I recently had an excellent, candid, meandering chat with Peter Vaughan (Cardboard Alchemy), facilitated by Will from the Hungry Gamer YouTube channel. Peter highlighted some really important reasons that publishers–even experienced publishers–consider crowdfunding, including a revelation about changes in distribution and localization.

I believe that crowdfunding remains an incredible tool for all types of publishers, especially newer creators, established publishers who are undergoing an important change, and publishers who want to offer super deluxe version priced beyond the limits of retailers. Here’s a quick checklist of considerations for new creators considering crowdfunding.

There isn’t just one way to serve customers, and I love seeing publishers trying and refining different methods to accomplish that goal, even if their methods are different than ours (we wait until our products are ready to ship before launching them on our webstore, like with the upcoming Finspan: Sharks & Reefs and Euphoria Essential, both on May 13).

Feel free to check out our 35-minute chat if this is a topic that interests you or that you’ve been debating. I’d love to hear your thoughts in the comments!

***

If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.

I’m fascinated by–and in awe of–the Savannah Bananas.

The Banana Ball League, which started in Savannah, is a new type of baseball where the entire focus is on entertaining fans. In fact, Fans First is the title of the book written by founder Jesse Cole, and across several examples it’s clear the extent to which he applies this ideology.

Here are my top 4 takeaways from Cole’s recent chat with Simon Sinek on the A Bit of Optimism podcast:

1. Every game might be someone’s first game. The Bananas have an incredibly long wait list to watch them play–over 4 million people. So when someone attends a Bananas game, there’s a good chance it is their first game. Knowing this, the Bananas approach every game like their first (and perhaps only) chance for every fan to have a great time. I think that’s a neat approach to tabletop games too: What if my game is someone’s first game? Or it ends up being the only game they play for a long time?
2. Fans can impact the outcome of the game. One of my favorite rules twists in Banana Ball is that if a fan catches a foul ball, it’s an out. In some ways, this is akin to crowdfunding, where backers can have a direct impact on a game’s final form. In others, it’s more like a game being a living entity that fans shape over time via fan-made content (like Wingspan’s promo birds) or lore-driven decisions (like what Thundergryph is doing with Etherstone).
3. The fan experience is prioritized over the sanctity of the game. I love sports, but I think sometimes long-standing, classic sports forget that they are ultimately a form of entertainment, and that means evolving with the times. A brilliant example from the Bananas is this rule: After a game reaches the 2-hour mark, no new inning can begin. This effectively puts a time limit on a sport that is notorious for dragging on, instead prioritizing the fan experience.
4. Look at the game through the eyes of the customer. The Bananas travel around the US to a variety of baseball stadiums, and whenever they arrive at a new place, the first thing they do is walk through the stadium and look at the field from various perspectives, including the most distant seats. They do this to see the game through the eyes of every fan, as they want to make sure they aren’t just serving those in the first few rows. I love this mentality, and it’s a great reminder for me to approach our platforms in a customer’s shoes (the content we create, our website, webstores, how our games appear at local retailers, etc).

Have you been to a Savannah Bananas game? I’m hoping to go someday, and I’d love to hear about your experience.

***

If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.

Yesterday I announced the Euphoria Essential Edition, which combines the core game with the expansion and includes some revised rules/components, particularly the board layout. It will be on the Stonemaier Games webstore, ready to ship, starting on May 13.

While discussing the game on yesterday’s livecast, I started to reflect on the factors that result in us considering an “essential” version of an existing game (e.g., Viticulture, Between Two Cities, Between Two Castles, and now Euphoria). I mentioned a few then, and I’ve added a few more to this list:

1. The game only has 1 expansion, and we can combine the expansion with the game without significantly increasing the price of the essential version compared the original game’s price. This is critical, as we are always focused on price accessibility. If a $60 game and a $30 expansion combined together would still be close to $90 due to the manufacturing cost, we might as well keep them separate. But if the combination leads to some production optimization for a new price of $65, that’s great.
2. The combined game plus expansion is still accessible to newcomers. Any first expansion of a Stonemaier game is at least partially the result of learning from what people say about the game. Many–but not all–first expansions offer seamless additions rather than new elements that make the game more complex, making them prime for essential editions.
3. The game and the expansion have successfully been on the market for years. I like to give our games the time to find their audience and thrive in the wild for a long time before revisiting them before considering an essential edition (opposed to releasing the game and then creating a new edition right away).
4. The game is out of stock but still in demand. For us and the amazing retailers who support our games, we wouldn’t want to create a new edition of a game while there’s still ample inventory of the previous version. We also only consider games with continual sales month-to-month.
5. We are excited to revisit the game to offer the best version. Even if we’re literally just combining the core game and the expansion, there’s a lot of work involved, especially for the rulebook (but also potentially the box, reference cards, punchboards, etc). And sometimes–like with Euphoria–it’s even more work, as it’s an opportunity to improve the original. I spent a lot of time redesigning the board to make the order of operations and interconnected elements much easier to understand, learn, and teach, and artist Jacqui Davis completely remade the art to match the revised design. We’re passionate about all of our products, but there needs to be a special spark to revisit something that was deemed final for so long.
6. If there are changes, they do not negate the investment of anyone who already owns the game and the expansion. This is really important to me, and it’s why we created an update pack for Euphoria that includes the new board, updated rulebooks, and the smaller artifact cards. It’s for this reason that I try to be very intentional while weighing the importance of making gameplay changes opposed to just seamlessly combining the game and expansion.

What do you think about these reasons? Is there anything else you would like me to consider for future essential editions (none of which are in the works)?

If you’re curious to learn more about the inception of Euphoria Essential, I’ve included the latest design diary post below.

***

April 23: The Inception of Euphoria Essential Edition

In March 2025, almost exactly 13 years after finishing the design for Euphoria, it was time to reprint the game. We’ve reprinted Euphoria a number of times over the years–a reprint is simply printing more of the same exact game–but this time I reached out to Morten (who had designed the Ignorance Is Bliss expansion) with the idea of updating Euphoria with everything I’ve learned about the game over the last decade.

Here’s what I proposed to Morten: 

• Player mats and big tokens: Remember the tiles in Euphoria that let you quickly adjust token quantities (1x, 2x, 3x, etc)? I’m thinking we could update the player mats to have those tracks, allowing us to remove the big wooden tokens.
• Board and bazaar: The inclusion of the player mats allows us to use the area of the game board currently occupied by tracks for the bazaar. It might be just a little tight, though–maybe decrease the size of artifact cards? Also, I would like to offer a double-sided board (bringing back the grayscale look of the original version on one side).
• Recruits: I would love to offer a single set of recruits instead of telling players to use only the new or original recruits. To accomplish this goal, I’m open to removing some of the original recruits that aren’t balanced well for the expansion changes. I would also prefer to remove the factionless recruits. They’re clever, but by nature they are exceptions to standard recruit rules.
• Markets: I feel similarly about the markets–I just want to shuffle them all together. If we need to remove some markets to accomplish this, that’s fine.
• Gameplay: There are 4 elements of Euphoria that I don’t fully love: It’s difficult to teach despite its weight, I’m not sure the ethical dilemmas are necessary, it feels really bad to lose a worker due to a knowledge check (or even to see someone else lose a worker), and it feels impossible to catch up once someone has 9 stars and you’re behind. I’m not necessarily saying that anything needs to change to address these issues, but this is an opportunity to do so if we choose.

[end of message to Morten]

I’ll cut to the chase on a few of these elements: The final result was that we  consolidated information onto player mats, we combined all recruits (102 total: asymmetric abilities that each player has), and we combined all market tiles (34 total: worker-placement actions to construct on the board). This essentially results in Euphoria plus the Ignorance Is Bliss expansion, offering a ton of variability with everything seamlessly integrated into a single box.

What do you think about this inception story? Join us tomorrow to dive into the core elements of the Essential Edition’s board, including a few minor-but-impactful rule changes! You can also click here to get a May 13 launch notification (followed by shipping later in May).

I made a huge intentional shift in my life in 2011. I’m now 45 years old, and looking back I realize how distinctly different my life was before and after my 30th year (mostly for the better).

If I had the chance to speak to my 30-year-old self, here are a few things I might say:

1. Creativity thrives in the small windows of free time, not the big ones. For most of my 20s I hoped for big gaps in time that were completely clear of other responsibilities–weeks and months–when I could write a novel. But the two times I had a big gap of time (the summer after college and when I was between jobs), I mostly just played and procrastinated. When I turned 30, I decided to spend 2 hours every night writing the novel, and I was done in 2 months while still maintaining my day job, friendships, and other hobbies. Realizing I could do that motivated me to also spend those small windows of time to design a game, Viticulture. This is one of the biggest changes I’ve ever made in my life, and my career with Stonemaier Games wouldn’t exist without this shift.

