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.

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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.

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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?

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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?

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For the last few years, I’ve been buying bar soap from a friend who makes custom soap as a hobby in the greater St. Louis area (Nerdy Bird Nest). In early 2025, after buying my latest batch, I had a wacky idea: What if we worked with Jenna to make soap that smelled like the themes for several of our games?

We already find a variety of ways to make game nights more immersive (thematic music, food, drinks, etc)–why not add to the immersion with soap that reminds us of the gritty landscape of Scythe or the vineyards of Bordeaux?

It seemed like a great fit for our series of silly-but-real April Fools products, and Jenna agreed…but she said it was already too late to have the soap ready in time for April 1, 2025. So we decided to plan ahead for 2026.

The extra time was a big help, as it gave Jenna time to experiment with different ingredients, fragrances, and colors. After a few months, she shared with me a total of 6 different bars that smelled and looked like Euphoria, Scythe, Finspan, Viticulture, Apiary, and Wingspan:

Making soap is just a hobby for Jenna, so I asked her for full honesty in regards to how many bars of soap she could comfortably make over the next few months and still have fun with the process. She said would be comfortable making 100 of each bar, which is far more than she’s ever made of even a single type of soap in the past.

So while Jenna made the soap (a process that is just as much about waiting for the soap to set as it is about mixing the ingredients), I collaborated with our graphic designer to design two sets of boxes. We decided to sell the soap in sets of 3 so we could reach more people (200 people instead of 100).

I looked into box manufacturers in the US, but I found the same thing I’ve found with various US manufacturers: Less customization, less personal, limited communication, odd scaling, and higher costs. In contrast, Panda made the process incredibly easy. They quickly printed the boxes and sent them to us, and I handed them off to Jenna at our monthly cookbook club.

I also looked into the possibility of shipping the soap from the US over to our fulfillment centers in Canada, Europe, and Australia. There were several key problems with that idea, though: The shipping would have significantly increased the price of the soap, it would have spread such a small quantity even thinner, and most importantly, each region has its own regulations and certifications for beauty products that added risk and expense. So I made the call to only offer the soap on our US webstore.

Real April Fools products are always a bit odd, as people generally assume they’re not real. However, enough people clicked through to our webstore on April 1 that the soap sold out in just over 10 minutes.

I genuinely never want to have such a limited stock of anything, but I think people understood that there was an individual human behind the creation of these soaps–Jenna is just one person, not a factory, and there truly was a limit to how many bars she could make. However, Jenna can make more, and if/when she does, she’ll share them on her Etsy store.

If you were among the 200 people who bought the soap on April 1, I look forward to hearing your thoughts upon receipt. For everyone else, what game world would you like to see as soap?

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I attended a fundraising trivia night over the weekend where every table had a theme chosen by the attendees. Our table was Wingspan & bird themed: Most of us wore bird shirts, there were dessert nests with candy eggs, we had two huge owl statues, and I brought a random Wingspan Americas bird card for each of the 10 of us.

The fundraiser was entirely unrelated to tabletop games–it was for the St. Louis roller derby team–but several people stopped by to say how much they loved Wingspan. One comment stood out: “I love Wingspan. It’s the only game I play.”

You might glance at your vast collection of games as you read this and wonder why this person hasn’t tried other great games, but think back to when you got into modern gaming. For me, Catan was the only game I played for a few years, followed by Agricola. The mentality was, “Why would we play something else when we already know–and enjoy–this game?”

Eventually I started exploring other games (Fresco, Dominion, Stone Age, etc), but I would bet that a not-insignificant number of people are “lifestyle gamers”–they pick a game, and that’s the only game they play. They might go deep into a modern game like Wingspan, a classic game like chess, or a trading/living card game like Magic.

I love when someone finds a game that they want to play over and over again. As a publisher, I want to support the things that bring people joy. Here are a few ways I try to support those who choose to play a specific Stonemaier game over and over:

• community support: If I go deep into a game, I like to talk about the game on online forums (especially BoardGameGeek and Facebook). I try to help people feel welcome when they venture into the comments for our games, as it can be intimidating to show up in a group of 20,000 people and not know how your first question/comment will be received. Part of community support also includes supporting and encouraging fan creations (e.g., Wingspan’s bird promo packs or expansions like Scythe: The Wind Gambit).
• content creators: Here’s a little secret about why we send so many games to reviewers (all games in our catalog, not just the new hotness): It’s just as much to get people excited about the games they already play/own as it is about informing people who don’t already have the game.
• digital versions: The tabletop experience is awesome, but it isn’t always an option. We work with developers to bring our games to life digitally so the person who plays Wingspan once a month in person but wants to play every day in between online can do that.
• accessories/expansions/promos/merch: For the two games I played over and over for several years (Catan and Agricola), we literally had one copy of the game among us. At a certain point, those of us who didn’t own the game felt the desire to contribute. We bought expansions, upgraded tokens, and promos; we might even have bought Agricola t-shirts if we had thought of it.
• spinoffs/sequels: There are certainly many people who just want more Wingspan or more Scythe. But there are some who want different-Wingspan or different-Scythe; hence Wyrmspan, Finspan, and Expeditions.
• gift giving: My first few games after Catan and Agricola were all gifts. I’m sure I would have eventually started buying other games myself, but I’m so grateful that people gave me that nudge by giving me Dominion, Stone Age, and Fresco. We have a gift guide at Stonemaier Games, but as I write this, I think it might be helpful to bridge the gap between popular non-Stonemaier games and our games. For example, if someone you know loves Carcassonne, they might also enjoy Between Two Castles. That sort of thing.

Did you–or do you still–have a game that you play over and over? In what ways has the publisher supported your passion for that game?

***

Also read or watch:

• The Formula for Wingspan’s Longevity, Replayability, and Success
• Cult of the New or Longevity of the Old
• 15 Ways to Increase a Game’s Replayability

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.

“The largest U.S. carriers seek to capture corporate travelers and affluent leisure passengers who are willing to pay more for comfort. Increasingly, airlines are betting on selling fewer seats at higher yields rather than packing planes more densely with standard economy passengers.” —NTD

Here’s how one might rewrite this quote if it were about tabletop crowdfunding:

“Tabletop publishers seek to capture affluent gamers and those who want to focus on fewer, deluxified games. Increasingly, publishers are betting on selling expensive games (lower total quantities) at higher yields rather than lower-priced games (higher total quantities) at lower margins.”

Two recent examples are Brass Pittsburgh and Slay the Spire: Downfall. Both campaigns are impeccably crafted and highly successful: Even just a few days in, they’ve raised close to $7 million combined.

If I wanted to pledge to the highest core levels for both campaigns ($425 for the game and expansion for Slay the Spire and $350 for all three Brass games), I would spend close to $800. Out of around 31,000 backers between the two campaigns, close to 3,000 people have already backed at those levels (around 10%). These top pledges have raised around $1 million out of the combined $7 million total (around 14%).

Clearly there is an audience for these top-tier reward levels, particularly for highly acclaimed games that have earned their value (Brass Birmingham is ranked #1 on BoardGameGeek; Slay the Spire is #18). Perhaps at least part of this stems from hobby gamers with bursting collections who want to focus on fewer, fancier games.

Unlike airlines, however, there isn’t limited space on a crowdfunding campaign–these publishers have found a way to serve more budget-conscious backers too. Roxley included a $79 reward for Brass Pittsburgh (821 backers) and Contention Games included an $84 reward (2325 backers) for the Downfall expansion.

Another example is Garden Club, which has a $39 level and a $69 level on Kickstarter now. Chris Couch Games can serve both budget-conscious backers who just want the game and wealthier backers who want everything.

Here’s my hope: Selling some premium, high-margin products can help publishers maintain lower prices for the masses.

What do you think? How do you feel as a consumer right now, and what would you like publishers to learn from these campaigns? Is there such thing as an economy that serves all types of people?

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Every month, I update the progress chart on the News page of our website so anyone can see the current status of any Stonemaier project. There are 12 steps (some overlapping, some sequential) that define the process from design to retail release. If you’re curious about what each step entails, here’s a brief summary, along with the approximate timeframe for each.

1. Design (6-24 months): Take the game from an idea to something fun and functional. This includes prototyping and local playtesting. If you’re submitting the game to publishers instead of self-publishing, most of your responsibilities end here.
2. Art (3-6 months): Create the art for all components in the game, including (as needed) cards, tiles, boards, player mats, the box, etc. If there are miniatures, 3D modeling is also necessary.
3. Development (2-3 months): Make the game even more fun and functional by playing and honing the game. Focus on rules clarity, gameplay intuitiveness, and balance. This overlaps with blind playtesting.
4. Blind Playtesting (4-8 months): Send the files for the game to paid playtesters who assemble the game, learn it from the rules, and play it several times before reporting their experiences. Use those reports and data to update the game (ideally with support from the designer), then start another wave of blind playtesting.
5. Solo Design (3-5 months): Solo specialists (e.g., Automa Factory) craft the solo mode for the game based on the final rules/prototype. They also prototype it extensively, sometimes discovering new balance issues to address in the multiplayer game.
6. Graphic Design (3-4 months): Design the icons, layout, and user interface, then transfer all the content from the prototype into these templates. This also includes the proofreading and oversight process, with the graphic designer updating the files with each new batch of edits. Graphic design culminates in the graphic designer preparing the printer-ready files based on the manufacturer’s specs.
7. Pre-Production (1 month): The manufacturer reviews the final PDFs and tokens for any issues that might arise during production. Usually there’s some back and forth (digitally and via samples) until the digital proofs and components are approved by both parties. This culminates in the manufacturer sending a PPC (pre-production copy) to the publisher for them to test–this is a single copy of the game printed on its own.
8. Components (2 months): The manufacturer (and any third-party factories they outsource to) produces the diecuts for tokens and moulds for miniatures, as well as actually making those components at scale. They also prepare for the printing itself–for most printed components, the prep takes longer than the printing. Anything that needs to be glued takes longer (i.e., boards, player mats, and the box), as the paper needs time to dry properly to the cardboard.
9. Print & Assemble (1 month): Cards and rulebooks are printed en masse. Now, with all the components ready and in one place, they can finally be assembled into the game boxes and placed in cartons (they may also be palletized).
10. Freight Shipping (1-2 months): From factory to final destinations, the games go by truck to train to ship to train to truck until they arrive at warehouses around the world. This applies no matter where you make products–it’s a global economy. It’s at this time that we typically announce and start to market our products.
11. Launch & Fulfillment (1 month): This is specific to Stonemaier Games, as we don’t sell products until they have arrived (or are imminently arriving) at our fulfillment centers in the US, Canada, Europe, and Australia. The hardworking folks at these fulfillment centers then pack every order, pair it with the correct label, and send it out with many others via couriers.
12. Retail Release (1 month): While the webstore launch is in progress, distributors and the publisher gather orders from retailers. This is why it’s super helpful for you to let your store know what you want to buy from them–that way they can ensure they have a copy of the product just for you in time for the retail release day.

Not shown here is the reprint process, which starts a little before step 8 (usually there’s a least a few files in which we make tiny updates before making more of a product).

These are only brief summaries of the steps, but I’m happy to answer questions in the comments.

***

Also read:

• Board Game Supply Basics
• An Open Letter to Non-Gamer Journalists Researching Modern Tabletop Games
• How to Design a Tabletop Game
• The Hidden Job of Every Creator
• My Game Publishing Checklist

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.

With college basketball’s March Madness tournament underway, I’d like to announce a new experiment: The Tabletop Power Rankings.

I’ve always enjoyed subjective and objective rankings in sports (e.g., the weekly BCS rankings for college football and the Premier League standings in English football). I like checking in to see how different teams are moving up or down the rankings and to see how they are perceived.

I’ve also recently renewed my fascination with anticipation following last year’s article about the most-viewed tabletop YouTube videos. Since then, I’ve posted a monthly video showcasing my most anticipated games to play again.

The confluence of these two interests have now formed the Tabletop Power Rankings. The concept is a monthly reveal of the top 10 games (plus the top 5 Stonemaier games) that people are the most excited to play again after playing them at least once.

That last phrase is particularly important, as it places the emphasis on what we already have (and have firsthand experience with) instead of what we don’t have (and haven’t even played). As much as I enjoy the BGG Hotness, it’s typically filled with future releases.

I seeded the initial rankings based on a Stonemaier Ambassador survey, but now anyone can participate: here is the current 3-question voting and nomination link for the next month.

While the exact format might change, my plan is to post the overall top 10 each month along with a survey that replaces the 3 lowest voted games with the top 3 nominations from the previous month.

Overall Games (March 2026)

1. SETI
2. Galactic Cruise
3. Slay the Spire
4. Bomb Busters
5. Speakeasy

This will expand to a full top 10 starting in April. At that point I’ll add previous rankings and months on the rankings.

Stonemaier Games (March 2026)

1. Viticulture
2. Vantage
3. Wingspan
4. Scythe
5. Tapestry

Here’s what the initial ambassador survey looked like. I’ve since separated non-Stonemaier games from Stonemaier games and opened the survey to everyone.

I’ll reveal the new Tabletop Power Rankings the first Wednesday of each month on our website and on my anticipated games video.

I hope you choose to participate in this experiment (survey link)! If you have any ideas, suggestions, or questions, please let me know in the comments.

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I spent the last weekend hosting friends at the Gamers Ranch, a gaming-focused vacation property in the middle of Missouri. I had an amazing time, and I loved seeing the power of the tabletop community in action, especially in seeing different gaming friends intermingle.

As I reflected on the weekend, I realized that among the dozens of games played, there were 5 games that hit the table more than any others. I thought I’d briefly look at each of those games to see what made them work particularly well for events and conventions, which can sometimes be the difference for a game to break out.

Moon Colony Bloodbath: I taught and played this 6 times over the weekend, and nearly everyone played again later. Even though it’s heavier than the other games on this list, the single deck of cards (flip a card and everyone does what it says) helps a teacher to guide everyone through the first few turns. It’s also entirely simultaneous, so there’s no downtime. There’s also the dark humor of the theme and the bold name, which seemed to attract curiosity from those who hadn’t played.

Lord of the Rings Trick-Taking: The cooperative nature of this game creates a sense of camaraderie; camaraderie is often a primary motivator for someone to attend a gaming event. Also, the short playing time and the variety of each chapter–all based on a simple core system–created a “just one more game” mentality.

Bomb Busters: I’ll continue what I said above about the Lord of the Rings trick-taking game, as this applies to both: I’ve noticed at gaming events that many people are hesitant to commit to a 3-hour game, yet they’ll end up playing short, escalating, cooperative games like Bomb Busters for hours. I love the idea of breaking a longer game into bite-size pieces.

