History Main / AuteurLicense

7th Jun '16 6:44:24 AM rjd1922
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* After the sleeper hit that was VideoGame/DemonsSouls, director Hidetaka Miyazaki of Creator/FromSoftware has basically been given complete freedom to keep making his obtuse, unusual and challenging [[{{ActionRPG}} Action RPG's]]. Given the enormous success of both VideoGame/DarkSouls and {{VideoGame/Bloodborne}}, and the fact that he has since been promoted to president of From Software, his license is guaranteed for the foreseeable future.

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* After the sleeper hit that was VideoGame/DemonsSouls, director Hidetaka Miyazaki of Creator/FromSoftware has basically been given complete freedom to keep making his obtuse, unusual and challenging [[{{ActionRPG}} [[{{Action RPG}} Action RPG's]]. Given the enormous success of both VideoGame/DarkSouls ''VideoGame/DarkSouls'' and {{VideoGame/Bloodborne}}, ''{{VideoGame/Bloodborne}}'', and the fact that he has since been promoted to president of From Software, his license is guaranteed for the foreseeable future.



* Creator/HideoKojima had this for a good while, leading to the current firestorm when Creator/{{Konami}} attempted to revoke it. Amusingly, it first came about when his superiors demanded he create a war game and proceeded to design one that discourages killing. Time will tell if Konami has any chance of recovering from the massive backlash surrounding this.

to:

* Creator/HideoKojima had this for a good while, leading to the current firestorm when Creator/{{Konami}} attempted to revoke it. Amusingly, it first came about when his superiors demanded he create a war game and proceeded to design [[StealthBasedGame one that discourages killing.killing]]. Time will tell if Konami has any chance of recovering from the massive backlash surrounding this.
7th Jun '16 6:40:00 AM rjd1922
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Contrast ExecutiveVeto, ExecutiveMeddling, ToughActToFollow, ScapegoatCreator. Compare with GloryDays. See also FirstInstallmentWins.

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Contrast ExecutiveVeto, ExecutiveMeddling, ToughActToFollow, ScapegoatCreator. Compare with GloryDays. See also FirstInstallmentWins.
FirstInstallmentWins. Not related to ArtisticLicense.
6th May '16 10:24:05 AM StFan
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[[folder:Anime and Manga]]

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[[folder:Film]][[folder:Films -- Animation]]
* Creator/WaltDisney ran his own animation studio and served as producer on every project, so he may have received his Auteur License earlier than this, but he got it for certain (along with seven dwarf-sized Academy Awards) after presenting ''Disney/SnowWhiteAndTheSevenDwarves'', the first feature-length traditionally animated film. His work in animation was bold and innovative, proving the medium could do more than make silly cartoons. Though his later work was, [[VindicatedByHistory at the time]], not immediately as well-received as ''Snow White,'' he managed to use the money and prestige won off that one film to begin work on several more. Eventually his company became so profitable that he was beholden to no one in terms of what he could do. [[VictoryIsBoring Ironically, around the same time (possibly because of this) he started to step away from animation and began working in untapped and more challenging ventures, like television and theme parks]]. And live-action movies -- which met with various degrees of success.
* Creator/{{Pixar}}'s movies [[CashCowFranchise were always successful]], but the success of ''WesternAnimation/FindingNemo'' grew their reputation from "the pioneers of CG animation" to "the best in the business right now". A few years later, the release of ''WesternAnimation/WallE'' turned them into "the biggest name in animation", which was cemented by follow-up films ''WesternAnimation/{{Up}}'' and ''WesternAnimation/ToyStory3''. Their reputation took a bit of a hit after that, but their Auteur License remains, and any questions about its viability have been answered with ''WesternAnimation/InsideOut'', which also scored the highest opening for an original movie in history. Andrew Stanton, director of ''Finding Nemo'' and ''WALL•E'', was granted one by Disney after they gave him a ton of money to make his passion project. Unfortunately that project was ''Film/JohnCarter'', a film which lost Disney $200 million. Stanton has since gone back to Pixar full-time.
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[[folder:Films -- Live-Action]]



