the World Mushroom, an entry that captures some of things I treasure rather excellently. For a little more, he’ll even frame and send you the original.
I’m feeling pretty jazzed at the moment about patronage as a funding model for creative endeavours.
It’s a pretty simple idea: instead of today’s dominant practice, where creative works are funded and owned by someone expecting to make money back from advertising or sales through a limited distribution channel, under patronage, creators fund their work by appealing directly to potential fans, asking them to put up funds in advance in return for various rewards and input into the work. Historically, patronage was widespread, and meant that artists, musicians, and philosophers gathered in the courts of sympathetic nobles to seek funding, lending their creativity to the glory of kings and emperors. In return, nobles gained prestige as patrons of the arts as well as substantial influence over the works created.
Today’s patronage models are a little different, in that they rely on a much more broader base of patrons. Instead of seeking out extremely wealthy individuals to fund entire works, creators can appeal to a worldwide audience through the internet, collecting many small contributions directly from the people who care most about their work. This is a good thing for creators and patrons alike:
It might be that patronage isn’t the best funding model for all creative works, but here’s a few examples where it’s been successful:
There are many more – these are just the few I’ve paid close attention to.
As traditional publishing industries that rely on firmly controlled distribution of hard-copy works continue to erode, it’ll be very interesting to see how patronage evolves. The fact that big box book stores are dying doesn’t mean people don’t want to read, and the collapse of newspapers has little to do with the public’s interest in the news. It’s just that the old business models are increasingly being undermined. I don’t foresee corporate creative endeavours going away, but I do expect them to become less dominant in the long term, and patronage seems a likely means of that happening.
Questions for comments: