If you have a missing or damaged component inside your English-language Stonemaier Games product–no matter where or when you bought it or how long you’ve been playing it–you can fill out this form and we’ll send you what you need.* We use software called Jira to manage this process, as we have 7 replacement parts helpers in 5 different regions around the world.

Serving our customers this way is incredibly important to us, but we can serve them even better if replacement parts (and replacement parts requests) aren’t needed in the first place. Recently I talked to a few people connected to this process at Stonemaier Games, and we compiled a list of product design mistakes that resulted in quite a few replacement parts.

We learned these lessons the hard way, so I’m hoping this will help you avoid these mistakes from the start. Some of these are as simple as packing components in a way that makes them easy for the customer to identify.

1. Meeples and Minis with Protrusions: Some of our most common requests are for broken meeples or mechs where we got a little too detailed, and those little details snapped off in transit or gameplay. Whenever I get sample meeples or mechs, I try to snap off any protrusion–if I can, I either remove it from the design or bulk up its connection point.
2. Missing Tokens and Clasps: It is common when we’re including either a lot of the same type of token–50 glass beads or clasps for dials–that 1 is missing in production or 1 goes missing later. So we often include an extra token, but we list the lower quantity: We make 51 tokens but say that there are 50. So even if 1 is missing, you still have the “correct” amount (though, honestly, for these types of tokens, it’s incredibly rare in gameplay that the full quantity is needed).
3. Matching the Insert: In Libertalia–a 6-player game where each player has their own deck of cards–the cards are packed in 5 card bricks. When opening a new game, you see 5 bricks of cards in 5 of 6 slots in the insert, and 5 of the 6 player colors happen to be visible in each brick. This leads to assumptions that the entire green deck is missing before opening the cards. Something similar happens in Scythe, a game that can only ever feature combat between 2 players, so we only included 2 combat dials–players assume the other 3 are missing (partially because the 2 included dials have specific faction colors).
4. Matching the Trays: The first few printings of Wingspan included 4 clamshell trays (2 for an assortment of eggs and 2 for an assortment of food). There’s no need for each type of food token to be kept in a separate compartment, but we soon learned that many people assumed that the trays were only for food and that a tray was missing (there are 5 types of food in the core game and only 4 trays).
5. Packing Choices: We hear from customers that they think they’re missing the action cubes in Wingspan Asia, as those cubes are packed in the same bags as larger tokens of the same color. Similarly, some customers struggle to find the gray temporary worker in Viticulture, as it’s packed in the same bag as some of the player tokens (it previously came in a separate bag with the first player token).
6. “Missing” Cards: In the solo mode for Libertalia and Scythe: The Wind Gambit, there are “missing” cards that aren’t actually missing. For example, there is no Automa card 37 in Libertalia for design reasons. This is explained in the rules, but when looking through the cards, it’s a common mistake for people to see cards 36 and 38 and assume they’re missing card 37.
7. “Missing” Components: In Scythe: The Rise of Fenris, there’s a big warning label when you open the box that tells people not to look inside the spoiler tuckboxes. However, it happens all the time! One of the tuckboxes has a “missing” component that’s actually in one of the other tuckboxes–oddly, people seem to open that tuckbox but not the others; if they did, they would find that “missing” component.
8. Dents in Boards and Mats: I learned early on with Viticulture that if sharper components (like meeples) are packed next to a board or mat, they might press into the cardboard over time, leaving lots of little dings and dents. Instead, we now pack them elsewhere in the box or we fold the mats inward, with the gameplay elements on the inside. However, this also leads to the occasional confusion from customers who don’t know the mats are folded–they see the faux leather illustration on the outside of a Wingspan or Wyrmspan mat and think they received a misprint.
9. Card Sorting: It’s inevitable that customers will lose or damage cards over time if they play a game frequently, and we’re here to help. With Wingspan, we originally didn’t have any type of card sorting system, so if a customer requested a Peregrine Falcon, our replacement parts helpers had to look through every card to find it. In reprints we alphabetized the cards, which significantly sped up this process. In games where cards don’t have a name, we number the cards and sort them as such.
10. Publisher Assumption: When we were working on the Pie in the Sky expansion for My Little Scythe, I didn’t go through the component list with the right mindset, and it resulted in me never asking our manufacturer to include faction-specific tokens for the 2 new factions (everything else was there, including the minis). This was before we sent pre-production copies first to the designer and to my coworker, so no one caught the mistake until everything was printed and shipped. We tried to fix it after the fact by making a pack of the missing tokens for our webstore, retailers, and distributors, but we still hear from customers all the time who buy the expansion from a retailer and don’t get the tokens. It was an important wake-up call for me to never assume anything and to add as many checks-and-balances as possible during the pre-production process.

Hopefully this list will help you avoid the same mistakes; there are even some we still need to address better at Stonemaier Games. If you have any insights about replacement part requests, please let me know in the comments!

*Box Dings and Dents: If you ordered a game from Stonemaier Games and the box arrived with dings and dents, we’re truly sorry. You paid for a mint-condition product, and we didn’t deliver. That’s on us. For some people, a dented corner won’t impact the fun they have playing the game. For others, it will. A replacement box for a dented corner is actually a replacement for the entire game, a process that involves having you send your game to a reviewer of our choice–we provide the label–and we send you another copy of the game. If you would like to go through that process for a game ordered from our webstore, please email your order number to contact@stonemaier.com. Photos of the packaging and damage help us share feedback with our fulfillment centers.

Also read:

• Replacement Parts
• Replacement Parts: Why Would (or Wouldn’t) a Company Offer This Service?
• 10 Production Secrets for Tabletop Games

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For a game I rarely play, I think a lot about Magic the Gathering. It’s particularly been on my mind recently due to a combination of the new Covenant podcast/livecast, the excellent Distraction Makers YouTube channel, and some correspondence with the creator of the Alkem series of gear and bags designed to hold trading card games.

Magic recently opened sales for a Secret Lair Goblin Storm Commander deck with special art by Dakota Cates. Within 34 minutes, the entire print run had sold out (I’ve only seen speculation as to the quantity made, not confirmed numbers, with estimates ranging from a few thousand to 50,000).

I can see why people are really frustrated by this. They’re passionate about a game, and they want a chance to buy that game. This is why I’m so against crowdfunding exclusives: If you’re making a game to withstand the test of time, why would you limit your ability to make and sell any portion of it to the first few people who learn about it?

However, rarity and scarcity are also core to Magic’s existence. The reason they can consistently sell 15 slim pieces of cardboard for $5 is because of the chance a card is worth a lot more than $5 on the secondary market (whether or not you actually sell that card). This is why it’s exciting to open a booster pack or even to own a limited edition goblin art pack.

I’m not justifying this model. At Stonemaier Games, we’re specifically not selling scarcity. If a product is out of stock and there appears to be demand for us to make more, we’ll happily make more. This is how we serve our customers.

What’s interesting to me is that because Magic is inherently about selling rarity and scarcity, I can see how they believe they are serving customers by making a limited quantity of Goblin Storm Secret Lair sets. I also understand that they, like any publisher, have to make production quantity decisions many months before they know how many people will actually pay for the product.

I think there may be a better way, though, even within Magic’s constraints of selling scarcity. In discussing this topic on yesterday’s livecast, @redwlfjsc shared an idea that I modified just a touch: Magic could make, say, 10,000 units of a Secret Lair and put them on their webstore for 3 weeks. If the product sells out within that time period, their order system switches to preorders for a single reprint of that Secret Lair on which they will start production after the 3-week period ends.

This is exactly what Gamefound offers with Express Crowdfunding. It serves those who want the product right away while leaving a limited door open for those who are willing to wait a bit. It respects collectors and players without losing control to bots and quick flippers.

Magic’s model is so successful that entire brands have been created specifically to serve those who play Magic and other TCGs (casually, at local game stores, and at tournaments). I heard recently from the team at Alkem Gear about their product launch Kickstarter. Our conversation led in a few different directions that you’ll see in some upcoming posts, but I wanted to briefly mention it today because it demonstrates both the value of user-focused design and that even 30-year-old games still have room to improve.

This is from Tim Heck, the founder of Alkem:

“After moving to Riverside, California, I became deeply involved in communities centered around D&D, board games, and trading card games like Magic: The Gathering and Pokémon. One thing I noticed immediately was that people were carrying thousands of dollars’ worth of cards and gear in setups that felt like an afterthought. A lot of the products marketed toward TCG players seemed to be repurposed camera bags or generic storage solutions. That was really the starting point for Alkem.

Our products are intentionally built around the way gamers actually travel and play. The backpack, for example, was designed specifically around deck box dimensions and gaming accessories. The vault section fits six deck boxes or roughly 1,200 cards, while the upper compartment can hold an additional 1,800 cards. At the same time, we didn’t want the bag to only serve card players, so the internal geometry is intentionally square and structured to also accommodate board games, D&D books, dice trays, playmats, notebooks, snacks, and other essentials people bring to game nights and conventions.”

After spending time designing flexible storage solutions like the Wingspan Nesting Box and Viticulture’s Wine Crate, I have a high level of appreciation for what Tim has created at Alkem.

Just so it’s perfectly clear, Alkem has not sponsored this post and I have no connection to them other than a pleasant and informative email conversation. I hear from creators all the time, and if they share interesting stories that are relevant to topics I’m covering, I sometimes include them in these articles.

What do you think about how a company that sells rarity and scarcity in a game like Magic can best serve customers?

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My favorite way to market our products is to facilitate and encourage them to get to the table more often. Your table, my table, the tables of reviewers, ambassadors, etc–any table will do. The more our products get to the table, the more they’re exposed to people, and hopefully the more fun people can have with them.

One of my favorite ways to accomplish this goal is through play-and-win donations for game conventions and 100+ person gaming events.

Play-and-win is a convention concept where people can check out a game, play it, and then enter their name in a lottery to win that specific game at the end of the convention. If I donate a play-and-win game to a convention, it can be experienced by dozens and dozens of people in a short amount of time. Only one of those people will win it, so if other people liked the game, they’re now informed in their decision to purchase it later.

The play-and-win room at the recent Geekway to the West convention was a bustle of activity right until the end of the convention. Geekway solicited and invested in over 140 different play-and-win titles, each with multiple copies. In total, these games had nearly 15,000 reported plays over the course of 4 days.

Geekway does play-and-win exceptionally well, but they aren’t alone. There are over 250 conventions listed on the 2026 tab of the play-and-win Google Sheet I maintain, so publishers have lots of options when choosing events to target. But which games should you send to these conventions?

Geekway play-and-win coordinator Jeff Hiatt was very kind to send me the data from the Geekway 2026 play-and-win, and he gave me permission to share and analyze it. The sheet is here. I’ll focus on the first four columns, but you’re welcome to contribute your thoughts to any data in the comments.

I’ve highlighted the most-played games in blue (1-30), the highest “desire to win ratio” in yellow, and the crossovers in green.

Number of Plays

The top 5 games that were played the most were Hot Streak, Magical Athlete, Bomb Busters, Moon Colony Bloodbath, and Hummingbirds. All of the games in the top 10 were released in the last year.

For this and the other categories I’ll discuss, I’m hesitant to draw blanket conclusions or stretch to find commonalities among the top 5. For example, there are 2 racing games here, but not every racing game will garner 250+ plays at a convention.

Average Player Count

Around half of the games with the highest average player count are among those that reported high numbers of plays: Hot Streak, Magical Athlete, French Toast, Bomb Busters, Trinket Trove, and Spooktacular.

However, sorting the data this way doesn’t seem to indicate that higher player counts equate to more convention plays. I think player count flexibility is more indicative of a game’s popularity at an event like Geekway–if you grab a game off the shelf, it’s nice if you can just play it with one other person or if you can invite a few others to join too.

Desire to Win

I calculated this by dividing the number of player who wanted to win a game by the total number of plays, indicating that people had a great time with the game. The top 5 were Hot Streak, Magical Athlete, Pinched, 12 Rivers, and Spooktacular. Some games with fewer plays but a high level of desirability were Sprocketforge, Mission: Red Planet, Rebirth, and Pergola.

The main pattern I see here is great table presence, whether it’s component hooks like in 12 Rivers or Sprocketforge or eye-catching art.

Rating Delta

This is perhaps my favorite data point. Which games rate significantly higher at a convention than their BoardGameGeek rating suggests? I think this is so important to pay attention to, as the top-rated games BGG would lead us to believe that people value heavy, complex, long games over everything else. But a vast variety of games bring joy to tabletops, including lighter games.

The top 5 rating delta games were French Toast, Purrramid, Tembo, Australis, and Catan.

Granted, the boisterous environment of a convention is atypical for gaming. Some games shine at events and may not have the same luster when it’s just you and a few friends at home. Also, you might take a look at the games that actually left a worse impression at Geekway than their BGG rating would indicate. Those are the types of games a publisher might avoid contributing to play-and-win (I mostly see longer, heavier games here).

Anecdotal Analysis and Conclusions

Here I’ll look at the games with the both the most plays AND the highest desire to win ratio:

1. Hot Streak
2. Magical Athlete
3. Bomb Busters
4. Moon Colony Bloodbath
5. Trinket Trove
6. Formaggio
7. Fate of the Fellowship
8. 12 Rivers
9. Spooktacular
10. French Toast
11. Sanctuary

• ease of learning: Most of these games skew towards easy to learn and teach.
• game length: Most of these games are played in under an hour.
• game weight: Most of these games are on the lighter side.
• price: Most of these games are less than $50.

Overall, the types of games I see exceling in play-and-win are those released in the last year, have player count flexibility, feature great table presence, and are on the lighter side.

Despite those patterns, I still think it’s completely fine to send a variety of games to play-and-win conventions. Take a look at the Google Sheet and you’ll see games of all shapes, sizes, weights, prices, player counts, etc. I think this speaks to the diversity of gamers at events like Geekway.

What did you learn from this data? Are there certain types of games you seek out at conventions?

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Yesterday I heard some huge news from Panda Game Manufacturing: For the next 12 months, they are accepting submissions for indie game designers to win between $2,000 and $20,000 in manufacturing credits.

I’ll break down this opportunity today, but first a disclaimer: I’ve worked with Panda, a Canadian company with their main facility in Shenzhen, as the sole manufacturer for Stonemaier Games over the last 14 years. I consider them a close partner. However, I have no connection at all to p20–I learned about it yesterday just like anyone else. That said, I probably wouldn’t write this if I couldn’t personally vouch for how great it is to work with Panda.

Here’s the deal: If you have two or fewer tabletop games published, you are eligible to enter exactly one game as your p20 submission. You own the game, not Panda. It’s free to enter, and it’s open to anyone worldwide.

Crucially, you have an entire year to make your submission. I think this is a really smart choice by Panda. Game design, playtesting, and development take time. This is a great chance to actually do something with that game idea you’ve thought about.

However, it’s also important to note that there is a critical gap between game design and manufacturing, and that gap is bridged by a publisher (whether it’s an existing game publisher or you as a self-publisher). The intent of p20 appears to be for the designer to self-publish the game (the submission form reads, “I am, or intend to be, the self-publisher of this game.”), which involves a lot of responsibility beyond design.

Panda confirmed with me that the manufacturing credit could potentially be passed on to a publisher, though the credit stays specifically with the designer and the game they submitted. The FAQ says this about signing with a publisher during the design process, “Tell us. We handle it case by case. We’re not in the business of penalizing good news.”

