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?

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.

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Print and Play Bastelecke

Was habe ich gespielt?
boardgamearena.com:
Dito!
Avocado Smash!
Clear 4
TeDoKu
Captain Flip

Podcast Hinweis

Bluesky – @vintersphrost.bsky.social
Mastodon – @vintersphrost@brettspiel.space
Boardgamearena.com – vintersphrost
Yucata.de – vintersphrost
tutti.ch: https://www.tutti.ch/de/seller?id=2079528265671090841
Instagram – https://www.instagram.com/vintersphrost/
YouTube Hörspiel Einspieler – https://www.youtube.com/playlist?list=PLCER_eNjl0R-Rzev5IMG2uufJSbXt01Mp

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?

***

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.

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Print and Play Bastelecke

Was habe ich gespielt?
boardgamearena.com: Frosted Blooms
dnup
Collect!
Murdoku (https://murdoku.com/play/)
Patchwork
Dito!
Cascadia mit Landmarks Erweiterung
Krazy Wordz

Podcast Hinweis

Bluesky – @vintersphrost.bsky.social
Mastodon – @vintersphrost@brettspiel.space
Boardgamearena.com – vintersphrost
Yucata.de – vintersphrost
tutti.ch: https://www.tutti.ch/de/seller?id=2079528265671090841
Instagram – https://www.instagram.com/vintersphrost/
YouTube Hörspiel Einspieler – https://www.youtube.com/playlist?list=PLCER_eNjl0R-Rzev5IMG2uufJSbXt01Mp

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

***

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.)

***

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)?

***

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.

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?

***

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.

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Print and Play Bastelecke

Was habe ich gespielt?
boardgamearena.com: Wuselige Wiesen, Frosted Blooms
Gygès
Quarto
Frosted Blooms

Podcast Hinweis

Bluesky – @vintersphrost.bsky.social
Mastodon – @vintersphrost@brettspiel.space
Boardgamearena.com – vintersphrost
Yucata.de – vintersphrost
tutti.ch: https://www.tutti.ch/de/seller?id=2079528265671090841
Instagram – https://www.instagram.com/vintersphrost/
YouTube Hörspiel Einspieler – https://www.youtube.com/playlist?list=PLCER_eNjl0R-Rzev5IMG2uufJSbXt01Mp

Print and Play Bastelecke

Was habe ich gespielt?
boardgamearena.com: Tipperary
Tipperary
Spooky Tower
Enthrone
Der Herr der Ringe: Das Schicksal der Gemeinschaft

Podcast Hinweis

Bluesky – @vintersphrost.bsky.social
Mastodon – @vintersphrost@brettspiel.space
Boardgamearena.com – vintersphrost
Yucata.de – vintersphrost
tutti.ch: https://www.tutti.ch/de/seller?id=2079528265671090841
Instagram – https://www.instagram.com/vintersphrost/
YouTube Hörspiel Einspieler – https://www.youtube.com/playlist?list=PLCER_eNjl0R-Rzev5IMG2uufJSbXt01Mp

Nachdem wir einige Jahre Midgard gespielt und nebenher immer auch Inspiration in anderen Regelwerken gesucht und gefunden haben, entschlossen wir (Wilhelm Klippel aka „Fiomall“ und ich) uns 1994 dazu unser eigenes Regelwerk zu schreiben. Unter tätiger Mitwirkung von Simone (Arne), Patty (Dulmer) und Uwe (Haplo), aber auch weiteren Mitspielern, wie u. a. André. Wir waren mit einigen Aspekten von Midgard und auch anderen uns bekannten Systemen unzufrieden.

Das war der Beginn von Mag Mor, Rollenspielsystem und gleichzeitig auch Welt, auf der dieses System spielt. Und selbst nach 32 Jahren haben wir immer noch nicht die ganze Welt erkundet und auch unsere Regeln werden nach wie vor ständig erweitert, verfeinert und natürlich auch verbessert.

Mit über 600 echten verschiedenen Zaubersprüchen (plus Runenmagie) und über 110 Fertigkeiten ist unser Spielsystem sicher eines der umfangreichsten überhaupt. Da wir uns aber viel bei anderen System bedient haben und uns von D&D, Midgard, Palladium, MERS, Runequest, Das schwarze Auge etc. haben inspirieren lassen, wird Mag Mor wohl nie außerhalb unserer Spielerunde das Licht der Welt erblicken. Aber das war auch nie unser Ziel.

Inspiration haben wir auch immer aus den Fantasyromanen von Alan Dean Foster, R. A. Salvatore, Ed Greenwood, Karl Edward Wagner, Robert E. Howard, Lyon Sgrague de Camp, Fletcher Pratt, Robert Asprin, Marion Zimmer Bradley, Trudi Canavan und vielen vielen mehr gezogen.

Wir spielen nach wie vor mehrmals im Jahr und diskutieren dann auch immer wieder Aspekte unseres Regelwerks und bauen es um. Und obwohl es eine typische Fantasywelt mit Elfen, Zwergen, Trollen, Drachen und jeder Menge Magie ist haben wir versucht viele Aspekte unseres Regelwerkes möglichst nah an der Realität zu halten, wie z. B. der Reichweite und Durchschlagskraft von Langbögen, den Reisegeschwindigkeiten (wenn sie hier denn keine Magie zum Einsatz kommt), den Auswirkungen von Nahrungs- und Flüssigkeitsmangel und so weiter.

Nebenher wir auch immer wieder viel Zeit in die Beschreibung der Welt Mag Mor gesteckt, was vor allem in den vielen Kampagnen passiert ist, die wir dort schon gespielt haben. Es gab und gibt aber auch immer wieder Ausflüge in andere Welten. Aktuell sind wir in unserer Kampagne zum Beispiel auf Aventurien unterwegs. Das liegt auch viel daran, dass wir fertige Abenteuer (seien es nun Fanabenteuer oder Kaufabenteuer) verwenden und diese mal mehr, mal weniger für unser System anpassen. Manchmal verlegen wir die Handlung dabei nach Mag Mor und manchmal spielen wir auf der beschriebenen Welt. Mit Magie ist das ja alles kein Problem.

Auch nach mittlerweile 42 Jahren haben wir nicht die Lust am Spielen verloren. Dabei hat sich unser Fokus von Kämpfen und Looten, aus den Frühtagen mit D&D, doch sehr in Richtung Geschichten erleben, Rätsel lösen und Lösungen für vertrackte Situationen finden, verlagert.

Und es gibt noch sehr viel zu erkunden auf der Welt Mag Mor.

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.

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