After 20 years growing the UK Games Expo into one of the largest tabletop gaming conventions in the world, founders Richard Denning and Tony Hyams are preparing for their eventual exit by bringing in AireCon co-founder Mark Cooke as operations director.
Cooke joins following another record year for UKGE, which has seen its annual unique attendance surge almost 65% since 2023 to reach more than 51,000.
The show has already well surpassed Gen Con in terms of trade hall size, with the British event now spanning about 44,000 sq m – about 40% larger than Gen Con’s trade hall area – and hosting around 900 exhibitors in 2026.
That soaring growth has put increasing pressure on the small organising team at UKGE, with Denning telling BoardGameWire last year that the show had strained a full-time workforce which stood at just six people – although UKGE also relies on more than 200 volunteers, GMs, umpires and other helpers to deliver the convention each year.
Cooke is no stranger to growing a UK board game convention, having co-founded and built AireCon with Ben Clarkson from a 28-person gaming weekend in his flat a decade ago into England’s second-largest board game con, with about 5,000 attendees this year.
More than 5,500 people are expected at the final AireCon – which has been nicknamed Airemageddon – with Cooke set to continue working on that final show before moving to UKGE full time.
A statement from UKGE emphasised the hire was part of a phased transition for UKGE’s organisers, and was “not a sudden change of leadership or direction”.
UK Games Expo 2026
It said Cooke would work alongside Denning and Hyams “over the next few UK Games Expo events”, ensuring that knowledge, experience and responsibilities the pair have built up over the last 20 years are handed over “gradually and thoughtfully”.
Denning said, “As UKGE has expanded to now one of the world’s largest shows we have gradually grown our team, adding event managers, administrators and logistics support.
“Bringing in Mark as operations director is the next logical step as we put in place plans to ensure UKGE can run far into the future.
UK Games Expo co-founder and director Richard Denning
“We have known Mark through AireCon and other industry roles for many years now and he is an ideal choice bringing both event management experience, energy and fresh ideas to the team as well as a safe pair of hands as and when Tony and I eventually step away from the show we have built together with others.”
Cooke added, “I’m incredibly excited to be joining the UK Games Expo team and to have the opportunity to play a part in the next chapter of such an important event for the tabletop gaming community.
“I have huge respect for what Richard and Tony have built over the years, and I’m looking forward to working alongside them over the coming events.
“This will be a gradual transition, giving us plenty of time to share knowledge, ideas and experience. My aim is to build on the fantastic foundations already in place while helping UKGE continue to grow and thrive for many years to come.”
Denning and Hyams launched UK Games Expo at Birmingham’s Clarendon Suites in 2007, when the convention attracted about 1,000 visitors.
It moved to Birmingham’s National Exhibition Centre in 2013, and had grown to more than 25,000 unique attendees by 2019 before the Covid-19 pandemic interrupted its run of physical events.
UK Games Expo attendance figures since launch. Note: no physical show took place in 2020 due to the Covid-19 pandemic
Denning told BoardGameWire last year that building a world-class trade hall in the UK had been a personal ambition stretching back almost two decades, adding at the time that UKGE was “now fully on the world stage of ‘mega-cons'”.
Despite this year’s record attendance, Denning told BoardGameWire after the show that there was still room for further expansion, particularly around the roughly 500 events taking place during the convention.
The next UK Games Expo is scheduled to take place at Birmingham NEC from June 4 to June 6, 2027.
Exploding Kittens has named chief commercial officer Joeri Hoste as its new head of studio, with the long-time game industry exec eyeing further expansion of the company’s namesake hit into a “long-lasting evergreen brand” beyond its big-selling card game.
Hoste joined Exploding Kittens to lead its international business in 2020, following multi-year stints at companies including Hong Kong based board game publisher and manufacturer Ooba Games, toy company BOTI and trading card and collectibles specialist Upper Deck.
Hoste said in a LinkedIn post that the past six years at Exploding Kittens had been the most rewarding of his career, adding that he was “ecstatic and humbled” to take responsibility for leading the company into the next stage of its development.
He said, “We’ll continue our mission of making great games and creating experiences that bring people together. Exploding Kittens is the game that built its namesake company, and our next challenge will be to develop the IP into a long-lasting evergreen brand that outgrows its original format.
“Exploding Kittens is unique within Asmodee as we combine deep commercial mass market expertise with publishing quirky and irreverent games that disrupt the games category.
“We did not get here by blending in. We succeed because of the talented team that’s willing to be different.”
Last year Exploding Kittens revealed it had sold more than 60 million games as it marked a decade in business – with the company’s growth having already extended well beyond the tabletop.
That has included a partnership with Netflix which expanded the property into mobile gaming and an animated series.
Asmodee bought a 55% majority stake in Exploding Kittens at the end of 2021, and exercised its option to purchase the remaining 45% minority stake last year.
Exploding Kittens has continued to stand out within Asmodee’s portfolio during a difficult period for parts of the US board game market.
The promotion comes as Asmodee is making a wider push into social and party games – a category where Exploding Kittens has been one of its strongest brands.
In March the company agreed to pay up to €250m for French social and party game publisher ATM Gaming, with Koegler saying the acquisition would combine ATM’s strength in Europe with Exploding Kittens’ strong position in the US. Asmodee has said it expects the social games category to grow at between 4% and 8% annually between 2025 and 2030, compared with about 4% for the broader board games market.
It also launched US party game studio Moodbox Games last year, a move de Barros described at the time as strengthening Asmodee’s presence in a category where Exploding Kittens and Zygomatic were already seeing strong success.
Tabletop game design pioneer Steve Jackson has ended a 17-month return running his namesake games company, with new CEO Sabrina Gonzalez taking charge of a business with years of falling revenue as well as a run of promising crowdfunding successes.
Jackson will remain president of the company he founded in 1980, but will refocus his attention on game design and development, with managing editor Allison Page promoted to COO.
He had previously stepped back from the day-to-day running of Steve Jackson Games in 2014, when long-time COO Phil Reed became CEO, allowing Jackson to devote more of his attention to game development.
Jackson’s return as CEO in 2024 was not presented as a permanent appointment, with him saying in the wake of her departure that her direct reports would report to him while he “figured out a plan”.
Gonzalez has been with SJ Games since 2013 as a production artist and production manager, apart from a brief period away from the company working for toy and game manufacturer Grand Prix International – and has been a member of the board of directors since 2021.
She said of her vision for the business, “As a general goal, I’d like us to continue to grow. We weathered the pandemic and pivoted project plans to address continually changing tariffs.
“The goal is always to make great games that people love. I want to continue developing new titles for future generations of gamers and also support (and sometimes update) the classics that our fans continue to request.”
New Steve Jackson Games COO Allison Page
New COO Page joined SJ Games as managing editor in 2023, having previously worked as executive artistic director of San Francisco comedy organisation Killing My Lobster. She also spent a year working as a narrative designer in the video game industry.
Page said, “I’m most excited to support Sabrina in her new role as CEO! We’ve always worked really well together and want the same things for SJ Games.
“I’m a problem solver, and I’m passionate about setting clear expectations. I’m excited to untangle whatever comes my way and ensure the team knows how to move forward and has what they need.”
He said on the company’s blog in May, “We made it through! But it’s not a story that fits well into the standard Stakeholder format. It took me a while to get up the nerve to start, and it has taken me longer to get it right. But I shall.”
Revenues have decline substantially since, however, falling about 2.5x from that peak to settle at around $3.5m across both 2023 and 2024 – the last years for which Steve Jackson has published the total – and bringing the annual total down to levels last seen back in 2010.
Annual revenue at Steve Jackson Games between 2003 and 2024. The asterisk(*) at 2022 indicates that the company overstated its revenue at $4.7m that year “due to confusion about BackerKit proceeds”, but it has not publicly provided an updated figure.
Jackson said in the executive summary in the 2023 report, “Cash flow was acceptable. It was not a profitable year, though. We have identified and dealt with some of the money-losing issues; others will be harder. We are working on it. (No fear; we have plenty of runway left. I just hate to use it.)”
He continued in the 2024 overview, “Cash flow was acceptable, but I don’t feel ‘prosperous’. This is not just us; individual game sales, industry-wide, were down at both the distribution and retail end, largely due to the glut of titles.”
Jackson added that year, “We are still working the problem, but we have less runway than we did last year! Cause for optimism: it was a rebuilding year and not expected to be good for cash, but thanks to your support for Munchkin Big Box it was better than we anticipated.”
Those challenges were exacerbated in 2025 by the impact of volatile US tariff policy, which included an unexpected “high five-figure” bill on its Munchkin Big Box after new tariffs were levied while the already-produced game was at sea.
The Munchkin Big Box || Photo Credit: Steve Jackson Games
The BackerKit campaign for the Munchkin Big Box had been one of the company’s bright spots over the past couple of years, bringing in more than $1.3m from over 9,000 backers – a situation Jackson credited with making 2024 financially better than expected.
SJ Games followed that with a $370,000 BackerKit campaign for Munchkin Second Edition this year to coincide with the game’s 25th anniversary, and in recent years has extended out the game with Munchkin Shadowrun, Munchkin Vox Machina and multiple Warhammer-based releases, as well as several other expansions.
It said at the time that the deal would allow Possum Creek, the publisher of Wanderhome and Yazeba’s Bed & Breakfast, to retain full creative and editorial control over its titles, while “lending their talents to the SJ Games design and visual branding”.
Possum Creek editorial director Jay Dragon joined the SJ Games board of directors as part of the tie-up, and became its lead game designer, while Ruby Lavin became the company’s art director.
Seven-Part Pact, designed by Jay Dragon
Since then Dragon’s TTRPG design Seven-Part Pact has raised more than $1m through a Kickstarter campaign, while SJ Games has also raised almost $600,000 across a pairof Kickstarters for the venerable Fighting Fantasy line of adventure gamebooks, having agreed a deal in 2024 to bring the UK-created titles back to the US for the first time in more than two decades.
Steve Jackson’s game design career dates back to the late 1970s, with his 1977 debut Ogre helping popularise the emerging microgame format of small, inexpensive wargames.
Within five years he had designed Car Wars and Illuminati, founded his own games company and been inducted into the Academy of Adventure Gaming Arts & Design Hall of Fame in 1982 – all while still in his 20s.
He followed that with the Generic Universal RolePlaying System (GURPS) in 1986, which was his attempt to create a single roleplaying system capable of working across different settings and genres.
While not the first RPG to experiment with universal rules, GURPS helped popularise the concept and grew into a huge publishing line for Steve Jackson Games. By 2004 the company had released about 200 GURPS titles, with more than one million copies in print in English alone.
Jackson’s most visible modern design is Munchkin, which became the company’s biggest commercial success following its release in 2001. The game was inducted into the Academy of Adventure Gaming Arts & Design Hall of Fame in 2013.
Ants, the debut release from designers Renato Ciervo and Andrea Robbiani, has scored its first board game award by picking up this year’s Jogo do Ano, the Portuguese game of the year prize.
Vital Lacerda design Speakeasy, Dave Beck and Abe Burson’s Luthier and Toni López creation Ada’s Dream were also nominated for the annual prize, which is organised by the non-profit board game association Spiel Portugal.
The Jogo do Ano, which has been presented since 2006, tends to skew towards the heavier end of board gaming, with recent winners including SETI, Nucleum, Barrage and Imperial Struggle.
Spiel Portugal says the type of game it looks for is “strong, spirited, dense, and stimulating”. Each member of the organisation initially selects ten games, with the resulting five finalists played again and scored according to a weighted set of criteria.
Half of the final score is based on what Spiel Portugal calls “time/fun”, with production accounting for 15%, theme, mechanics and replayability each worth 10%, and player interaction making up the remaining 5%.
Ants, designed by Renato Ciervo and Andrea Robbiani
The title was originally published by Italy-based Cranio Creations, and has since been picked up for localisation by publishers including US-based Capstone Games and Germany’s PD-Verlag.
Ants is the sole design to date from chemist Renato Ciervo, who also works with Italian publishers as a game developer, according to his BoardGameGeek page.
His Ants co-designer, engineer Andrea Robbiani, has subsequently created Maestro – themed around the fierce rivalry between Leonardo da Vinci and Michelangelo – and co-designed Timeless Journeys: The Italian Grand Tour with Nestore Mangone.
Maestro Media is opening up the publishing, licensing, manufacturing and retail infrastructure behind its own games to outside designers and publishers, including companies looking for a North American publishing partner.
Maestro founder and CEO Javon Frazier said, “The hardest part of this industry has never been the ideas. It is everything after them. Getting your design in front of a publisher, funding the development, entering distribution, landing it on a shelf.
“We built a machine to do that for our own titles alongside some of the largest licensors in the world. Overture by Maestro Media opens that machine to everybody else.”
Maestro says Overture will allow other companies to use its existing operations for areas including development and licensing, production, manufacturing, crowdfunding, direct-to-consumer sales and retail distribution.
The company has already struck several deals along those lines, including announcing in the summer that it would publish a new North American edition of Zoch Verlag’s Ghost Blitz from January 2027.
Frazier said of the Ghost Blitz deal ahead of unveiling the game at this year’s Gen Con, “Ghost Blitz has sold more than one million copies in 20-plus languages over 15 years. Most North American families have never seen it on a shelf. That’s not a demand problem. It’s a distribution problem.
“That’s the gap we built Maestro Media to close. Crowdfunding, direct-to-consumer, and retail working as one engine, with distribution partners already in place across North America.”
Peterson Rodrigues, CEO of D20 Culture, said, “We’re excited to work with Maestro because we see the same opportunity they do: great games shouldn’t be limited by borders.
“Bringing these titles to players around the world, in their own languages and through partners who understand their markets, is exactly the kind of collaboration we want to be part of.”
Game designers will get their first opportunity to pitch original tabletop games via the new operation through a month-long submission window running from January 1 to 30 next year.
The company says it has worked with more than 40 licensed properties to date, and shipped more than 400,000 products, while Frazier has raised more than $16m across 16 crowdfunding campaigns – although almost 60% of that total comprises the two Binding of Isaac projects.
The company added that Ryan Lumax has been promoted to vice president and head of games at the company, having joined last year after almost eight years at Canadian distributor Lion Rampant Imports.
Lion Rampant was acquired by Asmodee in 2019, when Lumax was working as head purchaser. He became a purchasing manager at the business in 2023.
Lumax said, “I spent eight years on the buying side, and the games that didn’t make it were almost never the bad ones.
“They were good games whose creators ran out of road somewhere between the prototype and the pallet. That is the gap Overture by Maestro Media closes.”
CMON has warned that its core business is suffering a “prolonged structural downturn” and is still consuming more cash than it generates, despite a drastic restructuring which has seen the board game crowdfunding major halve its workforce, sell off some of its biggest game IPs and halt new crowdfunding campaigns.
Those efforts have now dramatically reduced its losses, CMON’s newly-released H1 financial report shows – with the company reporting a loss of just over $2m for the first half of this year, compared to almost $7m for the same period in 2025.
CMON’s revenue also rose more than 7% year-on-year in H1, up to $3.68m from $3.43m in the first six months of 2025, while its selling and distribution expenses more than halved from $1.83m to $859,000, and its general and administrative expenses fell from $4.37m to $2.37m.
But that improvement has failed to make the underlying business self-sustaining. CMON’s cash reserves, which stood at $3.9m at the end of 2022, had fallen to $2.1m by the end of 2024, and slipped again to just over $900,000 by June 2025.
CMON revealed last month that it had about $368,000 in bank and cash balances as of August 4, which it described as enough to cover less than a month of its daily operating expenses.
Crowdfunding Commitments
Despite the sharp reduction in its losses, CMON’s balance sheet remained under pressure at the end of June – with $7.34m more in short-term liabilities than short-term assets, up from $6.89m at the end of 2025.
A significant part of CMON’s liabilities relates to eight crowdfunded games whose campaigns raised $14m from backers, but which the company has yet to deliver.
CMON has not completed fulfillment of a crowdfunding project since Zombicide: White Death in mid-2025, but has managed to deliver pre-orders for Cthulhu: Dark Providence, Marvel United: Witching Hour and Dune: Desert War in the first half of this year.
CMON said in its H1 report that the liabilities position had caused the company’s directors to give “careful consideration to the future liquidity and performance of the group and its available sources of financing in assessing whether the group will have sufficient financial resources to continue as a going concern”.
Those directors believe CMON will be able to continue operating – but central to that assessment is a major share sale designed to raise up to HK$150.5m – about $19m.
CMON first announced the rights issue fundraise in June, proposing to offer existing shareholders the opportunity to buy three new shares for every share they already owned in an attempt to raise the capital.
That leaves CMON looking to raise more than $17.5m from other investors through the rights issue – a figure approaching 2.5-times the valuation of the entire company implied by its last share sale in February this year.
CMON said it plans to use 40% of the money raised to fund its day-to-day operations for roughly the next year, including staff costs, royalties, shipping and distribution, professional fees and other administrative and operating expenses.
Another 20% is earmarked for repaying debts and other outstanding liabilities, including $2.46m owed to a CMON director and $385,000 of unsecured advances from employees, as well as outstanding production, shipping, royalty and other operating costs.
CMON has earmarked 25% for expansion in existing and new markets, including strengthening the company’s presence in Europe through marketing and potential attendance at events including Spiel Essen and Cannes, as well as targeting growth in Japan and the Philippines.