At the very least, p20 seems like a no-risk chance to hone your pitch. Panda asks for a sell sheet, a short video, and a blind playtested rulebook. These are all things you would need no matter how you seek to publish your game.

I’ve reached out to Panda to get clarity on my one other question: What if you also want to crowdfund your game? It seems reasonable that a new, indie designer looking to self-publish their game would use a crowdfunding platform to market the game, build community, improve the game, optimize freight shipping, and gauge demand. The game needs to be unpublished at the time of submission to qualify for the manufacturing sponsorship, so I’m guessing the crowdfunding campaign would need to happen after the final selections are made (Gen Con 2027).

UPDATE: Panda responded to say, “Yes, someone can submit for p20 and also run crowdfunding, as long as the crowdfunding happens after they apply for the program. As far as timing – it would be preferable if these campaigns ran later in the year/early next year/closer to the end date of the p20 program, but as long as they keep us informed of their plans, it is no problem to run a crowdfunding campaign especially if it is party of their larger marketing plans for their game/start up publishing company – we like to see what their vision is for the future.”

One other highlight of p20 is that there isn’t just one winner. Instead, twenty indie game designers will win! That’s huge. To put these credits in perspective, a typical minimum order quantity (MOQ) is 1,000 units, and a basic card game like Flip7 costs around $2 to manufacture (e.g., a total minimum cost of $2,000). If you’re looking to make a more complex game with custom meeples, trays, dice, etc, you’re probably looking at the $8-$12 range and a potential increase in MOQ to 1500 units (e.g., a total minimum cost of $15,000). This doesn’t account for all the other costs required to make a game (art, graphic design, freight shipping, etc).

Overall, if you’re interested in self-publishing a game you’re passionate about, I think p20 is an excellent opportunity. Even if you’re not one of the twenty winners in the end, it’s still a motivation to do the work and make your game idea a reality over the next year (and learn how to effectively pitch it in the process).

I’d love to hear what you think about Panda’s p20 sponsorship. Are you going to try it?

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I spent the last 4 days at Geekway to the West, an absolutely incredible game convention in St. Louis. Today I’ll share some of my highlights and observations through three lenses: Jamey as a publisher, designer, and gamer.

Publisher Jamey

Stonemaier Games participates in a few ways at Geekway: We donate a lot of games to their play-and-win section, which has proven year after year to be a great way to share our games with people who haven’t tried them.

We also have a booth in their vendor hall (Geekway primarily focuses on casual gaming, but they do have vendor space too) run by my coworker Dave and staffed by an amazingly generous demo team. Our main intent at the booth is simply for people to have fun and learn about our games, and it’s a nice bonus if we sell some games too (this year it looks like our booth revenue was around $16k, and people could also place orders on our webstore and pick up their order at Geekway since our warehouse is located in St. Louis).

I like that Geekway provides publishers a lot of different options. You can have a booth if you want, but you could also have a demo table through Double Exposure, you could just put games in play-and-win, or you can just wander around and connect with people (or scout games to potentially publish).

I’ll also add that having several years of t-shirt and hoodie sales provides a really nice way for me to look around any room at Geekway and identify people who know Stonemaier Games. The warm hoodies were particularly helpful, as the main hall at Geekway was quite cold this year.

Designer Jamey

There are two sides to Designer Jamey at conventions: past and future. For games I’ve already designed, it’s immensely gratifying to see people playing them. I don’t think I’m alone, as I saw other designers checking in on people playing their games (this happened to me while playing the card game Oopsy Poopsy). I taught and played Euphoria Essential and Origin Story, and I had a great time learning the game Dark Heists from the designer, Moe Poplar.

Then there are the games I have yet to to design. I love playing a variety of published games at Geekway to learn from them. This year I played 14 new-to-me games and 6 games I already knew (it’s nice to revisit games to look at them from a fresh perspective).

Geekway provides several opportunities for designers to get feedback about unpublished games, including the clever Playtest to Win area.

