Looking back at a pandemic simulator
It’s been six years now since the early days of the Covid pandemic. People who were paying super close attention started hearing rumors about something going on in China towards the end of 2019 — my earliest posts about it on Facebook were from November that year.
Even at the time, people were utterly clueless about the mathematics of how a highly infectious virus spread. I remember spending hours writing posts on various different social media sites explaining that the Infection Fatality Rates and the R value were showing that we could be looking at millions dead. People didn’t tend to believe me:
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A funder of some sort ponies up the money so that a creative can eat while they work. Sometimes this is self-funding, sometimes it’s an advance, sometimes it’s patronage.
A creator actually makes the artwork.
An editor serves the role of gatekeeper and quality check, deciding what makes it further up the ladder. They serve in a curatorial role not just for the sake of gatekeeping but also to keep the overall market from being impossible to navigate, and to maximize the revenue from a given work.
Marketing channels make it possible for the artwork to be seen by the public: reviews, trade magazines, ads. This is how the public finds out something even exists.
Stores then retail the packaged form of the artwork to the end customer. Stores have their own branding task, and likely serve as a curatorial and recommendation engine all over again, this time trying to find the right fit for the customer.
The audience then gets to experience the work.
Re-users then take the creation and restart the process in alternate forms; adaptations to movies, audiobooks, classic game packages, what have you.