* Director Creator/TerrenceMalick received his Auteur License after ''Days of Heaven'', went into Creator/JDSalinger-esque seclusion for the next 20 years, and re-emerged to make ''Film/TheThinRedLine'', whereupon 20 major Hollywood stars lined up to get a part in the film, seven of whom were left on the cutting room floor. The studio pulled the plug on the film, whereupon 20th Century Fox insisted Malick employ ''more'' Hollywood stars, many of whom were offering to work for free... Malick retained his big-budget Auteur License for his next film, ''The New World'' (2005) with Colin Farrell.
** As of his Palme d'Or-winning 2011 epic ''Film/TheTreeOfLife'', he seems to have kept it.
* Director Creator/MNightShyamalan had a breakout hit with ''TheSixthSense'' and was granted an Auteur License that allowed him to produce more of his signature TwistEnding films. While the next film ''Film/{{Unbreakable}}'' achieved some success, and ''Film/{{Signs}}'' was another hit. ''Film/TheVillage'' made money but lost some critical respect. His next two films were outright flops, and Shyamalan became a target of mockery. His Auteur License was revoked right after he tried to show it off in ''Film/LadyInTheWater'', and now he is having to make films from established franchises instead of his own stories. That [[Film/TheLastAirbender hasn't worked out so well either]].

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* Director Creator/TerrenceMalick received his Auteur License after ''Days of Heaven'', went into Creator/JDSalinger-esque seclusion for the next 20 years, and re-emerged to make ''Film/TheThinRedLine'', whereupon 20 major Hollywood stars lined up to get a part in the film, seven of whom were left on the cutting room floor. The studio pulled the plug on the film, whereupon 20th Century Fox insisted Malick employ ''more'' Hollywood stars, many of whom were offering to work for free... Malick retained his big-budget Auteur License for his next film, ''The New World'' (2005) with Colin Farrell.
**
Farrell. As of his Palme d'Or-winning 2011 epic ''Film/TheTreeOfLife'', he seems to have kept it.
* Director Creator/MNightShyamalan had a breakout hit with ''TheSixthSense'' ''Film/TheSixthSense'' and was granted an Auteur License that allowed him to produce more of his signature TwistEnding films. While the next film ''Film/{{Unbreakable}}'' achieved some success, and ''Film/{{Signs}}'' was another hit. ''Film/TheVillage'' made money but lost some critical respect. His next two films were outright flops, and Shyamalan became a target of mockery. His Auteur License was revoked right after he tried to show it off in ''Film/LadyInTheWater'', and now he is having to make films from established franchises instead of his own stories. That [[Film/TheLastAirbender hasn't worked out so well either]].



