Patreon, the crowdfunding platform for artists and content creators, has made dubious decisions in the last few years. Most recently, it is attempting to exert editorial control over its users’ works. In this YouTube video by Clownfish TV, the hosts Kneon and Geeky Sparkles opine why they don’t recommend Patreon anymore. They also take a critical look at its stock valuation, and recommend alternatives for people to make money online.
Patreon originated as a payment processor for online creators, providing a way for their fans to donate money, while taking a cut for itself. Many YouTubers turned to it during the “Adpocalypse,” when YouTube advertising revenue dried up. However, Patreon angered the community when it expelled Carl Benjamin, aka Sargon of Akkad, for his political views. Many users, even those who don’t agree with Sargon, left the platform in support of free speech.
Kneon and Geeky read a post by a Patreon user called Redamz, who is developing a indie video game. Patreon is trying to censor the game for being lewd, even though erotica has been a moneymaker on the site for a long time. The moderators and/or executives at Patreon do not enforce rules evenly, if they bother with them at all. This is a problem in many Silicon Valley-based companies. Redamz has already collected enough money from backers to finish his or her project, and plans to leave Patreon immediately. They do mention Patreon competitors Subscribestar and Pixiv, which have much better free speech policies.
The video then moves on to a Wall Street Journal story about Patreon winning a stock valuation of $4 billion. This is dubious considering the company’s user backlash and employee layoffs. It hasn’t been profitable in almost its entire existence. Perhaps investors see future potential as independent entertainers replace Hollywood. But Patreon is too poorly run to be trusted.
Clownfish TV run their own websites in addition to their YouTube channel. You can find web design tutorials on YouTube and make your own using WordPress, Squarespace, or Wix. Then you can create a merch store, your own donation buttons to your PayPal account or cryptocurrency wallet, and run affiliate links to products for sale and collect commissions. There is also the previously mentioned Subscribestar. It simply doesn’t pay to use Patreon as your middleman.
The 2021 Oscars ceremony experienced the worst ratings in history, and ratings for sports (particularly the NBA) are tanking as well. We are witnessing the end of elite celebrity culture. The following YouTube videos report on the public abandoning Hollywood entertainment and professional sports. Recall that the most desired career of kids and teens is “YouTuber,” rather than star athlete or celebrity.
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What’s more, in terms of profits and stock value, Hollywood and sports have both been surpassed by the video game industry. Games aren’t just fun on their own, but players can livestream themselves and create their own entertainment for others to watch online.
This video by Sky News Australia reports on the Academy Awards’ ratings disaster. This can be expected partly because the pandemic stalled filming and releases in theaters. But people have also gotten used to other forms of entertainment. Awards shows in general have declined this century, but COVID might be the last straw.
In this next video by Sports Wars, host Ryan Kinel reports on the NBA’s collapse, led by the social media antics of LeBron James. James threatened the police officer who shot Ma’Khia Bryant. However, body-cam footage clearly shows that the officer saved the life of the girl Bryant was attacking. Backlash against James was swift, but this was only his latest example of propaganda against law enforcement.
Another thing Hollywood and professional sports have in common is far left “woke” propaganda. It is one thing to be liberal and desire reform in America’s police departments. But woke politics is thinly veiled communism, and its goal is to divide and discredit Western culture. The catastrophic drop in TV ratings shows that regular people see through the propaganda.
This YouTube video by Nick Benedetto provides a simple explanation of Non-Fungible Tokens (NFTs), and how to make and sell them on a website called Mintable. By using blockchain technology, the same tech that powers Bitcoin, you can create digital art or collectibles that cannot be duplicated.
In a previous post, I suggested that NFT’s are in a price bubble. If you buy one at the sky high prices they’re going for, you’ll likely lose a lot of money when they drop in value. However, I still feel they have potential, they just need to increase in value naturally. Art has been an underappreciated profession for centuries, so it’s good that creators have a new way to make a living.
This YouTube video by Bellular News provides an overview of the decline of corporate made AAA video games. For a few years, giant development companies including Electronic Arts and Activision/Blizzard have inspired the wrath of YouTubers who cover the industry. AAA publishers and developers use greedy and manipulative monetization practices, and overwork their employees to the point of physical illness. These companies used to be the leaders in game quality, but today they are bloated, corrupt, and the creative talent is striking out on its own.
The video begins with Google and Amazon’s misguided ventures into gaming. Google’s Stadia platform is almost defunct, having lured in renowned game creators, wasted the time of those creators with bureaucratic fiddling, and flopped with nothing to show for it. Amazon is on track to replicating that fiasco. Jade Raymond, who Google hired to lead its development houses, has left to start her own independent studio. It will have little corporate involvement save for investments by Sony.
Speaking of Sony, however, the video moves on to the topic of crunch, and the hellish work schedule of Sony’s Naughty Dog studio when making “The Last Of Us II.” The turnover rate was shocking. Another example is Mike Laidlaw, a creative giant at Bioware who left due to parent company EA’s heavy hand, only to be blocked and pinned down at Ubisoft and its overpowered executives. Laidlaw now leads Yellow Brick Games, an independent and intentionally small company that is more in touch with its developers.