Last, I’m so grateful for everyone who either played a game with me or just came up to me to say hi. Those moments and that time means the world to me. As someone who has social anxiety about approaching people, seeing others do it to me gives me the courage to do the same for others. Thank you for the inspiration!

Gamer Jamey

While Geekway is part work for me, it’s also part play. I love playing games with delightful people, and Geekway is full of them. In total I played 20 different games at Geekway (plus a round of disc golf) with around 60 people. I spent most of my time in a smaller ballroom in the first floor of the connected hotel–it was a much quieter in there (and warmer) than the main convention hall. Thanks to everyone who took the time to play with me!

I appreciate play-and-win as a gamer too, as it helps me narrow down which games to play out of so many options (though I did also check out both Blood Rage and The King Is Dead from the main library to revisit them). Without play-and-win, I wouldn’t have discovered the delightful game 3 Chapters, experienced the whimsy of the cat game Oopsy Poopsy, or delved into the strategic cleverness of Galileo Galilei.

While Geekway does have a few events people can sign up for, the vast majority of the convention is casual gaming. This, I’ve found, is my preferred structure for a convention, as I like the fluid nature of going from game to game at my own pace, remaining flexible as to what I play and how long I play. I’m grateful to Geekway for embracing this format, and I’m always open to suggestions for other similar conventions!

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If you were at Geekway to the West this weekend (or you’ve attended a gaming event in 2026), I’d love to hear a few of your highlights!

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I feel like I learn something every day from another game publisher, whether it’s game design, operations, product design, marketing, etc. Today I thought I’d highlight some of the things our panelists love about other publishers–the types of things they want to see more publishers emulate.

Also, before we hear from our panelists, we just launched two major products on the Stonemaier Games webstore! Finspan: Sharks & Reefs and Euphoria Essential Edition (or the update pack if you already have the game and expansion) are ready to ship to you now: https://store.stonemaiergames.com/collections/latest

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Plaid Hat Games (Dillon’s pick): I like how Plaid Hat’s games often have either a subscription or continual, mostly optional content, for their game systems. It’s basically just a living card game model, but it keeps me engaged with the games. In terms of what I’d like to see others emulate, it doesn’t necessarily need to be constant new content, but in the hobby, it can often feel like we’re constantly hurrying to check out what’s new. So something to keep a game feeling alive is valuable. As a side example, I think Stonemaier does this in a different way by representing their games as different “Worlds” and by keeping their amount of releases fairly lean. [JAMEY: I previously highlighted some things related to this that Plaid Hat is doing with print on demand.]

Restoration Games (Garrett’s pick): While our hobby is often fixated on the new, I’d love to see more publishers emulate Restoration Games’ mission of breathing new life into forgotten or underrated classics. It’s incredibly refreshing to see a company look backward to ensure great legacy designs get their well-deserved flowers, combining modern production quality and mechanical updates with genuine reverence for the past. Even though this is Restoration’s core business model, seeing other publishers take a stab at this could increase the output of lovingly remastered titles that honor our hobby’s history. [JAMEY: I also think 25th Century Games does this well.]

Stonemaier Games (Aryn’s pick): I went back and forth on this a lot. But, ultimately, I’d be picking nits if I chose another thing a publisher does that I wanted other publishers to take note. So here I am writing to other publishers, take note of what Stonemaier Games is doing. Hire a team to craft a solo mode for your games. I understand not all games can have a solo mode. It’s hard to have a party game for one, for instance. I also understand this costs money, but please consider it. Stonemaier Games’ relationship with The Automa Factory is why I got into Stonemaier Games. I can play all these wonderful games that Stonemaier puts out without having to worry about another person’s availability. I can dive into the design of a game more in depth when I am able to get it to the table more often. Am I about to teach a game? I play the solo mode to further enforce the rules before I teach the game to others. [JAMEY: I am truly grateful for Automa Factory’s involvement over the years.]