* Creator/WaltDisney ran his own animation studio and served as producer on every project, so he may have received his Auteur License earlier than this, but he got it for certain (along with seven dwarf-sized Academy Awards) after presenting ''Snow White and the Seven Dwarves,'' the first feature-length traditionally animated film. His work in animation was bold and innovative, proving the medium could do more than make silly cartoons. Though his later work was, [[VindicatedByHistory at the time]], not immediately as well-received as ''Snow White,'' he managed to use the money and prestige won off that one film to begin work on several more. Eventually his company became so profitable that he was beholden to no one in terms of what he could do. [[VictoryIsBoring Ironically, around the same time (possibly because of this) he started to step away from animation and began working in untapped and more challenging ventures, like television and theme parks]].
** And live action movies - which met with various degrees of success.
* Creator/WoodyAllen. He's practically had an auteur license since he started making movies forty-five years ago (his ''second'' film was a Japanese spy movie he bought and put a GagDub on top of. And it was approved!). His big success with ''Film/AnnieHall'' in 1977 is what made him untouchable, even after he made a string of movies generally considered mediocre in the late 1980s through early 2000s, and after the "[[WifeHusbandry marrying his]] [[ParentalIncest stepdaughter]]" incident that would've ended a lesser celebrity's career. The string of movies since 2005's ''Film/MatchPoint'' are generally considered to be a comeback for him, but if he didn't have a strong case of this trope, he wouldn't have lasted long enough to have a comeback.
** It helps that he makes movies on relatively low budgets, and hence doesn't have to meet as many box-office needs as other movies.
*** The budget itself is helped by his license; actors undoubtedly accept less money than they otherwise would because it's a Creator/WoodyAllen film.
* After being forced to chop down the theatrical cuts of ''Film/{{Aliens}}'' and ''Film/TheAbyss'', Creator/JamesCameron got his after ''Film/Terminator2JudgmentDay''. It was renewed after ''Film/{{Titanic 1997}}'' became the highest-grossing film of all time. Now that he's topped that feat with ''Film/{{Avatar}}'', it's safe to say that Cameron has a lifetime pass because his films practically grant licenses to print money.
** His license will last as long as his movies are profitable. The Studio actively debated interfering with Avatar as its costs spiralled only to be proven wrong when it made a ton of money. Had Avatar lost money it would have been revoked.
* After a decade of often much-acclaimed films, both small- and large-scale (ranging from ''Film/{{Mash}}'' to ''Film/{{Nashville}}'' to ''3 Women'') Creator/RobertAltman got this for 1980's ''Film/{{Popeye}}''--a live-action, big-budget family musical based on the comic strip and cartoon hero--via super-producer Robert Evans. Unfortunately, the resultant film had a long, difficult shoot and got ''very'' mixed notices from critics, and couldn't gross enough money to prove profitable; Altman spent the remainder of the decade making much smaller-scale films that attracted little attention from anyone besides film critics -- and it was just getting started! He didn't make his comeback until ''Film/ThePlayer'' in 1992.

to:

* Creator/WaltDisney ran his own animation studio and served as producer on every project, so he may have received his Auteur License earlier than this, but he got it for certain (along with seven dwarf-sized Academy Awards) after presenting ''Snow White and the Seven Dwarves,'' the first feature-length traditionally animated film. His work in animation was bold and innovative, proving the medium could do more than make silly cartoons. Though his later work was, [[VindicatedByHistory at the time]], not immediately as well-received as ''Snow White,'' he managed to use the money and prestige won off that one film to begin work on several more. Eventually his company became so profitable that he was beholden to no one in terms of what he could do. [[VictoryIsBoring Ironically, around the same time (possibly because of this) he started to step away from animation and began working in untapped and more challenging ventures, like television and theme parks]].
** And live action movies - which met with various degrees of success.
* Creator/WoodyAllen. He's practically had an auteur license since he started making movies forty-five years ago (his ''second'' film was a Japanese spy movie he bought and put a GagDub on top of. And it was approved!). His big success with ''Film/AnnieHall'' in 1977 is what made him untouchable, even after he made a string of movies generally considered mediocre in the late 1980s through early 2000s, and after the "[[WifeHusbandry marrying his]] [[ParentalIncest stepdaughter]]" incident that would've ended a lesser celebrity's career. The string of movies since 2005's ''Film/MatchPoint'' are generally considered to be a comeback for him, but if he didn't have a strong case of this trope, he wouldn't have lasted long enough to have a comeback.
**
comeback. It helps that he makes movies on relatively low budgets, and hence doesn't have to meet as many box-office needs as other movies.
***
movies. The budget itself is helped by his license; actors undoubtedly accept less money than they otherwise would because it's a Creator/WoodyAllen film.
* After being forced to chop down the theatrical cuts of ''Film/{{Aliens}}'' and ''Film/TheAbyss'', Creator/JamesCameron got his after ''Film/Terminator2JudgmentDay''. It was renewed after ''Film/{{Titanic 1997}}'' became the highest-grossing film of all time. Now that he's topped that feat with ''Film/{{Avatar}}'', it's safe to say that Cameron has a lifetime pass because his films practically grant licenses to print money.
**
money. His license will last as long as his movies are profitable. The Studio actively debated interfering with Avatar ''Avatar'' as its costs spiralled spiraled only to be proven wrong when it made a ton of money. Had Avatar ''Avatar'' lost money it would have been revoked.
* After a decade of often much-acclaimed films, both small- and large-scale (ranging from ''Film/{{Mash}}'' ''Film/{{MASH}}'' to ''Film/{{Nashville}}'' to ''3 Women'') Creator/RobertAltman got this for 1980's ''Film/{{Popeye}}''--a live-action, big-budget family musical based on the comic strip and cartoon hero--via super-producer Robert Evans. Unfortunately, the resultant film had a long, difficult shoot and got ''very'' mixed notices from critics, and couldn't gross enough money to prove profitable; Altman spent the remainder of the decade making much smaller-scale films that attracted little attention from anyone besides film critics -- and it was just getting started! He didn't make his comeback until ''Film/ThePlayer'' in 1992.