Magical Athlete: Everything about the product design of this whimsical racing game lends itself to events. While it asks players to make a key decision before the game starts (which characters you select in the draft), the rules are so bare-bones that this isn’t a problem. I noticed that people seemed to gravitate towards this game after playing a heavier game, as it’s a great brain break.

Mindbug: This snappy two-player dueling game has a unique hook that seemed to intrigue people (twice per game when your opponent plays a card, you can claim it as your own instead). An accessible, quick 2-player game is really nice for an event when a few people are waiting for longer, larger-group games to finish.

Also note that all of these games are super fast to set up.

One other commonality between these games is that they all had someone championing them. This can make a huge difference at an event or convention: If there’s someone visibly excited to play a game they already know, people will gravitate towards that game.

Have you noticed a game spreading like wildfire at events or conventions? What is it about that game or the situation that resulted in the game returning to the table over and over?

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Here are the events and conventions in which Stonemaier Games is participating in 2026.

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.

Almost exactly 1 year ago today, Mitchell and I recorded our first episode of the 30-minute Positively Board Gaming Podcast. Today we will record episode 52 for release next week (episode 51–focused on the mechanism of delayed gratification and custom dice–went live this morning).

As much as I enjoy chatting with Mitchell, I was nervous about adding yet another form of content to my current weekly schedule for Stonemaier Games: 2 articles, ~4 videos, 1 livecast, and 7 Instagram posts, plus monthly Rolling Realms liveplays and quarterly launch videos and design diary posts. Creating all that content takes time, as does participating in the ensuing conversations.

Also, I know from years of being a guest on podcasts that it’s really easy for a 30-minute conversation to end up more like 60+ minutes if you include the preparation, warm-up, the podcast itself, and the post-recording chat. I’ll say yes to pretty much any podcast or video chat, but after 30 minutes I start to check out as I think about all the other work I need to do (and want to do).

Despite these concerns, I’ve found myself looking forward to 30 minutes with Mitchell each week, and it seems that people have enjoyed our positivity as well. I don’t know the audio stats, but the videos average around 1,000 views with great discussions in the comments.

Here are a few key things I’ve learned and remained mindful of during the first year of Positively Board Gaming (and as an avid listener of many podcasts):

1. The delicate balance between familiarity and inclusivity. Any episode might be a listener’s 50th experience with our podcast or their 1st. I want repeat listeners to feel a sense of comfort from the podcast, like they’re just hanging out with friends. But I also want a new listener to feel welcome. We’re still navigating this balance: When do we overexplain the format (e.g., we don’t need to tell listeners that we’re going to discuss a treat of the day–they know what a treat is) and when do we underexplain it (e.g., is it relevant to tell people that neither of us knows the other person’s topic each week)?
2. The delicate balance between dialogue and monologue. Mitchell and I each bring a topic to the table each week, and we allot around 10 minutes each. 10 minutes can fly by when it’s a back-and-forth dialogue (which is my preference, as I talk to myself on camera all the time), so I try to ensure that the person who raised the topic has the time to share what they wanted to say about it.
3. The delicate balance between focus and variety. As a podcast listener, I find that I’m the most drawn to gaming episodes about 1 specific game, maybe 2 at most. Tabletop Takeaway, One-Stop Co-Op Shop, and Lens & Veil are a few that do this well, though there are others (like The Secret Cabal) that have a more varied chat before focusing on a specific game–I like that too. However, I find myself less inclined to only discuss 1 game on our podcast because there isn’t much Mitchell can say about it if he hasn’t played it too. Perhaps I’ll experiment with this in the future to see if can work.

I’m guessing that the balance I’m describing isn’t unique to us, hence why I’m sharing it here. Whether you’re a content creator or a listener/viewer, I’d love to hear your thoughts about how podcasts balance these elements and what makes keeps you coming back to the podcasts you love. Feel free to also share your favorite gaming and non-gaming podcasts!

New episodes of Positively Board Gaming are available every Thursday morning on YouTube and various podcast platforms. Also, I highly recommend the Overcast podcast app–it is heads and tails above any podcast app I’ve used in the past.

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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.

Recently a book publisher friend told me that the #1 thing he seeks from his authors is longevity. “If you haven’t spent at least 10 years working on a problem that a lot of people share, it probably isn’t a book for us.”

I’ve thought about this perspective a lot lately. I’m fascinated by anyone who takes that much time to work on a single project, though it didn’t seem like something I could possibly endorse to tabletop game designers. 10 years is a long time to work on the same game! Even Vantage “only” took 8 years for me to create.

But something clicked yesterday when I saw The Enigmatist in St. Louis. David Kwong is a magician, NY Times crossword designer, and an avid puzzler and gamer. The 2-hour show is full of riddles and puzzles for the audience to solve (if they wish), and Kwong seamlessly intertwines them with some more traditional magic elevated by his remarkable vocabulary and memory. We had so much fun at the show, and I highly recommend seeing it in St. Louis at The Rep over the next few weeks.

What I realized in experiencing the show is that Kwong has been working on this show for many years. While The Enigmatist itself didn’t exist 10 years ago, Kwong was cultivating his craft. I’m sure the show itself took years to create, and he originally performed it in New York in 2019, so The Enigmatist has existed in some form for 7 years. Along the way, Kwong wrote two related books and created a deck of playing cards that is also a series of puzzles.

In other words, David Kwong has devoted himself to this 2-hour show for at least 10 years. He worked hard to create something great, and he continues to share it with as many people as possible (likely while improving and enhancing it along the way).

One of the reasons I was hesitant at first to write about this topic was that it truly felt like a luxury to work on Vantage for 8 years; how could I possibly recommend that approach to other designers and publishers?

But Vantage isn’t alone in this category. A few other examples of games that have been someone’s primary focus for many years are The Old King’s Crown (Pablo Clark), Obsession (Dan Hallegan), Galactic Cruise (T.K. King), and Stardew Valley (Eric Barone). All of those tabletop games are rated 8.1 or higher on BoardGameGeek, and Stardew Valley is one of the top-rated, most-played digital games of the last 10 years.

In other words, if you have the opportunity to work on a passion project for many years, it could lead to something truly special, especially in a time when it’s more difficult than ever for a game to stand out from the deluge of high-quality projects.

Also, working on a project for 5-10 years doesn’t mean you can’t work on other projects in the meantime. I’ve found it incredibly helpful in my design process to have 2 games in the works at the same time. When I run into a wall on one game, I bounce over to the other game for a while.

That said, there are certain risks that accompany long-term passion projects. If the investment of all that time (and probably money too) doesn’t lead to something that resonates with people, you may just be making something for yourself. A safeguard for that is to not work in a vacuum–include others in the process and welcome their feedback.

Also, the world (and your world) can significantly change over 10 years. Something that might be exciting and innovative today might feel outdated in 2036. I tried to stay flexible and open-minded while creating Vantage; I constantly researched and played other open world games during the process.

10 years is a long time, though I don’t think that’s some magical number for longevity. Rather, this is more about a patient commitment to excellence. I want to give our projects the time they need to truly shine, quality over quantity.

I’ve only named a few high-profile projects here; can you think of any others? What are your thoughts on having a long-running project (even as you might work on others in the meantime too)?

***

Also read:

• Your Best Work, Mediocrity, and Creating for Creation’s Sake
• Meaningful Creations, Play, Elevation, and Connections (2025-2026)

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.

Parcel fulfillment methods, options, and best practices have evolved quite a bit over the last few years, so today I’ve updated the information from my previous post on this topic in the hope this will be helpful for my fellow creators.

The Basics

In general, this is the 2-step process that many creators use (see also this infographic):

1. Freight: A freight company (I work with ARC Global: justin.bergeron@arcglobal.us) ships cartons/pallets/containers of products from a factory to several different fulfillment centers (Australia, Canada, US, and Europe). Depending on your scale, you can potentially freight ship directly to distributors (who sell games to retailers). Here’s my 2023 update on freight shipping.
2. Fulfillment: A fulfillment center sends orders to customers within their respective region.

This method works well if you know exactly how many products to send to each region. That’s great for crowdfunders but more of a guessing-game for companies like Stonemaier Games who don’t accept orders until the products have arrived at fulfillment centers. We make educated guesses based on past sales and interest gauged from our newsletters.

Top Fulfillment Centers

Whenever I’ve selecting a fulfillment company, I always ask about and test the quality of packaging, speed, communication, customer service, and autonomous problem solving.

I’ve come to believe that consistently high quality is much more important than price when it comes to fulfillment centers. However, you can see a variety of stats (including price estimates, which are updated by each corresponding company) as well as contact information on this master list of fulfillment companies.

Here are my current top picks by region:

• United States: We work with Miniature Market fulfillment here in St. Louis and have been really impressed by all services they’ve provided. Fulfillrite, Quartermaster Logistics, and Allplay Fulfillment have great reputations, and whenever I receive a package from them, I’m pleased with the quality of packaging.
• Europe: Spiral Galaxy is great to work with, and they’ve offer a full-service VAT option. They’re extremely responsive, they’re fast, they pack games well, and they even have an optional system where they can confirm addresses with customers before printing labels.
• Canada: We work with Asmodee Canada to handle fulfillment, and they’re doing a great job with communication, speed, and quality of packaging.
• Australia/NZ/Asia: Let’s Play Games does a solid job at fulfilling our shipments to customers in Australia, New Zealand, and Asia.
• Other Areas: Unfortunately, there aren’t any fulfillment centers in other regions I can currently recommend, but I’d love to hear from other creators if you’ve had good experiences in the last few years.

If you plan to sell products through your webstore to customers on an ongoing basis, I recommend setting up different storefronts for each region (or some way to separate inventory by region).

Instructions for Fulfillment Centers

We try to be abundantly clear every time we work with a fulfillment center, informing them well in advance when we have an upcoming launch. Feel free to copy and paste the instructions below (or add/subtract from them):

1. Ship all packages so they do not require a signature for delivery.
2. Send customers their tracking number by e-mail on the same day that their order leaves the facility (not when the label is made and no later than the day after the package departs). Also, it’s crucial that backers see their FULL address on tracking notifications, not a partial address that will cause them to wonder if we forgot half of their information.
3. Either sync tracking numbers with our ecommerce platform or send me a spreadsheet of tracking numbers and couriers within 2-3 days of fulfillment completion. We can answer 90% of customer service questions if we have that data.
4. If it’s absolutely necessary for an order to ship in multiple packages, please make sure the customer knows that they’re receiving more than one package. That will prevent a lot of customer confusion and frustration.
5. Please pack the products with plenty of cushioning around the edges, corners, and between differently sized components.
6. Please use eco-friendly, space-efficient packaging if possible. (It’s generally up to the creator to specify if there is a product that could be shipped in a padded mailer or envelope instead of a reinforced box.)
7. Let me know in advance what your estimated daily/weekly target is (the quantity of orders they can ship each week). We ask that fulfillment centers increase this quantity for launch periods compared to normal weeks.

Tips and Thoughts

• Transparency: Most crowdfunders have moved to the method of charging for parcel shipping costs after the project. Parcel shipping is fulfillment center labor, packaging, and postage, which is separate from the landed cost of a product (manufacturing plus freight; this is built into the reward price). Basically, a customer’s assumption when they place a pledge is they’ve now paid for the entire landed cost and only need to pay for the parcel shipping cost later.
• Responsibility: It is inevitable that some customers will report that a package wasn’t delivered (despite the courier’s “proof” of delivery). We first ask the customer to check with their neighbors–you’d be surprised by how many times the package is next door. If the customer can’t find the package, we confirm that the address is secure (or ask for a more secure address), add a required signature to the delivery (if possible), and ship the package again.
• Product Size: A certain number of cartons fit on a pallet (18-21 cartons), and your manufacturer will often use the same carton size for everything they send. Smaller box sizes offer a significant competitive advantage given the freight shipping costs, though retailers and distributors typically don’t want to buy cartons with dozens of games inside (6-12 games per carton is ideal).
• Playmats: Big playmats in cardboard tubes require multiple packages for the same shipment, so we instead have our manufacturer flat-pack them. Fulfillment centers fold them into packages for shipment, saving customers a significant expense (and using a lot less cardboard in the process).
• Pre-packing: To speed up the fulfillment process, slightly decrease the cost per unit, and ensure a consistent quality of packaging, your manufacturer can pre-package products at the factory. This works best if customers are preordering 1 unit of the product and nothing else. You can even design expansion and accessory boxes so a shipping label can be placed directly on them without the need for a box inside a box.
• Damaged boxes: Publishers don’t typically have replacement boxes, so if a customer receives a dented or broken box and requests a replacement, there’s no other way than to send them another full game. When we do that, we give the customer a prepaid shipping label to send the ding-and-dent game to a reviewer of our choice (we check with the reviewer in advance to see if they’re fine with this arrangement).
• Replacement parts: Sometimes components are missing from inside the product, and we have replacement parts helpers around the world stocked with spare parts to send to you if you fill out the form on this page.

Other Tips I’ve Learned Over the Years

• Bar Codes/SKUs: Fulfillment centers and retailers require bar codes (gs1, then generate codes here); most also need SKUs (stock codes; if you’re in the board game industry, get these from heather.stoltzfus@hmahobby.org). Make sure you have both, and make sure you have a system for ensuring that you don’t use the same bar code on different products (I use a Google Doc with conditional formatting that highlights duplicate cells).
• Important labels: If you manufacture in China, put “Made in China” on the box (or wherever you made the product). Customs will have a problem if you don’t do this. Also include a choking hazard icon and label (“Warning. Choking hazard. Contains small parts. Not for children under 36 months.”).
• Add-Ons: The more add-ons and various configurations you offer, the more trouble you’re going to have when you fulfill rewards. Not only does it increase the potential for human error, but it also increases the cost: Some fulfillment centers charge a fee for each item in the package.
• Fee Precision: When calculating shipping rates on your crowdfunding project, use accurate fees for each country, not one-size-fits-all rates.
• Europe/VAT/Brexit: If you’re shipping from within Europe, put an address on the back of the box (i.e., your local address plus your fulfillment center address in Europe, though ask for their permission). If your game is CE marked and tested (which it needs to be if you are advertising it as a game for under 14) you need to have an address of an EU-based company that can act as your “authorised representative” and hold your Declaration of Conformity for you. You’ll need to pay VAT, and I recommend shipping DDP (delivery duty prepaid) if you ship to the EU from the UK so customers know that the price they see on your webstore (which includes VAT) is the full price they’ll pay for the product (no surprises upon delivery–and if there is a surprise, it’s a mistake by the courier that can be resolved). I also recommend putting UK and UKCA markings next to the CE markings.
• Central/South America and Africa: We’ve tried to ship to customers in these regions in the past, but very few packages would actually arrive at their destinations. I know it’s not ideal, but my recommendation to these customers is that they ship to forwarding addresses in regions where we do ship (i.e., to a friend or to a service like Shipito and MyUS).
• Communication: I’ve found that keeping backers and customers informed with frequent updates throughout the fulfillment process is really helpful for easing their anxiety, even if we have no news to share.
• Local Pickup: It took quite a bit of coordination, but a few months ago we added a local pickup option here in St. Louis through Miniature Market (for sales made on our webstore). It isn’t something I would want to handle through my home office, but Miniature Market is set up well for option.

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Hopefully this gives you some ideas for shipping and fulfillment! If you fulfilled a project recently or are shipping products on an ongoing basis, what’s something you learned that can help your fellow creators? Do you have a fulfillment center to recommend?

***

Also read:

• All other articles about fulfillment
• Board Game Supply Chain Basics
• Then and Now: How Expensive Is Freight and Parcel Shipping?
• Tariffs: Impact on Tabletop Publishers, Consumers, and US Manufacturing

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.

With our 2025 tax calculations now complete, it’s time for me to share the annual Stonemaier Games stakeholder report.

A “stakeholder” in Stonemaier Games is anyone who has an impact on our company and a stake in our story, whether it’s my coworkers, contractors, customers, Champions, Ambassadors, retailers, distributors, localization partners, artists, designers, readers, etc. So if you’re reading this, the transparency in this post is out of respect and appreciation for you.

Joy is always our goal–we don’t measure success by money, units sold, rankings, followers, or awards. Those are just metrics. So all of the data aside, I truly hope we were able to create some joy for you in the last year, and I’m grateful for your connection to Stonemaier Games.

2025 Revenue and Personnel

We use the accrual method for accounting (expenses and revenue count in the year when we ship the products to the customer). Our total revenue for 2025 was $25.1 million. The sources were distribution (34%), Stonemaier webstore (21%), localization (19%), direct hobby retailers (9%), Amazon FBA (13%), and digital game royalties (4%).

For comparison, revenue was $23.7 million in 2024 (actual profit is a much lower number on any given year; we consistently reprint almost all of our games, so the majority of our profits are reinvested into manufacturing, freight shipping, and personnel). Please note that comparing annual revenue isn’t particularly relevant, as changing the timing of a large first printing or restock by even just a month can shift millions from one year to the next. 2025 was also a particularly release-heavy year, and Vantage is among our more expensive games. Even with the increased expense of tariff taxes, we did not increase our prices.

We have no debt, nor did we take any loans in 2025. As usual, cash flow was tight at certain times of the year due to the gap between when we need to pay Panda (our manufacturer) and when distributors pay us, but we make it work. (I mention this to dispel the notion that profitable companies are always flush with cash.)

• Full-time employees: 7 (Jamey, Joe, Alex, Dave D, Susannah, Erica, Christine)
• Part-time employees: 1 (Alan)
• Every day contractors/partners: 4 (Morten, David, Dave H, Shannon, and Karel)
• Number of cats: 6
• Number of dogs: 3
• Independent contractors: 100+
• New games (including re-releases): 7
• New expansions: 2
• New accessories: 5
• Crowdfunding campaigns: 0
• Shareholders: 30 (including all 8 Stonemaier employees)

Here’s a longer list of everyone who has an impact on Stonemaier Games, including demographics (photos of many of them are here).

We warehouse and ship our games from Miniature Market for our products in the US, from Asmodee Canada for our products in Canada, from Spiral Galaxy in the UK to serve Europe, and from Let’s Play Games in Australia for Oceania/Asia. My coworkers and I work from home.

Games in Print

The quantities below are the lifetime units in circulation for each game (just the game, not expansions, accessories, or promos) in all languages released in 2025 or before, and the BGG rankings are as of today. If you haven’t rated our games, you can do so here!

• Viticulture: 273,584 units (BGG rank: 44)
• Euphoria: 44,000 units (BGG rank: 678)
• Between Two Cities: 56,900 units (BGG rank: 889)
• Scythe: 601,102 units (BGG rank: 26)
• Charterstone: 97,500 units (BGG rank: 625)
• My Little Scythe: 68,500 units (BGG rank: 837)
• Between Two Castles: 58,000 units (BGG rank: 771)
• Wingspan & Wingspan Asia: 2,639,429 units (BGG ranks: 38 and 89)
• Tapestry: 91,650 units (BGG rank: 293)
• Pendulum: 49,200 units (BGG rank: 3786)
• Red Rising: 154,800 units (BGG rank: 1055)
• Rolling Realms & Rolling Realms Redux: 62,000 units (BGG rank: 1124)
• Libertalia: 62,584 units (BGG rank: 516)
• Smitten & Smitten 2: 38,000 units (BGG rank: 6155)
• Expeditions: 77,500 units (BGG rank: 386)
• Apiary: 55,004 units (BGG rank: 314)
• Wyrmspan: 451,994 units (BGG rank: 125)
• Stamp Swap: 34,000 units (BGG rank: 3175)
• Finspan: 233,584 units (BGG rank: 489)
• Tokaido: 29,500 units (BGG rank: 835)
• Vantage: 64,000 units (BGG rank: 225)
• Origin Story: 33,500 units (BGG rank: 2314)
• Tokaido Duo: 27,834 units (BGG rank: 1800)

The products we introduced in 2025 were Finspan, Between Two Castles Essential Edition, Tokaido, Vantage, Tokaido Duo, Smitten 2, Origin Story, Wyrmspan: Dragon Academy, Tokaido: Crossroads & Matsuri, a variety of promos for Rolling Realms, and the Wingspan bird promo packs. As usual, we’ve tried to keep our release schedule streamlined and focused so we can shine a big spotlight on everything we make; with the addition of the Tokaido brand, we didn’t accomplish that goal particularly well in 2025.

Social Media, Contacts, and Other Metrics

This data is as of March 1, 2026.

• e-newsletter subscribers: 54,247 (40% open rate)
• Facebook fans: 43,305 (though most interactions are in our Facebook groups, which have over 100,000 members)
• YouTube subscribers: 57,033
• Instagram followers: 56,698
• Discord members: 3,155
• Bluesky followers: 2,695
• Stonemaier Champions: 15,738
• ambassadors (active volunteers): 780
• reviewers (active): 310
• international localization partners: 42
• Stonemaier Games Design Day attendees: 100
• funds donated to charities (annual auction): $22,364

With Joe as our Director of Communications, Alex as our COO, Susannah as our Sales Relationship Manager, Dave as our Customer Outreach Manager, Christine as our Director of Visual Design, Erica as our Ecommerce Brand Manager, Alan as our Director of Special Projects, and Jamey (me) handling lead design, development, marketing, content creation, project management, and direct-to-consumer sales, we have people specializing in different interactions on various platforms in service of you. This is reflected by our org chart:

New in 2025

Our other new endeavors and experiments in 2025 are as follows:

• While this isn’t our first foray into publishing content that originated in fan creations, it was new for us to publish a few packs of promo birds for Wingspan that were designed by fans of the game.
• We created an official place on our website for third-party accessory creators to feature their creations related to our games.
• I started the Positively Board Gaming Podcast with my friend Mitchell, with whom I’ve enjoyed chatting every week for the last year. It’s also found on our YouTube channel.
• We sponsored a professional disc golfer, Jeremy Koling, who has shared Wingspan with hundreds of people around the world while touring.
• We stood up for other publishers and small businesses who were subject to an illegal tariff tax forced upon us by the US government.

