A Platform’s Own Traffic Determines Its Value to Creators

Originally published 2020-12-16Robin’s commentary (as of December 2020)

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English translation of the Chinese post originally published 2020-12-16. Translated 2026-11-04 with AI assistance. Historical figures and claims have not been updated or independently verified. 中文原文

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Robin extends the discussion of the relationship between platforms and creators or influencers. A platform is more valuable if it can generate traffic of its own and direct it to creators. If creators bring all the traffic themselves, the platform’s value is mainly functional; it also has a weaker bargaining position, since creators can switch platforms at any time. He cites Facebook, Instagram, PTT, Dcard, MOMO, PChome, and Japan’s Weekly Shonen Jump as platforms with their own traffic. Jump’s loyal readers attract submissions from emerging manga artists, setting a virtuous cycle in motion.

Key points

A platform is more valuable when it has traffic of its own.
If creators supply all the traffic, the platform has less bargaining power.
Jump’s virtuous cycle: readers attract creators.

One clear path continues into the distance among several branching routes, suggesting choice and focus. — Entrepreneurship & strategyThematic illustration · AI generated

Full text — English translation

Let me extend the discussion to another question about platforms and creators (influencers). Has the platform generated traffic of its own? If it has traffic to direct to creators, it may be more valuable. But if creators generate all the traffic themselves, the platform is not worth as much to them. Its value is more about its functionality: making it work better and easier to use. If all the platform’s traffic comes from aggregating and redistributing the traffic of individual creators, its position in commercial negotiations is weaker. Creators can move to another platform at any time—even an overseas platform—in a day or less. ---- For example, Facebook, Instagram, PTT, Dcard, Mobile01, Bahamut, MOMO, PChome, and even Japan’s Weekly Shonen Jump can all be regarded as platforms that bring their own traffic. Jump, for instance, has loyal readers who buy its manga magazine every week. This attracts more emerging manga artists to submit their work in the hope of being published in Jump. That is how One Piece, Naruto, and even Demon Slayer came along, and the virtuous cycle began to turn.

These articles are personal notes, book excerpts, and collected reprints. Figures and events reflect the time of the original publication, are not current information, and do not constitute investment advice.

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