Digital Ambitions
The company added that it plans to put 15% of the new capital towards potential acquisitions as part of a push into digital gaming, although said it had not yet identified any targets.
CMON said it intends to look for between one and three businesses, primarily in Asia-Pacific, valued at between about $1.3m and $2.5m each, which could help it develop digital adaptations of its existing games, companion apps and other digitally-enabled features.
The publisher stressed that it intends to retain physical tabletop games as its core business, with the digital push designed to complement rather than replace them.
That plan had included transitioning the company’s titles such as Massive Darkness and Super Fantasy Brawl Reborn into “high-quality digital assets” – with CMON saying the group would “continue to supplement this digital transformation as physical games would still offer a ‘screen break’ for individuals as well as foster direct face to face interaction”.
The proposed investment would have valued Blissful Link at more than $95m. Blissful Link made a loss of about $197,000 in 2024, on revenues of just over $408,000, and had net liabilities of about $889,000, according to unaudited figures provided by CMON in April. It did not include finances for 2025.
CMON said in the rights issue offer, “Under prevailing high-interest lending conditions, traditional bank borrowings and debt financing carry heavy interest and securing such financing would severely strain the group’s remaining liquidity.
“Accordingly, equity financing via the rights Issue is the most viable strategic path to recapitalize the group’s capital base without increasing debt distress.”
The directors’ assessment that CMON can remain a going concern also takes into account continued financial support from some of its directors, progress fulfilling its outstanding contract liabilities and further restructuring aimed at reducing cash outflows.
Revenue Collapse
CMON’s latest figures also reveal the scale of the collapse in its North American and European revenues over the past five years, transforming the geographical make-up of what remains of its business.
North America alone generated more than $8.6m for CMON in the first half of 2021, making up 57% of its roughly $15.1m H1 revenue. By the first half of this year, however, revenue from North and South America combined had fallen to just $642,000.
Europe has undergone a similarly dramatic contraction, with revenue from the region falling from about $4.5m in the first half of 2021 to just $982,000 in the latest six-month period.
Asia has consequently become CMON’s largest market by a considerable margin, generating more than $2m in the first half of this year and accounting for about 55% of its total revenue, compared with less than 10% in the same period of 2021.
That reversal has not been driven by Asian growth, however. CMON generated $3.22m from Asia in the first half of 2022, marking a roughly 37% decline since – but a far more resilient performance than the steep falls recorded in North America and Europe over the same period.
The publisher said in its H1 2026 report, “The group intends to continue developing its distribution and market presence in Asia while supporting its established markets in Europe.
“The group will also continue to monitor trade and tariff conditions affecting the US market, and maintain a prudent approach to allocate resources to markets and projects.”
CMON said in March this year that it intended to resume crowdfunding in the second half of 2026, but its latest interim results stop short of repeating that commitment, saying instead that new titles will be developed and launched selectively depending on market conditions, available financial resources and project readiness.
The final result of the rights issue is due to be announced on September 15.
“Nobody, and I mean NOBODY, trusts two random dentists to make a fantastic board game.”
That was the problem facing Nick Murray and Kyle Spackman, two friends who fell down the board game rabbit hole while at dental school together, when they decided to launch publisher Bitewing Games in 2020.
Bitewing’s efforts to reach out to designers ultimately provided what might have seemed an ambitious solution to that credibility problem: work with one of the biggest names in board games, prolific German designer Reiner Knizia.
Knizia and his team presented the fledgling publisher with seven prototypes to choose from, three of which became its first publishing project: the Criminal Capers Collection.
It proved the start of a defining relationship. Bitewing has since published 16 Knizia games across more than five years, building a particular reputation for digging through the legendary German designer’s enormous back catalogue for overlooked titles it believes can be successfully reworked for today’s market.
Those successes have included Zoo Vadis, Cascadero, Cascadito, Iliad, Ichor, Silos, Ego and Orbit – with Bitewing’s campaigns featuring Knizia titles among games from other designers having raised more than $2.2m between them.
But after a run of six Knizia releases last year, Murray believes Bitewing has now found “most, if not all” of the hidden gems that suit the company’s catalogue – and is increasingly looking towards video games as another route to finding potentially long-lasting hits.