* Creator/QuentinTarantino at this point has permission to bend what he wants, where he wants, who he wants.
** By 2015, Quentin's license had earned endorsements that allowed him to not only shoot TheHatefulEight in 70mm Ultra Panavision, a film format that had not been used in nearly 50 years, but also get the film's distributor to pay to upgrade ~140 cinemas around the world for 70mm film projection. Keep in mind this took place several years after even basic 35mm film projection was phased out in favor of digital.

to:

* Creator/QuentinTarantino at this point has permission to bend what he wants, where he wants, who he wants.
**
wants. By 2015, Quentin's license had earned endorsements that allowed him to not only shoot TheHatefulEight ''Film/TheHatefulEight'' in 70mm Ultra Panavision, a film format that had not been used in nearly 50 years, but also get the film's distributor to pay to upgrade ~140 cinemas around the world for 70mm film projection. Keep in mind this took place several years after even basic 35mm film projection was phased out in favor of digital.



* Creator/{{Pixar}}'s movies [[CashCowFranchise were always successful]], but the success of ''WesternAnimation/FindingNemo'' grew their reputation from "the pioneers of CG animation" to "the best in the business right now". A few years later, the release of ''WesternAnimation/WallE'' turned them into "the biggest name in animation", which was cemented by follow-up films ''WesternAnimation/{{Up}}'' and ''WesternAnimation/ToyStory3''. Their reputation took a bit of a hit after that, but their Auteur License remains, and any questions about its viability have been answered with ''WesternAnimation/InsideOut'', which also scored the highest opening for an original movie in history.
** Andrew Stanton, director of ''Finding Nemo'' and ''WALL•E'', was granted one by Disney after they gave him a ton of money to make his passion project. Unfortunately that project was ''Film/JohnCarter'', a film which lost Disney $200 million. Stanton has since gone back to Pixar full time.



* When [[Creator/MarvelComics Marvel Studios]] started out, their first film was about [[ComicBook/IronMan a B-List superhero]] starring [[Creator/RobertDowneyJr a washed-up actor]] and with [[Creator/JonFavreau a director]] whose [[{{Film/Zathura}} last movie bombed]]. [[Film/IronMan1 The result]] was a hit, which Marvel not only used to bring more of their heroes to the screen but also [[Franchise/MarvelCinematicUniverse bring them together]] in a SharedUniverse unheard of in the movies, to massive success. They've since used this clout they've earned from this to make [[Film/GuardiansOfTheGalaxy a movie about an obscure comic book team that features a talking space raccoon]]; and ''it'' was a hit as well, ensuring they won't lose their license any time soon.
** In a more specific example, regular disputes over budgets and directions between the MCU's producer Kevin Feige and Marvel president Ike Perlmutter came to a head during production of CaptainAmericaCivilWar. The final result was that Disney removing Perlmutter as head of the movie division of the MCU and dismantling the Creative Committee that previously oversaw everything. Kevin Feige now has total control over the films of the MCU (though not the TV shows) and answers only to Alan Fine of Disney directly. The success of the MCU under Feige's watch should ensure he keeps this license for the foreseeable future.

to:

* Franchise/MarvelCinematicUniverse:
**
When [[Creator/MarvelComics Marvel Studios]] started out, their first film was about [[ComicBook/IronMan a B-List superhero]] starring [[Creator/RobertDowneyJr a washed-up actor]] and with [[Creator/JonFavreau a director]] whose [[{{Film/Zathura}} [[Film/{{Zathura}} last movie bombed]]. [[Film/IronMan1 The result]] was a hit, which Marvel not only used to bring more of their heroes to the screen but also [[Franchise/MarvelCinematicUniverse bring them together]] together in a SharedUniverse unheard of in the movies, to massive success. They've since used this clout they've earned from this to make [[Film/GuardiansOfTheGalaxy a movie about an obscure comic book team that features a talking space raccoon]]; and ''it'' was a hit as well, ensuring they won't lose their license any time soon.
** In a more specific example, regular disputes over budgets and directions between the MCU's producer Kevin Feige and Marvel president Ike Perlmutter came to a head during production of CaptainAmericaCivilWar.''Film/CaptainAmericaCivilWar''. The final result was that Disney removing Perlmutter as head of the movie division of the MCU and dismantling the Creative Committee that previously oversaw everything. Kevin Feige now has total control over the films of the MCU (though not the TV shows) and answers only to Alan Fine of Disney directly. The success of the MCU under Feige's watch should ensure he keeps this license for the foreseeable future.



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3rd May '16 11:11:51 AM Ithilgore
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Added DiffLines:

** In a more specific example, regular disputes over budgets and directions between the MCU's producer Kevin Feige and Marvel president Ike Perlmutter came to a head during production of CaptainAmericaCivilWar. The final result was that Disney removing Perlmutter as head of the movie division of the MCU and dismantling the Creative Committee that previously oversaw everything. Kevin Feige now has total control over the films of the MCU (though not the TV shows) and answers only to Alan Fine of Disney directly. The success of the MCU under Feige's watch should ensure he keeps this license for the foreseeable future.
3rd Apr '16 7:42:39 PM dinohunterpat
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* A trend that's becoming popular in recent years is to bring the directors of blockbusters back in exchange for agreeing to bankroll vanity projects that the directors might otherwise not get the chance to make. The vanity projects will typically be lower-budgeted, and the studios know they can eat the loss from the gross of the blockbuster sequel, so they give the director complete control. Creator/MichaelBay got this deal for ''Film/PainAndGain'' when he agreed to direct ''Film/TransformersDarkOfTheMoon'', but the REAL king of this is Creator/ChristopherNolan, who received $160 million to make ''Film/{{Inception}}'', and it grossed over ''800 million'' at the box office alone, which has secured his auteur ticket for the foreseeable future.

to:

* A trend that's becoming popular in recent years is to bring the directors of blockbusters back in exchange for agreeing to bankroll vanity projects that the directors might otherwise not get the chance to make. The vanity projects will typically be lower-budgeted, and the studios know they can eat the loss from the gross of the blockbuster sequel, so they give the director complete control. Creator/MichaelBay got this deal for ''Film/PainAndGain'' when he agreed to direct ''Film/TransformersDarkOfTheMoon'', but the REAL king of this is Creator/ChristopherNolan, who received $160 million to make ''Film/{{Inception}}'', and it grossed over ''800 ''$800 million'' at the box office alone, which has secured his auteur ticket for the foreseeable future.
3rd Mar '16 8:05:00 AM Morgenthaler
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* Creator/ChristopherNolan after ''Film/TheDarkKnight''. He purposefully took up the director's chair for the ''Film/TheDarkKnightSaga'' in order to gain the Auteur License (as well as large-scale filmmaking experience) to shoot his pet project that would need big-budget resources to realize fully: ''{{Inception}}''. When that proved a monster critically acclaimed Oscar nominated hit, Nolan's license was likely set for the rest of his career.
* Creator/FrancisFordCoppola earned his license by adapting, producing, and directing the awesome one-two punch of ''Film/TheGodfather Part II'' and ''Film/ApocalypseNow''. He used his newfound clout and money to build his own studio, American Zoetrope, where he planned to house an artistic community, turning out medium-budget passion projects. Unfortunately, his first such film, ''OneFromTheHeart'', went cataclysmically over budget. Unlike the similarly out-of-control ''Film/ApocalypseNow'', ''Heart'' flopped mightily upon release, and Coppola pulled it from theatres after a few weeks. Zoetrope was sold, Coppola's license was revoked, and he spent a good chunk of the 80s and 90s as a director for hire, trying to forge his way back to financial solvency. He has recently taken to financing his films with the proceeds from his vineyard and winery.