2. A change in location won’t make me a different person. I’m an introvert with a rather crippling social anxiety regarding approaching people. I romanticized the idea of going somewhere completely new by myself to see if a different, fearless version of Jamey would emerge, so I booked a solo trip to Ireland for a few days in 2011. Not only did I learn that I much prefer to travel with at least one other person, but also found that I’m still myself–for better or worse–even in a different country where everyone is a stranger. Another way to put this is: For the things about myself that I most want to work on, there’s no magic bullet.

3. There is so much to learn after formal education. I’m incredibly grateful for the all the teachers and professors who guided me from kindergarten through college. But there’s a whole world of knowledge outside of the classroom. I’ve learned so much about game design, for example, by listening to podcasts, reading articles, and watching videos (along with actually playing and designing games).

4. Healthy living starts to take effort after a certain age. I’ve been physically active my entire life, and I was blessed with a great metabolism, so for many years I didn’t feel the need to eat with intention. That was all fine and dandy until I started running Stonemaier Games in my early 30s, a job that often involves sitting at a desk for 12 hours a day. I was no longer playing sports as regularly, yet my diet was the same as ever (and it wasn’t even terrible–I ate fruits and vegetables every day). My body changed incrementally, and before I knew it, I was 20 lbs heavier than I’d ever been. Fortunately I realized it’s never too late to change, but I wish I could tell myself what I was doing to my body and how even 20 minutes of exercise every day can make a huge difference.

5. I don’t want kids, and I’m not alone. For most of my life, I thought I wanted to have kids–I never questioned doing the same thing my parents did (I have a brother and sister). It wasn’t until my early 30s that started to realize that the creative, nurturing, and compassionate sides of myself were fulfilled and challenged better in other ways (game design, friends, cats, etc). But when my siblings and college friends started to have kids, I struggled sometimes to feel like an “adult.” But then I started to make some wonderful friends who were just as happy not having kids as I was–and I found a partner in Megan who also doesn’t want kids–and I’m so grateful for those relationships (they even helped the relationships I had with friends and family who do have kids).

6. Money well spent makes a big difference. For the longest time, if I wanted a chocolate bar, I’d spend $0.50 at checkout at the grocery store. But one day I was shopping with a friend, and they said, “You love chocolate, right? If you love something, it’s worth paying for the best.” So I shelled out for a $5 chocolate bar, and it was amazing. This isn’t to say that I don’t still enjoy a Snickers, Kit-Kat, or Hersheys Almond from time to time. But I give myself permission to spend money on the things I love. Similarly, I’ve learned to pay for things that last–I have shoes and jeans that have lasted over a decade.

7. Every job before my career was a good use of time. I think there was a time when I didn’t believe this; I wished I could have found my path earlier in life. But whether it was waiting tables, project managing medical textbooks, or managing a nonprofit staff and fundraiser, I was learning indispensable skills and habits that have had a direct impact on Stonemaier Games’ success.

8. Loving a pet requires compassionate discipline. I adopted my beloved cat Biddy in 2007 when he was a tiny kitten, and raising him from beginning to end is one of the greatest joys of my life. Biddy loved to eat, and I gave him open access to cat food (and sometimes human food). At one point he tipped the scales at 20 lbs. He developed diabetes and required twice-daily insulin shots for the rest of his life. He died of intestinal cancer when he was 16 years old. While I don’t know if I could prevented any of Biddy’s ailments, I wish I had known earlier that I could have made Biddy’s life better overall by denying him a portion of the thing he wanted the most (kibble). Not enabling someone’s worst habit is a core part of loving them. I would truly do anything to have another month or year with Biddy–I miss him every day.

9. There is no rule that says everything must remain the way it’s always been. This applies to relationships, habits, routines, beliefs, hobbies, diet, behaviors, even our bodies. For example, for as long as I can remember, I had large protruding mole at the base of my back. I didn’t like it, but I figured it was too close to my spine to be removed. But then I asked a dermatologist about it, and she said, “Oh, sure, we can remove that right now.” Five minutes later, something that had bothered me for years was gone forever. I wish I could have known earlier that if there is any persistent element in my life that I could cut or add that would make me happier (and those around me), it’s never too late to choose to make that change.

10. Try a lot of different things to continually discover new passions. At 30, I thought I only enjoyed specific types of games and that I didn’t like party games…until I tried Telestrations, Just One, So Clover, Blob Party, and Caution Signs. At 30, I thought I enjoyed blogging as my only form of content creation…until I filmed a “my favorite mechanism” video for YouTube, tried a Facebook livecast, posted an Instagram photo, or recorded a podcast. At 30, I thought ultimate frisbee was the only disc-related sport I enjoyed…until I started playing disc golf during the pandemic and now play every week. The world is full of potential passions I have yet to try, and I won’t know if they’re for me until I actually try them!

I wasn’t sure where this list would take me, but I appreciate the opportunity to share. I’d love to hear if any of these resonate with you or if there’s something you wish you knew before you turned 30.

***

Also read/watch:

• The 10 Best and Worst Decisions I’ve Ever Made
• 10 Harsh YouTube Lessons We Wish We Knew at 20 and 40 Year Olds Share Advice for Younger Self (both inspiration for this article)

If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.

I’m excited to reveal the first expansion for Finspan, Sharks & Reefs!

Finspan: Sharks & Reefs adds to the variety of the core game with a focus on sharks and fish that live among coral reefs. This expansion introduces new coral reef habitats to your ocean mat and more incredible sharks—with fearsome new abilities!

Players can now nurture colorful coral reefs in each of their ocean’s three dive sites. Healthy reefs enable you to play powerful reef fish, unlock fish abilities, and score bonuses at the end of the game. Meanwhile, sharks scatter schools of young (to form even more schools elsewhere) and leave behind food scraps that any fish in your ocean can consume.

Sharks & Reefs is designed by Michael O’Connell, illustrated by Ana María Martínez, Catalina Martínez, & Mesa Schumacher, developed by David Gordon and Elizabeth Hargrave, and features an Automa solo mode by David Studley. The Finspan core game is required to play the Sharks & Reefs expansion, and the full rulebook is available now.

You can see larger versions of these slides on Instagram.

Over the next few days we will share stories about the creation of Finspan: Sharks & Reefs in the design diary series on our website, in the Finspan Facebook group, and on BoardGameGeek. Here is today’s post:

April 16: The Inception of Finspan: Sharks & Reefs and Product Design

Here’s designer Michael O’Connell with some Finspan backstory and an introduction to this expansion:

When David Gordon and I designed Finspan, we weren’t sure how it would be received. How would the world react to a third -span title, especially one released just one year after Wyrmspan? We had known for years that we wanted to do a game like this. There is even a topic on the Stonemaier Games Discord server that’s still called “aquatic Wingspan,” where folks within the company post regularly about the game. But would the public embrace it? Did fish hold the same fascination for people as birds and dragons?

Of course, Finspan has done everything we hoped it would. As with the other -span titles, it has helped bring new players into the hobby. Many content creators have tried to articulate why all three games deserve a place on your shelf. Each has its own identity. Finspan is the friendly one. Open hands, so everyone at the table knows what you’re working with. Abilities that help other players as well as yourself. Fascinating fish facts on the cards that make you want to read them aloud. Components that are colorful and a tactile delight—especially if you pick up the “squishy eggs” upgrade pack. The goal has always been that Finspan be genuinely inviting. A game where players can help each other, where the rules are intuitive, and where you aren’t asked to make a lot of small decisions.

We never wanted players to feel stuck or confused about how to get the resources they need. Need new fish? Dive here. Need eggs? Dive here. Need young or a school? Dive here. It’s always clear how to progress. The only thing you need to worry about is how to optimize that progression. That’s where the game’s depth lives. (Pun intended.) Finspan’s intricacies reveal themselves as you play, rather than hitting you all at once. And the game is forgiving. Don’t like your engine? Consume that fish that gives you nothing but points with a larger one that has an IF ACTIVATED ability. There is always a way forward.

Once you know how to play the game, my hope is that you never need to return to the rulebook. The player aids, the achievement board, the ocean mat—those should be enough. I don’t know if that’s possible to achieve with every group of players, but it’s what I strive for, and it shapes every decision I make about what goes into an expansion.

So. Sharks & Reefs.