Looking Ahead to 2026

At the beginning of 2026, I previewed our releases for the year as follows:

• Q1: Wingspan expansion (based on the birds of Central and South America and the Caribbean; vision friendly cards are available as an add-on) and a Viticulture expansion (a new 4-season board with the original board on the back)
• Q2: Euphoria Essential (combines the expansion with the core game and offers a new board layout with some rules tweaks; the board and rules will be available separately for those who already have Euphoria) and the first Finspan expansion (I previewed a shark card and a colorful fish)
• Q3: Scythe vs Expeditions 2-player dueling game (this content expands Scythe and Expeditions, and all Scythe factions/player mats and Expeditions mechs/characters are compatible with the dueling game; there will be add-on packs containing metal versions of the mechs and a plastic airship [which isn’t used in the dueling game]), a small-box, lighter Wingspan bird experience playable in around 3o minutes, and a mini-expansion to Origin Story (many more superheroes)
• Q4: The first Smoking Bones game from artist and worldbuilder Andrew Bosley and a debut designer (see some info about the world here) and our version of Namiji (combines the core game and the expansion in a normal box size with accessibility updates)
• reprints for the Rolling Realm promos (other reprints for out-of-stock products are dependent on demand as indicated by back-in-stock requests on our webstore)

You can sign up for our monthly e-newsletter to receive notifications about these announcements.

In 2026, my goals are to welcome both new and experienced gamers into the gaming community and bring joy to their tabletops, to support my amazing coworkers, and to lead with kindness, compassion, and empathy.

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Thanks for joining Stonemaier Games on this journey, and if there’s anything we can do to add joy to your tabletop experiences, please let us know.

Do you have any thoughts, observations, or questions about this report? I want to continue to learn from mistakes and successes, experiment, and listen to our stakeholders in 2026.

Also read:

• 2024 Stakeholder Report
• 2023 Stakeholder Report
• 2022 Stakeholder Report
• 2021 Stakeholder Report
• 2020 Stakeholder Report
• 2019 Stakeholder Report
• 2018 Stakeholder Report
• 2017 Stakeholder Report
• 2016 Stakeholder Report

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.

Recently an Instagram post about Japanese ideologies appeared in my feed, and I keep returning to it, so I thought I’d share my ruminations with you today.

Kaizen: Improve by 1% every day instead of chasing perfection.

I think about this in two ways: One, I try to acknowledge that Stonemaier Games (and myself) can always improve, and real improvement takes time. Two, big projects are completed only when we make progress in small, incremental steps (a lesson I took to heart when designing Vantage–even if I only found time to design 1 new location on a certain day, that was infinitely better than not making any progress at all).

Shoshin: Keep a beginner’s mind; curiosity makes learning endless.

I love learning about other people, games, companies, etc. You may notice that nearly every article, video, or post I make ends with a question, as I’m genuinely curious about other perspectives. I also love to see people approach a variety of topics–from light to serious–with  real questions grounded in curiosity (not loaded questions).

Ikigai: Find the reason you wake up, as purpose fuels happiness.

This is a tough one. It’s truly amazing to understand your “why”, but what if your purpose is distant from your daily responsibilities? That said, I have found it incredibly helpful to have a clear, guiding principle: To bring joy to tabletops worldwide by serving you. That is the lighthouse for every boat I try to steer ashore.

Nemawashi: Prepare quietly before decisions; success comes from groundwork.

I’m working on this, but it doesn’t come naturally to me. Specifically, when there is a decision to be made, my instinct is to make it and move forward. I think this comes from a previous job when decisions would be deliberated ad nauseum; also, for a long time it was just me at Stonemaier. It’s really nice that I can make decisions without going through bureaucratic stopgaps, but now I’ve found so much value in involving different coworkers when I’m deliberating something.

Oubaitori: Never compare yourself to others–everyone blooms in their own season.

One of the most unhealthy things I’ve done (and sometimes still do) is compare myself, my games, and Stonemaier Games to others. It’s an insecurity, plain and simple. I don’t need to judge myself in relation to someone else, nor is it productive to judge someone else in comparison to me. Rather, I try to learn about others with an open heart and appreciate what they’ve created.

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Which of these ideologies resonates the most with you? Which one do you struggle with the most?

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Every day for the last 10 months, I’ve lived in fear that the executive branch of my own country would raise our import taxes to an extreme level that would significantly damage Stonemaier Games and the thousands of small businesses seeking to serve their US customers, retailers, and employees.

So when the Supreme Court ruled on Friday that the tariff taxes and the way they were implemented were unconstitutional, I had a huge sense of relief. Relief that small businesses can no longer be used as pawns in a global game. Relief that the whim of one person can no longer effectively change the landed cost of our product from $10 to $25.

Yes, there are still legal ways for the executive branch to impose tariff taxes. They seem really passionate about making small businesses in the US pay more taxes. But these methods have limits: For example, the new tariff tax is 15% (that’s the max it can be), and it needs congressional approval to extend beyond 150 days.

In the immediate future, I don’t think we’ll see much of an impact on prices, as anything in stock in the US already had its tariff tax paid when it entered the country (if it was manufactured elsewhere). My perception is that many businesses avoided raising prices and instead just ate the extra costs (that’s what we did; we did not increase any prices).

There is also the possibility of tariff tax refunds. To date, Stonemaier Games has paid just under $300,000 in tariff taxes to the US government. I’m not counting on getting any of that back–it will be nice if we do, and I hope that other businesses do, but the level of uncertainty isn’t something for which we can plan.

My hope, as always, is that what happens next will help me best serve my coworkers, our independent contractors and partners, and our customers in the US and around the world (consumers, retailers, and distributors). I wish the same for all other small businesses.

How have the tariff taxes affected you, and what is your hope for the future of tariff taxes?

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If you want to question the feasibility of manufacturing highly customized games in the US, the ethics of manufacturing in other countries, or the politics of opposing tariff taxes, please read this and this.

Previous articles:

• Questions, Answers, and More Questions About Tariffs
• How Can We Fix This Together?
• We’re Suing the President
• The Math of Tariffs
• The Darkest Timeline
• Tariff Update: Legality, Lobbying, and Local Stores
• The Tariff Offset Gift Card: An Unexpected Outcome

Other related resources:

• CNN appearance
• NY Times
• Spectrum News appearance
• Board All the Time podcast
• Five Games for Doomsday podcast (plus Frank West)
• The Secret Cabal (Justin Jacobson)
• NPR
• Board Game Wire
• Global Times
• Financial Times
• CNET
• SLU International Business Now
• NY Times (August 2025)
• I Tried to Make Something in America (The Smarter Scrubber Experiment) – Smarter Every Day
• Tariff Tax Update: September 2025
• Polygon (Feb 2026)

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.

For the last 10+ years, Stonemaier Games has invested a lot of up-front time, resources, and love into our products, completing production before we sell to customers on our 4 regional webstores (followed by shipping soon afterwards, then a retail release a few weeks after fulfillment is complete).

This method has proven to serve our customers incredibly well, with 3 circumstantial exceptions:

1. It’s a guessing game as to how many units we send to each of our fulfillment centers (US, Canada, Europe, and Australia/NZ/Asia), so sometimes we have sold out of a product in one region but not another. Customers then need to make a back-in-stock request and wait for the reprint (or buy from their local store, as many units are reserved for retail distribution).
2. Even with our extensive oversight process, mistakes can slip through to the first printing of a product.
3. Our launches primarily reach those who follow Stonemaier Games in some capacity, directly or indirectly.