to:

* Creator/ChristopherNolan after ''Film/TheDarkKnight''. He purposefully took up the director's chair for the ''Film/TheDarkKnightSaga'' in order to gain the Auteur License (as well as large-scale filmmaking experience) to shoot his pet project that would need big-budget resources to realize fully: ''{{Inception}}''.''Film/{{Inception}}''. When that proved a monster critically acclaimed Oscar nominated hit, Nolan's license was likely set for the rest of his career.
* Creator/FrancisFordCoppola earned his license by adapting, producing, and directing the awesome one-two punch of ''Film/TheGodfather Part II'' ''Film/TheGodfatherPartII'' and ''Film/ApocalypseNow''. He used his newfound clout and money to build his own studio, American Zoetrope, where he planned to house an artistic community, turning out medium-budget passion projects. Unfortunately, his first such film, ''OneFromTheHeart'', ''Film/OneFromTheHeart'', went cataclysmically over budget. Unlike the similarly out-of-control ''Film/ApocalypseNow'', ''Heart'' flopped mightily upon release, and Coppola pulled it from theatres after a few weeks. Zoetrope was sold, Coppola's license was revoked, and he spent a good chunk of the 80s and 90s as a director for hire, trying to forge his way back to financial solvency. He has recently taken to financing his films with the proceeds from his vineyard and winery.



* Creator/CharlieChaplin was among the first to demonstrate this trope in American film. With his films being fairly consistently hailed big hits, he could take chances like a straight drama for his first Creator/UnitedArtists film, ''AWomanOfParis'', keep ''Film/CityLights'' and ''Film/ModernTimes'' largely silent in UsefulNotes/TheGoldenAgeOfHollywood, make fun of UsefulNotes/AdolfHitler in ''Film/TheGreatDictator'' and do a BlackComedy in ''Film/MonsieurVerdoux''.

to:

* Creator/CharlieChaplin was among the first to demonstrate this trope in American film. With his films being fairly consistently hailed big hits, he could take chances like a straight drama for his first Creator/UnitedArtists film, ''AWomanOfParis'', ''Film/AWomanOfParis'', keep ''Film/CityLights'' and ''Film/ModernTimes'' largely silent in UsefulNotes/TheGoldenAgeOfHollywood, make fun of UsefulNotes/AdolfHitler in ''Film/TheGreatDictator'' and do a BlackComedy in ''Film/MonsieurVerdoux''.
24th Feb '16 11:01:03 PM Unknownlight
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7th Jan '16 5:25:56 AM sturmovik
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** By 2015, Quentin's license had earned endorsements that allowed him to not only shoot TheHatefulEight in 70mm Ultra Panavision, a film format that had not been used in nearly 50 years, but also get the film's distributor to pay to upgrade ~140 cinemas around the world for 70mm film projection. Keep in mind this took place several years after even basic 35mm film projection was phased out in favor of digital.
30th Dec '15 8:24:43 PM TargetmasterJoe
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* Creator/HideoKojima had this for a good while, leading to the current firestorm when Creator/Konami attempted to revoke it. Amusingly, it first came about when his superiors demanded he create a war game and proceeded to design one that discourages killing. Time will tell if Konami has any chance of recovering from the massive backlash surrounding this.

to:

* Creator/HideoKojima had this for a good while, leading to the current firestorm when Creator/Konami Creator/{{Konami}} attempted to revoke it. Amusingly, it first came about when his superiors demanded he create a war game and proceeded to design one that discourages killing. Time will tell if Konami has any chance of recovering from the massive backlash surrounding this.
24th Dec '15 2:52:02 PM crashkey
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* Creator/GoichiSuda manages to maintain this despite his games never managing to be that successful. They rarely lose money but in the current market it's rare for publishers to bother with niche market games that will "only" net them a mild profit; yet on he goes creating wonderful weird and wacky games that always gain a cult following.
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http://tvtropes.org/pmwiki/article_history.php?article=Main.AuteurLicense