When Jamey and I began talking about designing the Finspansions, we had the typical discussions around what players might want to see, what things might be improved about the game, and what things might be accentuated. However, in the case of Finspan, there was an additional consideration: Many, perhaps even most Finspan players are not typically the people who buy expansions. I’m guessing a lot of them don’t even know that expansions to board games are a thing. Players who buy expansions often want more to think about. But, with Finspan, we’ve tried to limit “more for the sake of more.”

And so, Sharks & Reefs is not just a “more cards” expansion. It adds a dimension to the game without the burden of exponential complexity. The coral overlay and tokens and new reef fish enhance the tactical and strategic choices available to you on nearly every turn. The sharks feel splashy and reward a well-timed turn, but they don’t require you to set your brain on fire to play them effectively. I’ve taught the game to brand new players with Sharks & Reefs included from the start, and it wasn’t dramatically more difficult than teaching the base game alone, which is exactly what I intended.

We designed Finspan (the core game) at the same time that Connie Vogelmann was designing Wyrmspan. Connie finished first, and so Wyrmspan was released first. (Yeah, she was faster than David Gordon and I combined.) But that gave us a year-long window to think ahead—to design the mats and the base game rules with future expansions already in mind while still giving our 100% focus on making the base game a complete package.

I started work on the first two expansions while Wyrmspan was still being released and while the base game of Finspan was still in development (though we waited a few months after Finspan was released before finalizing the first expansion so we could learn from public feedback). This let me make choices that allow future content to slot in organically. The deepwater row in the base game is a good example of this. It started as an expansion idea, but playtesters loved those nightmare-fuel abyssal fish, and so we pulled the deepwater row into the base game to make room for more of them. That’s why there are three more slots for cards than in the other -span titles.

We couldn’t anticipate exactly how popular Finspan would be, but we knew we’d want to create multiple expansions for it. So, I thought carefully from the start about how they would work together. I want each expansion to be easy to learn on its own, and I want them to integrate cleanly with each other without overwhelming the players.

***

Michael has some fun stories in the next few days that delve into the gameplay of Sharks & Reefs, and I wanted to briefly mention a product design element: In the expansion we included a large card tray designed to fit in the Finspan box next to the original tray. The new tray includes 4 slots for stacks of cards and a central area to hold tokens. Our hope in supplying this tray in the first expansion is that it will hold all components for the core game, this expansion, and any future expansions.

You can follow along and get a launch notification on May 13 by clicking here.

***

If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.

Ever since I started using Kickstarter as a tabletop games backer 16 years ago, I’ve supported the inclusion of both a standard edition and a deluxe (or all-in) edition. But I’m starting to wonder if that reward strategy is still relevant in 2026.

Here’s how I described these two reward type in a 2013 article:

An anchor price establishes a base price for your product so your backers have something to compare the price of the other reward levels. It offers quantitative context, and it’s low enough that it gets people in the door.

The premium option is the opposite of the anchor price. It is a separate reward that is tantalizingly close to the anchor price, but SO much better. It should give people a truly compelling reason to upgrade, or simply an outlet to spend more on the project if they want to reach stretch goals.

This system only works if the publisher garners enough interest from backers in both versions of the game, as manufacturing minimum order quantities (MOQs) typically start at 1,000 or 1,500 units.

In recent years, I’ve noticed that the ratio of standard to deluxe/all-in has shifted considerably. I’m not a typical backer, as I almost always choose the standard version of a game, so it’s apparent on nearly every project I back that far more backers are choosing the premium option.

Here are a few examples of projects I’m currently backing or following:

• Garden Club (40 backers at the $39 standard level, 418 backers at the all-in level)
• The Great Sea & Towers of Sifnos (107 and 180 backers at the $47 standard levels, 812 backers at the $124 deluxe combo level)
• Oakspire (134 backers at the $39 standard level, 1033 backers at the $93 deluxe level)

I very much do not want crowdfunding to only attract those with deep pockets, so I’m not advocating that creators ignore price accessibility altogether. I also understand that backers have changed over the years: There are much bigger pricing gaps between current reward levels than there were 10 years ago.

Though I’m also looking out for publishers: As I mentioned above, if a publisher plans to make two completely different versions of the same game but they only have 100 backers for the standard version, they need to invest in at least another unsold 900 units of that version to reach the MOQ. That’s a big risk.