Bitewing Games co-founder Nick Murray
He told BoardGameWire, “There was a period of time where Bitewing was finding some phenomenal hidden gems in Knizia’s catalogue and inspiration struck for how to evolve them, and we were fortunate that Reiner was up for revisiting them with our development goals in mind. That all culminated in a truly wild run of 2024 and 2025 Knizia releases… an explosion that I don’t expect we’ll ever see again.
“Of course we are still finding a few here and there like Gold Country, Eureka, and Escar-GO, but after playing over 200 different Knizia games (and researching hundreds more) I’ve increasingly felt that we’ve found most (if not all) of the hidden gems that are a great fit for Bitewing.
“The other thing worth noting about re-implementing older games is that you are immediately fighting an uphill battle. You see it from gamers, critics, localization partners, and retailers, especially those who have been in the industry for enough years – if a game is perceived as “old”, even it is entirely new to them and dramatically updated, they lose interest.
“Even when we go to great lengths to show how the original designer has improved the gameplay and the art team has enhanced the presentation, helping a game evolve into something even more special and exciting (at least in my opinion), it’s sometimes not enough for certain folks.
“Entirely new games have a huge psychological advantage over reprints, rethemes, and reimplementations – unless that old game is considered a major classic like Ra or Cyclades.”
The publisher is now pushing further into video games with adaptations of two established indie releases – most notably acclaimed 2019 puzzle game Baba Is You, which picked up a string of major industry awards on its release and has sold hundreds of thousands of copies through digital PC distribution platform Steam alone.
Launching alongside it is Party House, one of the breakout games from highly regarded 2024 retro videogame collection UFO 50. Its creator Jon Perry is also designing Bitewing’s tabletop adaptation, adding to a board game CV that already includes Air, Land & Sea, Spots and multipleaward–winning 2025 release Hot Streak – Murray’s favourite board game of last year.
The shift forms part of a significant new phase for Bitewing, which also saw Murray step away from dentistry this year to work on the publisher full-time – making the commercial success and longevity of the games it chooses increasingly important.
Murray told BoardGameWire, “The most deliberate change we are making is shifting our focus from many small passion projects to more carefully selected heavy hitters. Especially now that I’ve stepped away from dentistry this year to go full-time on Bitewing, I want to make games that have the best potential to last more than one or two print runs.
“My family’s livelihood depends on me making smart decisions with the projects we take on. So we’re not only trying to reach new audiences (like the solo gaming community with our Table For One Series, Rolling Deep and Eureka), but we’re also trying to find and create the very best experiences in each genre.”
Murray told BoardGameWire that despite his long interest in video games – he says he has owned every major Nintendo console and handheld since the NES was released in the mid-1980s – making board game adaptations of digital titles “wasn’t really something we were actively seeking”.
He said, “Obtaining licensing rights for established IPs is a rather intimidating challenge. Plus that’s only half the battle – having a great IP to slap onto a game box doesn’t automatically make it a great board game. But we were lucky enough to have a huge opportunity land in our laps, and we’ve fully embraced it.
“The two projects that have really blown the doors open for us have been Rolling Deep and Baba Is You: The Board Game, which are both designed by Peter C Hayward. So if anyone deserves the credit for being a catalyst to Bitewing’s strategic evolution, it’s Peter.
“As a huge fan of Balatro and Baba Is You, and a very capable board game designer, Peter set out to pay homage to Balatro with a dice-crafting roguelike adventure and adapt Baba Is You to a 2-player strategy game, in collaboration with the developer of Baba Is You. When Peter pitched these designs to us, I was hooked. I’m already a huge fan of Balatro and Baba Is You, so those were an easy sell for me.
“With Rolling Deep, I realized that this was also a perfect opportunity to use a watercolor rubber hose animation style for the game – reinvigorated by Cuphead, which I’m also a huge fan of. So the first artist I reached out to was Caitlin Russell [the background artist of Cuphead], and we were extremely fortunate to have her join the project.
“From my perspective, we’re simply doing what we’ve always done… which is pouring all of our passion and excitement as fans of these types of games into the biggest opportunities we can find.
“Of course, despite Reiner Knizia being perhaps the world’s biggest board game designer, even he is eclipsed by so much of the video game industry. So I’m not blind to the fact that titles like Rolling Deep, Baba Is You, and Party House have a much bigger reach straight from day one.
“The longer I’m in the board games industry, the more I realize just how important it is to stand out. With over 5,000 new games releasing each year, it’s no wonder that so many great games are easily overlooked or quickly forgotten.
“While many publishers like Bitewing are fortunate to be sustained by an amazing fanbase, we’re all hunting for that next huge hit. Having one or more ‘evergreen’ titles in your catalogue allows for so much more security and growth.”
Finding Hits
Murray added that Rolling Deep’s success especially had affected how he thinks about selecting future releases.
He told BoardGameWire, “Rolling Deep has proven to me that for designers and publishers, you are much better off starting with something that is popular or widely loved and building a game or product on that.
“That doesn’t necessarily mean that it has to be an established IP or a direct homage to a specific game (like Balatro). Many huge hits have taken one or more popular ingredients and presented them in a thrilling new way: Dune Imperium combines deck building with worker placement (two very popular mechanisms). Magical Athlete takes wacky player asymmetry (another popular board game mechanism) and maximizes it in a highly approachable racing game. Wingspan takes bird watching (an immensely popular hobby) and turns it into the ultimate game for bird fans.
“In the case of Rolling Deep, the concept was ridiculously easy to get folks excited about with just one sentence: A Balatro-style roguelike solo adventure featuring dice crafting and artwork inspired by Cuphead.
“To me, Rolling Deep and other hits like the ones mentioned above have become the gold standard for how marketable we want all of our games to be.”
He told BoardGameWire at the end of August that pre-launch follower numbers were tracking alongside Rolling Deep, while trailers for the two games had generated unusually high viewing figures.
The Baba Is You board game trailer alone has generated more than 240,000 combined views across Bitewing Games’ and Baba Is You video game creator Hempuli’s YouTube channels – far more than any of the publisher’s previous game trailers or videos.
That contrasts with Murray’s experience of the games’ reveal at Gen Con, where he said few of the board game media attending had played either original video game.
He told BoardGameWire, “My expectation is that we’ll see a huge percentage of our backers for this project be from the video game community rather than the board game community. And I’ll be thrilled if our adaptations help any of those people fall in love with board games.
“I firmly believe that board games are for everyone! Anyone who says otherwise just hasn’t found the right game for them (yet).”
But Murray added that attracting an audience from outside the traditional board game market also puts greater importance on getting the adaptations themselves right – preserving what people like about the original games without attempting to reproduce them wholesale on the tabletop.
He said, “I think a lot of adaptations make the mistake of trying to perfectly simulate or mimic the experience of the IP they are based on.
“Instead of embracing the strengths and mitigating the weaknesses of our tabletop medium, they try to cram a square peg into a round hole. Or they take the opposite approach and merely slap a popular brand on a board or card game without much meaningful connection between the two.
“With anything IP related, my goal is to wow both the fans and the creators of that IP. The adaptation should preserve the spirit of that IP, but it should also fully embrace and respect its form as a tabletop game.
“And it should stand on its own as an incredible board game experience, even for people who have zero familiarity with the IP.”
Murray added that he hopes Baba Is You, Party House, and Rolling Deep are enough to “get the ball rolling” for other video game adaptations.
The push into videogames does not mean Bitewing is moving away from Knizia, however, with Murray saying its long partnership with the designer “will continue” – adding that the company’s wider slate is also expanding through work with designers including David Thompson, Trevor Benjamin, Brett J. Gilbert, Kasper Lapp and Perry.
Murray said, “Folks will always regard Bitewing and Knizia as close partners, and we’re proud of it! But I’m always seeking opportunities to work with my favorite creators.”
Games tackling subjects ranging from the 1968 Democratic National Convention protests to the 30-year holdout of Japanese WW2 soldier Hiroo Onoda have been named as finalists in this year’s Summit Award, which aims to recognise historical game designs which have attracted new players or introduced new subjects or perspectives to the hobby.
The game puts players in the roles of the gender-defying mollies of early 18th century London, attempting to build community and joy while facing persecution by the Society for the Reformation of Manners.
Chicago ‘68, designed by Yoni Goldstein and published by the Dietz Foundation, was the most-selected title during the Summit Award’s public nomination process this summer.
Chicago ’68, designed by Yoni Goldstein || Photo Credit: Yoni Goldstein
The game explores the protests and police response surrounding the 1968 Democratic National Convention, dividing players between Establishment and Demonstrator factions including the mayor’s office, Chicago Police Department, Yippies and National Mobilization Committee To End The War In Vietnam.
Battlefields of the Napoleonic Wars, designed by Paolo Mori and Alessandro Zucchini and published by Ingenioso Hidalgo, uses four different battlefield maps to recreate engagements from the Napoleonic Wars in sessions lasting between 60 and 120 minutes.