With this in mind, I was both impressed and intrigued that Gamefound is introducing a new feature called Express Crowdfunding. In their words: “Instead of collecting pledges and waiting months or years to deliver, Express Crowdfunding allows creators to gather shipping details and begin fulfillment while the campaign is still live.” When the initial printing sells out, Express shifts into accepting preorders for a second printing.

I think this is fantastic, as it directly addresses what I believe is the biggest issue with modern crowdfunding: uncertainty. When a creator launches an unfinished product, they pass the burden of uncertainty onto their backers.

Express asks creators to finish and produce some quantity of their product before launching. Yes, there’s risk in that, and I understand why creators old and new have to choose how they mitigate that risk. That’s where Express shines (in principle–we won’t see it in action until Labyrinth Chronicles launches on Tuesday): You can make a smaller print run of the game up front so some customers can receive it within a few weeks of launch, then within the same campaign you can gather preorders from everyone else.

I confirmed with Marcin at Gamefound that the pre-produced games can have a variety of variants (different versions, languages, or quantities at fulfillment centers). A creator could offer a different price for a pre-produced version than a second printing if they wish, and backers can choose between the two. StretchPay doesn’t apply to the pre-produced games, and so Express may not work as well for games priced at $100+.

In my opinion, this is a strongly backer-focused option, and I’m curious which other creators will try it first. If you do, please let me know so we can talk about it.

Does this intrigue me for a future Stonemaier launch? Just a little bit, particularly for #3 on my above list. However, part of our method is that we not only get products to customers soon after launch, we also get them to retailers soon after launch fulfillment. In fact, we saw with Expeditions that it doesn’t serve retailers and their customers well when there’s a big gap between launch fulfillment and retail fulfillment.

Also, we’ve taught early adopter consumers over many years that our webstore is the place to go to get our games, and our Champion program is built around the Shopify platform. Our webstores sync up perfectly with our fulfillment centers, and we’ve invested heavily in the webstores with significant results ($5.3m in net consumer webstore sales in 2025).

So while we likely won’t try Express, I applaud the innovation.

Quick notes on other crowdfunding innovations:

• Gamefound has also implemented Endgame, which lets backers extend a campaign as long as it continues to receive pledges. This can help with stretch goals and give more backers access to lower campaign pricing before late pledges begin. Marcin notes, “it is also just a fun experience for an engaged community,” which I can see.
• Kickstarter offers creators the option to provide “secret rewards” as a way of showing appreciation to certain backers. I learned about this from the creator of the Sugarworks project. I can see this as a nice way to offer a lower price to people for whom you’re particularly grateful.

What do you think about Express, Endgame, and secret rewards from a backer or creator perspective?

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Also read:

• The Current State of Gamefound (2025)
• An Insider’s Perspective of Gamefound vs Kickstarter (2022)
• 10 Years Without Crowdfunding

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.

What do Senet, Backgammon, the Royal Game of Ur, Mancala, Go, Pong, archery, running, swimming, and boxing have in common? They are some of the world’s oldest games (tabletop, digital, and sports).

I realized recently that games wouldn’t have existed across the world for thousands of years if they weren’t solving an essential problem faced by humanity. Games let us feel something important that we rarely experience on a daily basis. We are able to work because of what we gain from playing.

Here’s a list I’ve compiled of essential feelings that games let us experience. Games enable us to feel:

• clever
• powerful
• creative
• lucky
• progress
• control
• safe
• joy
• adventurous
• discovery
• connection
• potential
• useful
• empathy
• masterful
• victorious
• acceptance
• complete
• unique
• purpose
• love

Think of a game you love and how it makes you feel. I put a photo of Tapestry here because it provides several of these essential feelings: I can feel clever when I eek out one more advance turn before a break for income. I can feel powerful when I expand my territory and ward off opponents. I can feel lucky when I roll the science die. I’m also consistently feeling a sense of progress (I’m always moving forward), control (full agency over the track I choose), and uniqueness (asymmetry).

Of course, the great thing is that no single game needs to provide all of these feelings. An adventurous or lucky game may not give me all that much control, just as a cooperative game that provides feelings of love and connection may not make me feel powerful or victorious.

Also, some of these feelings are provided by the act of gaming itself. I can feel complete in a game by maximizing a set collection mechanism, but I can also feel complete in the meta sense by collecting all expansions for a game I adore. I can feel useful by teaching a game, and I can feel masterful by honing my skills in a specific game over dozens of plays.

The more I thought about this topic, the more I realized two things:

1. These feelings are truly important in life. I need to sometimes feel lucky. I need to feel a sense of purpose. I need to feel like I’m making progress. Think about how essential (yet rare) these feelings are in our daily lives (work, family, school, etc). Life can be really hard, and there may be long spans of time when we don’t feel unique, discovery, or control. Games aren’t a replacement for those feelings in our daily lives, but they remind us that these feelings are possible.
2. We can create games with intention to evoke these feelings. On a purely theoretical level, I can look at any game we make and attribute at least a few of these feelings to it. I can also say that many of my games have an intended experience. But from now on, I plan to use these feelings as the foundation for every game’s design and development. Again, not every feeling for every game–some are contradictory–but I want our games to solve this problem with intention, not stumble into a solution.

I believe these are essential feelings to the human experience. While I truly hope that we all get to feel them in real life on a regular basis, I’m glad that games provide a consistent source of these feelings.

I’d love to hear your thoughts on this concept. Am I missing any essential feelings? Do you consider these feelings essential to our humanity? What’s a game you played recently that provided a few of these?

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My journey to becoming a backer of the “Almighty” Kickstarter campaign began with an intriguing Space-Biff review, followed by a note to myself to write about the thematically whimsical-yet-informative project page, and finally a surprise message from creator Malachi Ray Rempen. I had a few questions for Mal that he graciously answered for today’s post.

1. I really like that the first image on the project page leads with the words, “Why we made Almighty” (with the reason focused on potential players: That they would “make a great god” and if they like a short list including ancient mythology, emergent narratives, and asymmetric area control). Can you talk a little about the decision to “lead with why” as the first image on the page?

It probably won’t surprise you to learn that this comes directly from Simon Sinek’s “Start with why” TED talk from back in the day. On my very first Kickstarter, Itchy Feet, I decided to take his advice literally; rather than start the campaign with the product or even the theme, the very valuable real estate at the top of the page is taken up almost entirely with a statement to answer “why” and a bit of art.

That campaign did WAY better than I ever dreamed, so in a way the why statement has become a good luck charm for me, and now I always do it. I can’t be sure that starting with why is what led to that campaign’s success, but I’m not about to test that by breaking with tradition now!

It is also a great way for me to focus the marketing message. If I can answer “why” in a single, bold, appealing statement, it’s like the center of gravity around which the rest of my messaging can turn. Without it, the marketing risks just becoming another flavor of “buy this thing now.”

[JAMEY] I really like the idea of starting with why in the messaging–it’s something I need to remember more often.

2. The game looks like Root and Oath had a baby…and you got a quote from the designer of those games, Cole Wehrle! How did you pull that off?

I credit Root with making it possible for serious strategy games to present as fun and cartoony, and for that I owe it a huge debt. With the exception of Itchy Feet, all my games are mechanically more serious than they first look, and thanks to Root nobody thinks twice about that. I took a lot of inspiration from Oath, both visually and mechanically, as it’s a highly strategic game that also revolves tightly around a shared central tableau.