There are a few possible alternatives:

1. Just offer 1 reward level for the best version of the game. Paws does this with a single reward level, a $59 deluxe version of the game. This works because (a) the price isn’t too high (i.e., I don’t think this would work for a $100+ core reward) and (b) Gamefound lets creators show the full price compared to the listed price.
2. Just offer a standard version of the game. The Glasgow Train Robbery did this with a very appealing price of $34. Perhaps this doesn’t tap into the reason why many backers crowdfund games, but a game can look and play great without having super expensive components. Also, this demonstrates that a publisher’s margins are generally better when selling directly to consumers.
3. Keep both the standard and premium reward levels, but just compose the premium option of a series of add-ons and promos with their own SKUs (each also with their own MOQ). This also makes it easier to sell various inventory levels later on your webstore and at conventions. Garden Club does this.

What do you think about these strategies as we look at backer behavior and publisher viability in 2026? What options do you like to see when you consider a tabletop crowdfunding project?

***

Also read:

• Reward Levels: The Premium Option
• The Deluxe Dilemma
• Can a Publisher Serve Backers with Different Budgets?

If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.

Have you ever bought a mystery box, a blind booster pack, or a subscription with an unknown assortment inside?

In the early days of COVID, Megan and I signed up for Universal Yums, a treat box subscription service. Every month we would open a new box together and do a taste test of the various sweet and salty treats, and we’d often pair it with a thematically related movie. It was a delight.

I’ve also purchased my fair share of Magic booster packs over the years, most often to draft with friends, not to collect, sell, or compete in tournaments. I can’t deny the thrill of opening a booster and looking through the contents for the first time.

Yet that’s probably the extent to which I’ve engaged with mystery boxes. I don’t like most surprises, and I’m selective about the things I buy–quality and specificity over quantity.

Recently I asked livecast viewers what they thought about mystery boxes. Reactions were mostly mixed at best, and many were fairly negative, with people talking about how blind buys play into gambling compulsions and how they can cheapen a brand.

However, many people also acknowledged that they have enjoyed at least one mystery box (across a wide range of categories): Specific IPs they enjoy, category-specific subscription boxes (tea, chocolate, etc), and when they were just starting a new hobby.

So I’m curious what you think: Have you ever had a good experience with a mystery box, blind booster pack, or surprise subscription?

***

Also read:

• Can a Publisher Offer Rarity Without Using FOMO Tactics?
• Is There Value in One-of-a-Kind Products and Rewards?
• “Ancient” Artifacts as a Marketing Strategy
• The One Ring and Extreme Rarity in Games

If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.

A friend recently mentioned a statistic (that I’ve since verified according to multiple studies) that most people–over 80%–who have purchased a bottle of wine have made their decision largely based on the label. Not taste or research, just a label that spoke to them.

Have you ever purchased something based on its packaging? I absolutely have. Wine, games, books, chocolate, coffee, disc golf discs…sometimes the packaging draws me in and inspires me to learn more, but sometimes it’s almost the entire decision (i.e., I want this because of how it looks).

I mentioned this topic on a recent livecast, and viewers had even more examples: beer, hot sauce, restaurants, cereal boxes, and more. It also came up on a recent podcast episode of Unit Economics about how Byte’m brownies focused their packaging on a delicious-looking brownie instead of on their high-quality ingredients.

In the tabletop game space, box covers have a huge impact. It isn’t just about their marketing appeal; publishers try to make boxes that people are proud to display, that are compelling both at a game store and in an online thumbnail, and that function from different angles.

For all those reasons, at Stonemaier Games we pay far more for the box illustration than any other individual piece of art in the game (only a detailed game board comes close). I often look to other games for inspiration (thank you, BoardGameGeek!), and I always like to get at least 3 concept sketches from the artist before pursuing one of them in detail.

Then there’s another set of decisions to make about the labeling on the box: The size and position of the game name, the names of the designer(s) and artist(s), and the inclusion of key information like player count and playing time on all 6 sides.

There’s also the presentation on the back of the box, where we’ve traditionally placed a 3D setup image.  We’re starting to pair that with 1/2/3-style explanation speech bubbles so a potential customer can quickly grasp what the game is about.

It’s always a work in progress, and I’m always learning from other publishers–it feels like every week there’s a new game announced with a truly stunning, evocative box. Whenever I go to a local game store, I try to pay close attention to which boxes grab my attention; I also recently went to Barnes & Noble for this specific purpose.

Have you ever bought a product based on its box, label, or cover? What would you like game publishers to learn from your experience?

***

If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.