Blizzard used to be the gold standard in PC gaming, but has lost its way since it merged with Activision. Most of the individuals who made Blizzard great aren’t there anymore, they joined smaller startups. All the established AAA corporations mentioned in this video have organizational problems; they tend to promote narcissistic social climbers rather than competent employees who know what they’re doing.
Thanks to modern technology, it’s easier for smaller teams to develop quality apps and sell them outside the corporate infrastructure. This mirrors the situation in Hollywood and news media, in which truly talented creators can succeed on their own. This leaves just the hacks and bad actors to work at the legacy organizations, and it shows in their products. We’re transitioning into a new paradigm of entertainment and journalism.
This YouTube video by Clownfish TV reports on the outstanding success indie comics, while reviewing the state of mainstream comic publishers’ woes. For many years, Twitter has had too much influence on mainstream entertainment, and Corporate America for that matter. Twitter amplifies the complaints of far left agitators, comics publishers and Hollywood listen to them, and regular audiences reject the products that result.
Meanwhile, independent comics creators are thriving thanks to online crowdfunding. The video reports the sales of BRZRKR, an indie comic series involving Keanu Reeves and funded through Kickstarter. Crowdfunding used to be scoffed at, supposedly the route taken by creators who couldn’t make it in the mainstream. But now the mainstream industry is selling only a fraction of copies sold by indies and manga.
Online crowdfunding also has the advantage of direct-to-consumer sales. The pandemic caused comics retailers to shut down. One company, Diamond Distributing, had a monopoly on shipping books from Marvel and DC to those stores. When Diamond shut down during the pandemic, the big publishers had to scramble to find alternatives.
This is another example of the massive paradigm shift in society. It started in 2015, give or take a year, when established institutions started losing clout. Liberal vs Conservative politics gave way to Populist vs Globalist positions; trust in the media crumbled while independent bloggers, YouTubers, and podcasters rose up; corporate run entertainment split from serving its audience; and cryptocurrency gradually grew until its current explosion. We’re moving from a centralized “mass society” clumped around cities and big organizations, to a decentralized “network society” enabled by the Internet.
This YouTube video by Clownfish TV reports on a viral Twitter post alerting Japanese manga and fan artists to Western “cancel culture.” The post is written in both Japanese and English, and is a response to a rash of weird criticisms of Japanese art. This is helpful not just to the Japanese, but to anyone trying to navigate the modern cultural landscape.
After a brief correction stating that the creator of the post is not Japanese, the video begins by reviewing Twitter’s political correctness going too far. The post begins:
“ATTENTION, JAPANESE ARTISTS! Are you currently being, or have you ever been harassed by multiple accounts on Twitter because of one of your works?
“We understand that in recent days, many users on Twitter have decided to target Japanese artists for several reasons. A character’s skin tone. A character’s outfit, or bust size, or clothing. What often follows is a massive amount of negative comments, urging you to change or remove your artwork from the platform.
“You have not done anything wrong by posting your artwork. Your creative vision has merely attracted the attention of some bad actors on this platform, who will seek to silence you because your creative vision does not agree with their standards.”
The post then describes the profiles of Twitter users who commit these attacks. They are often younger than 18; have “BLM,” “ACAB,” or other far left slogans in their bios; explicit gender pronouns; various far left emojis, including the Communist hammer and sickle; alternative lifestyle choices; alternative gender identification; etc.
The post continues:
“You may ignore any criticism from these accounts. These should be considered warning signs that the user you are dealing with is either a person under the age of 18, a person lacking in mental stability, or a person otherwise lacking in mental maturity. All of said users have one goal in common. They are here to push an agenda. They wish to silence you, to suppress your ability to present your artwork, because it does not fit with their ever-fluid standards.”
“You are likely being singled out as a potential victim of ‘cancel culture,’ which is a mob tactic of shaming any form of expression that does not fit an established set of criteria that is admittedly Western and very Socialist. As a result of exposure to ongoing propaganda campaigns, said instigators will be young, will not be Japanese, will have no understanding of Japanese culture, and will not be exposed to the cultural norms of mangaka or Japanese social norms.”
“Understand this. These people DO NOT represent the majority of Western culture. Most of Western culture consider these people to be immature, obnoxious, and otherwise racist against Japanese creators. These people DO NOT represent the dominating mindset of Western views on Japanese artwork. They are children, who are seeking a purpose, and acting as they have been indoctrinated in their twisted and malformed view of globalized equality.”
Clownfish TV and other channels have criticized Twitter in the past. It appears to be the root source of cancel culture, because the Establishment Media and many corporations pay so much attention to it. Therefore, the loudest and most manipulative voices on the platform get their way. Too many Western entertainment companies, sports organizations, and institutions, have given leftist Twitter mobs credibility. Western grassroots are waking up to the psychological and organizational abuse of the elites, and warning whomever they can.