Almighty is lighter than either of those games, but I do consider myself something of a student of Cole’s art direction and what you might call his sense of unified aesthetic, or how every single aspect of a board game contributes to its experience…even the parts that only exist in your mind!

As for the quote, that’s from a Bluesky post that he put up totally unprompted by me, it was a complete surprise! He’s the best though, he’s a model exception to the rule that you should never meet your heroes.

[JAMEY] I’ll add that I think it’s incredible that you are a designer, developer, publisher, and artist!

3. I must admit that when a game highlights that it can be played both competitively and cooperatively, it makes me wonder which is the “correct” or “best” way to play. In other words, to me it’s more of a marketing detriment than an asset. Of course, that’s a highly subjective take. Was Almighty designed from the beginning as either a competitive or cooperative game? What’s your instinct when you (as someone who plays games) sees a game advertised with multiple modes of play?

Almighty was built initially as a competitive game. There is certainly wisdom in the idea that a game should only present its best foot forward and not dabble in different modes of play, for the sake of clarity and elegance, and I am sympathetic to that view.

But for me personally, as a publisher of a kind of games that you are unlikely to find elsewhere, it’s a question of accessibility. I know there are people who prefer or only play solo or cooperatively, and if there is a chance that I can offer those people a way to play with the worlds, stories, art, components and puzzles in my games, then I want to try to do that for them. I also enjoy the design challenge, and looking at the amazing work by solo designers like Ricky Royal it’s getting harder and harder these days to argue that it’s not possible.

As for my own personal instinct, I don’t mind if a game has multiple modes of play, as long as they preserve what makes that game unique and interesting.

[JAMEY] I love the focus on accessibility, though I can see it working the other way too–if a game isn’t super clear about its intentions (should I play this competitively or cooperatively), that can impede accessibility. I’ve also seen rulebooks where the competitive and cooperative rules intermingle in a way that can be confusing. That said, I view solo play as a necessity; even though it’s technically a different mode, you’re still experiencing the core gameplay.

4. You have a really unique and fun take on stretch goals in the “God of Upgrades”. It’s much less rigid and far more thematic than most stretch goal systems I’ve seen, and I like the inclusion of “Backers that show kindness and support for one another” on the like list and both “Speaking to the creators of this game as though THEY were deities (we are but humble mortal vessels)” and “Backers that are rude and/or combative with each other” on the dislike list. How has the response been to this approach so far?

The result of this pretty last-minute idea is that I now have the funniest and most delightful comments section of any Kickstarter campaign I’ve ever seen. It’s full of jokes, board game themed psalms, comical appeals for forgiveness, and one person even posted a photo on BGG of their cats having “built a temple” to this “god of board game upgrades” that I created for the campaign.

It’s also practical, as it lets me gauge what backers actually want upgraded or added, which is a big downside to a traditional stretch goal system. It’s interactive, it’s thematic, it’s fun, it promotes good vibes, and maybe most importantly of all, it’s optional! So everyone who has been taking part has been making it that much more fun for everyone else. I’m delighted by the response so far.

[JAMEY] I hadn’t thought of the flexibility this method gives you to serve backers base on what they really want. You’ve basically provided the perfect method for them to express their highest hopes for the game, and you accomplish this by setting a fun (not demanding) tone for the backers.

5. Is there anything else you want to highlight in regards to the fun vibe exuded by the project page?

I’m glad you think there are fun vibes, that’s certainly the goal! It’s my belief that crowdfunding campaigns have a magic circle, too, not unlike the one we’re familiar with around the tabletop; for a limited window of time, you and other like-minded people gather together and participate in the creation of something that did not exist before and cannot exist without you. That is a wonderful, rare thing in this day and age, and worth protecting. I am a little saddened when I see campaigns that are not much more than a dolled up preorder system. To me it’s more like I’m lighting a bonfire, inviting you to join, and after our festivities you’ll get to take a burning log back home with you to light your own hearth. I dunno, maybe that’s a totally overwrought metaphor, but it’s how I feel!

[JAMEY] Thank you so much, Mal, and I’m excited to play Almighty around this time next year. If you (dear reader) have any thoughts on this conversation, feel free to share in the comments!

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I recently talked to a publisher friend about something they had never encountered before: They were completely caught up at work. In fact, they were well ahead of schedule but their coworkers were not, so they wanted to resist their instinct to simply create another game, at least for a while.

Being completely caught up at work is a luxury that some of us may never experience, but perhaps you can relate to brief times when you’ve completed all time-sensitive tasks. After filling every spare moment with Vantage for nearly 8 years, I had that feeling when it was complete. I suddenly went from feeling perpetually behind to having an ample amount of time.

So today I thought I’d brainstorm a few ways to spend extra hours or even days when you’re caught up on work, particularly in creative roles. I’d love to hear what you do in these rare situations.

1. Serve customers: When in doubt, I ask myself, “What could I do right now to serve our customers?” This can be private or public. For example, I could email some of our most frequent customers to thank them for their support. I could hang out in any online community for our games, or search for our games on Instagram to comment on the posts instead of just liking them. Or I could make a video (recorded or live) to help people learn one of our games.
2. Research and learn: There’s more knowledge in the world than I can ever possibly know. I can spend extra time studying game design (from books, podcasts, articles, YouTube, etc) or even playing games (tabletop and digital). In fact, I so rarely play digital games because I always feel like I should be working, but I learn something about game design every time I do.
3. Support existing products: As fun as it is to release something new, most of the games we sell are reprints. Among many different ways of supporting existing products is to share special challenges or variants (like Vantage’s recent Valentine’s-themed custom cards). I can even revisit older rulebooks with a fresh, unrushed perspective. Also, even if I’m ahead of schedule, it never hurts to playtest a prototype again.
4. Create content: If there’s a topic on my mind that might add value to people or start a conversation, I can write an article about it, record a podcast, or film a video. It doesn’t need to be a commitment to creating regular content–it’s perfectly fine to create a singular post on a topic.
5. Attend an event: I rarely travel to conventions or even attend events at local game stores/cafes. Perhaps that’s just my introversion, but part of it is the other work I always feel I should be doing. But if I have extra time, there are plenty of places I could go–near and far–to play games and meet people outside of my social circle.
6. Make something just for fun: Sometimes I give myself permission to brainstorm a game (and even prototype it) just for fun, and I’m almost always glad I did. The lack of pressure to create something publishable is incredibly freeing.
7. Help someone else: I’ve heard that one of the best things for our mental health is to help someone else. Whether it’s a coworker, a friend in the industry, or a new creator, there’s always someone out there who might be looking for a little time, feedback, or words of encouragement.
8. Connect with someone locally: I typically take a 30-minute lunch break at my home office, then it’s back to work! I hardly ever go out to lunch, but there are lots of people–friends and peers–in the area that I could be more intentional about sharing lunch with from time to time.
9. Be good to yourself: There’s no rule saying that an absence of work needs to instantly be filled by more work. I can go for a walk, take care of a personal task I’ve delayed, treat myself to a movie, etc.
10. Start the next project: I’m putting this last because despite my inclination to always be creating something new, we don’t always need to make more games. Especially when we already have plenty of games in the pipeline and when adding something new could put a burden on already-busy coworkers. That said, it’s nice to start on a new game without any time pressure.

What do you do when you have extra time at work?

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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.