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Promotion<br />
The artist paid $56 for a Facebook campaign that lasted over a month and obtained more than<br />
6000 additional likes in the end. The most liked and shared is his weekly TGIF (Thank God It’s<br />
Friday) illustrations, which featured his characters happily celebrating Fridays. Because of the great<br />
increase in numbers with only $56, the artist did another campaign to get more likes. However,<br />
although the Facebook Page has more than 33,000 likes as of May 2013, the number of likes per post<br />
hardly exceeds 100. The decrease in likes and shares is especially prominent after stopping the ad<br />
campaign. Since then, the artist occasionally posts his caricature illustrations and “making of” videos<br />
of some 3D simulations of Teddy, which barely generated any likes or shares by his fans and<br />
appeared more like fillers. There is no website for further information.<br />
Section 4.<br />
CHAPTER FIVE SUMMARY<br />
Three comics were selected as case studies to examine their starting point, business model<br />
and promotion method on social media. The first was selected as an example from the west,<br />
the second from the east, and the third from Singapore. The first two comics series grew<br />
rapidly, allowing their creators to earn a living from drawing webcomics.<br />
Successful webcomics have a very focused target group of audiences and are very clear on<br />
what they offer to their readers.<br />
Revenue model comes mainly from books and merchandise. Only when the work has<br />
achieved certain fame can advertising become an attractive preposition to other companies.<br />
There is a sense of tight community building and bonding with Penny Arcade and Wan Wan,<br />
which helped combat piracy in the case of the latter example.<br />
Paying for a Facebook campaign can generate many likes but without continuous good<br />
content, the number of likes and shares will decrease.<br />
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