> Early next year, Markus earned a three-million-dollar dividend on his shares in Mojang. But, as the actual value of his company, which he mostly owned, had gone up by many tens of millions, he figured he didn’t really need another three million on top. So he divided it between the twenty-five staff at Mojang, as a late Christmas bonus. That’s $120,000 each. Five or six times what I got for writing the actual ending.
(Since the author seems to have spent about a month or so working on the game, you could reason that his compensation is about on par with the employees who worked for a full year. But he doesn't seem to see it that way, or he thinks he should be compensated better than them? I don't know.)
Or he's upset that he didn't even hear from Notch at all at this point? That at the success of the game he felt forgotten for his contribution and was using this as an example of other contributors being kept in mind?
I'm speculating, but having known "artists", some of them think very differently to the average HN crowd.
Never before has the HN bubble been so clear to me before reading the comments of this post.
He outright says it in the article, about how it wasn't about the money. If it was, there are more effective ways of going about getting that compensation than putting the story into the public domain
> Early next year, Markus earned a three-million-dollar dividend on his shares in Mojang. But, as the actual value of his company, which he mostly owned, had gone up by many tens of millions, he figured he didn’t really need another three million on top. So he divided it between the twenty-five staff at Mojang, as a late Christmas bonus. That’s $120,000 each. Five or six times what I got for writing the actual ending.
(Since the author seems to have spent about a month or so working on the game, you could reason that his compensation is about on par with the employees who worked for a full year. But he doesn't seem to see it that way, or he thinks he should be compensated better than them? I don't know.)