Kaitlyn also chimed in with a general comment that she attributed to Stonemaier Games, but honestly I see other publishers doing this better. Check out Endeavor Deep Sea by Burnt Island Games for a great example of how you can achieve high quality with fully sustainable components. Kaitlyn says: I love seeing publishers use eco-friendly packaging. I think Stonemaier does their best; I first noticed it with Wingspan, but I think most, if not all, Stonemaier games are packaged in an eco-friendly way.

We’ll close with Skiler, who mentions several publishers and examples.

I love consistent components throughout many of a publisher’s games.  For example, I believe Garphill Games offers custom metal coins designed specifically for the North Sea, West Kingdom, and South Tigris trilogies. Instead of unique currency for every game, the coins are compatible across every title in a series. I would love to see this with resources and other components in more games. They also often have consistency with their iconography across their games which makes learning new games by them way simpler. I really appreciate this!

I love the trend of missions in games, that are not legacy, but have optional progression. For example, Deep Sea Endeavor (Burnt Island Games): I absolutely love that we can play through different missions, but not feel constrained by the parameters that a legacy game inherently comes with. This isn’t necessarily new, but it feels more common and I welcome it!

I love the trend of cozy games with great art. The gameplay still very much matters, but a cozy theme with great art will get me every time. More please! (Examples of this would be Harmonies by Libellud or Creature Comforts by Kids Table Board Games.)

I love that learn-as-you-play tutorials are becoming more common. (An example of this would be Stonemaier’s Quick Start cards in Wyrmspan.)

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Huge thanks to Dillon, Garrett, Kaitlyn, Aryn, and Skiler for sharing these things they love about a variety of publishers. One thing I’ll add to the list is that I have a continued and growing appreciation for publishers who focus on one game at most every year or so. That level of focus and time spent getting it right is a luxury that not everyone has, but I admire those who are able to do it.

What’s something a publisher is doing that you love (and would like to see others emulate)?

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On the final full day of our recent Ireland trip, we walked across Dublin to the Guinness Storehouse self-guided tour experience. You start at the base of a massive circular interior (it’s shaped like a pint of Guinness) and work your way up level by level, learning about Guinness–the beer, the company, and the brand–as you go. Here are a few standout business insights I learned along the way:

Quality Control (and the Veneer Thereof)

Before we even entered the building, we saw a van parked outside that read, “Guinness Quality Team: Dedicated to delivering beautiful Guinness everytime everywhere”. Right from the start, Guinness was communicating that they have a continual focus on providing the best version of their product. This is later reinforced during the tour when they talk about the “smellers” who ensure the barrels are working optimally.

This really got me thinking about more ways we can improve quality control at Stonemaier Games and how we can share the variety of systems we have already have in place, as I always want the first printing of any product to be perfect.

Branding Is Constantly Evolving

I associate Guinness with a specific can, so I was struck by the sheer variety of bottles displayed at the beginning of the tour. While the label has stayed mostly the same over the years, the size and shape of a Guinness bottle has vastly varied.

This made me think of game boxes. There really is no standard game box–modern manufacturers can make any size. While I understand the visual appeal of having games that align cleanly on a shelf, the box is ultimately a delivery vehicle for the contents within. I never want to limit what a game can be (or make a box that is much too big) based on box size consistency.

Longevity Is a Selling Point

The current Guinness label has “EST. 1759” on the iconic harp. It was interesting to see that most of the previous harps didn’t have that date, as it seems like a huge selling point to convey that the product is so good that it has lasted nearly 300 years.

Recently I’ve thought a lot about how longevity is such a great selling point for Magic the Gathering. It isn’t just about Magic lasting over 30 years; it’s also about how they tie old cards to new sets, adding depth and nostalgia to the world they’ve fostered for so long. I think there’s huge value in having a singular, long-lasting product that reminds people of its history.

It’s Okay to Revisit a Tried-and-True Formula

When I think of the Guinness beer, I think of a dark brew topped by thick foam. I assumed that was always the case, but that’s apparently not true: The “creamy white head” wasn’t introduced until 1959.

There’s constant innovation in nearly every industry and we’re always learning, so I don’t think there’s anything wrong with revisiting older games to apply those innovations and lessons learned over the years. That’s what I tried to do in the upcoming Euphoria Essential Edition.

The World Isn’t Stagnant, and Neither Are We

Prominently featured at the Guinness Storehouse is Guinness 0.0, an alcohol-free version of their beer that tastes remarkably similar. I asked a Guinness employee about this version of the beer, which was released around 3 years ago, and they said that it is already a success in reducing drunk driving in Ireland and beyond. It also has a positive impact on public health, as alcohol can lead directly to liver disease.

I think there’s something about human nature that can make us a bit stubborn about changing our worldview, but the world is always changing. I know so much more about accessibility and environmental sustainability than I did a few years ago, and while meaningful sustainable change takes time to implement, I believe it’s worth constantly pursuing.

Those are just a few takeaways from my experience at the Guinness Storehouse. I’d love to hear your thoughts about Guinness or similar behind-the-scenes tours. How do they apply to the tabletop game industry and community?

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Read about my customer service experiences in Ireland.

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 constantly trying to learn about customer service practices so I can better serve our customers at Stonemaier Games. I spent the last week traveling across Ireland with family, and I thought I’d share some quick notes about customer service (mostly very good).

• Tullamore Distillery: We walked in here with only around 30 minutes to spare, which we mentioned to the person working the main desk. Within seconds, she offered us a 30-minute whiskey tasting, and we had a wonderful time learning about Tullamore from her.
• Sean’s Bar: The proprietor sat down with us for 5 minutes to share the history of Ireland’s oldest bar and the story of Irish coffee. He later gave a similar speech to a bigger group in the same room, and I noticed he intentionally changed the wording since we were within earshot.
• Linnane’s Lobster Bar (Newquay): We got a little messy eating crab, lobster, oysters, and mussels here, and an attentive server–not even our primary server–noticed and offered us a bowl of water with lemon to rinse our fingers.
• Oscar’s (Galway): We had a late dinner, and the server was keen to alert us to the exact remaining quantity of a specific dish before it was gone.
• Sheridan’s Cheesemongers (Galway): The person behind the counter was incredibly helpful in recommending three made-in-Ireland dishes that complemented each other (two cheeses, one cracker, and chutney).
• Midleton Distillery (Midleton): The young tour guide frequently invited questions and called back to previous questions, yet he kept things moving along.
• Manna Cafe (Killarney): Each of us ordered a different coffee drink at breakfast here (which was ample and delicious), and to help us tell the difference, each came in a different type of glass with a unique design on the foam.
• Table 45 (Dublin): When we arrived fairly late in the evening, the manager warmly let us know that the kitchen was only open for 25 minutes but that we were welcome to sit down and order tapas (which we did).
• Sweet Salt (Dublin): When we showed up at this highly rated cafe for 6 coffee orders, multiple members of the team swiftly shifted into barista mode.
• Guinness Storehouse (Dublin): This is a superbly designed self-guided tour that consistently moves people from one area to the next (with the one exception at the end of the tour where the free pint of Guinness takes people so long to drink that the room is very, very crowded).
• Fish Shop (Dublin): We ended up here after searching for the best fish and chips in Dublin, and despite initially being told that we needed a reservation, the owner invited us back inside after seeing scrambling on our phones to find an alternative.
• Gamers World (Dublin): After hearing my American accent, the person working the register discounted the game I bought by 10% (not because I’m American; it’s something related to taxes and duties). Also, it was neat to see them carrying many Stonemaier games, for which I thanked them.
• Cafe Nero (Dublin): I ordered a ristretto without knowing what it was, and after seeing us puzzled over meager contents of the cup, the manager offered to give us any other drink. We assured him it was fine–I wanted to try something new, and now I know! (It’s a very condensed shot of espresso.)

Many of these experiences are small, but they can have a big impact on the overall experience. What’s a minor-yet-impactful positive customer service experience you had recently?

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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.