The fourth finalist is Francisco “Pako” Gradaille’s Onoda, a 25-minute solo game published by Salt & Pepper Games which explores the experiences of Japanese soldier Hiroo Onoda, who continued guerrilla warfare on the Philippine island of Lubang until 1974. Judges praised the unusual subject and the way the game asks players to engage with Onoda’s story and decisions.
Onoda, designed by Francisco Gradaille || Photo Credit: Salt & Pepper Games
Winter Rabbit, which draws on traditional Cherokee animal stories and was created as a counterpoint to common colonial themes in games, was runner-up in the 2021 Zenobia Award and won the Light Strategy category at this year’s Origins Awards.
The Summit Award considers games across five criteria – ease of teaching, ease of play, uniqueness of topic, novelty of approach and effectiveness as a historical game.
SDHist, which was launched mainly as a local wargaming group in 2015, is led by wargaming experts including Liberty or Death: The American Insurrection designer Harold Buchanan.
The organisation’s board and board of advisors selected three of this year’s finalists following the public nomination process, which put Chicago ‘68 on the shortlist.
The same groups will select the winner, which is set to be announced at the SDHist Summit convention in San Diego in November.
Catan is continuing to push into professional sport in a bid to reach new players, adding a season-long partnership with NHL team the Ottawa Senators and recruiting German handball star Juri Knorr as a brand ambassador.
Asmodee and Catan Studio have teamed with the Senators for a season-long partnership which they said will put the board game in front of hockey fans through arena advertising, “concourse activations” and social media competitions.
The deal will culminate in a dedicated Catan Night at the Senators’ Canadian Tire Centre on November 23, when the team faces the Calgary Flames – including themed decorations and activities, promotional giveaways and special ticket packages.
Senators VP of marketing Peter Shier said the team will be the only Canadian professional sports franchise, and the only NHL team, to host a Catan-themed game this year.
Catan Studio director of brand development Kevin Hovdestad said at the time the partnership highlighted how the game had become “woven into sports culture”, following years of reports of the game being played by professional athletes including members of the Green Bay Packers, Buffalo Bills, Kansas City Chiefs and Minnesota Twins.
Separately, German Catan publisher Kosmos has named international handball player Juri Knorr as a Catan brand ambassador ahead of the 2027 Handball World Championship, which will be held in Germany next January.
The campaign, running under the slogan Mein Spiel nach dem Spiel – ‘My Game After The Game’ – will feature Knorr prominently on branded retail displays and products, alongside a QR-code competition offering meet-and-play sessions with the handball star and Catan-branded adidas handball shirts.
The publisher is potentially tapping into a sizeable audience: 13 million people watched Germany play Denmark in the 2026 European Handball Championship final, according to Kosmos.
Knorr said, “Catan has been with me since my childhood and still captivates me today. For me, the game is a very good balance and complement to… highly focused competitive sport.
“The game offers a great opportunity to spend quality and intense time with friends and teammates. It involves spending time while also thinking strategically. That’s why I’m very pleased to represent Catan as a brand ambassador in this special campaign.”
The deals add to a growing collection of partnerships putting Catan in front of potential players outside of traditional board game retail and media – with the aim of expanding the audience for a game which has already sold more than 50 million copies and been translated into over 45 languages.
Kosmos is currently involved in one of the most striking examples through a McDonald’s Happy Meal promotion across Germany, Austria and Luxembourg, for which almost seven million specially adapted games have been produced.
Kosmos licensing content and entertainment head Julia Courmont said, “This collaboration is a huge milestone for us. The fact that Kosmos is represented here with eight exclusive titles confirms the great confidence in our brands and their relevance to a broad target group.
“It’s a fantastic opportunity to make these classic games accessible to millions of people and to create valuable shared gaming moments.”
Catan has since held a game night with Linkin Park and Warner Music in Hamburg, while a licensed crossover with children’s entertainment phenomenon Bluey is due to launch across several international markets in 2027.
Three-year-old Dutch board game publisher DSV Games has continued its rapid rise by securing three nominations in this year’s Dutch game of the year awards, a year after picking up its first win in the contest.
DSV has landed a nomination in each of the three Nederlandse Spellenprijs categories with Reiner Knizia design Rebirth, Tomáš Holek’s Pondscape and Ants from Renato Ciervo and Andrea Robbiani – equalling veteran Dutch publisher White Goblin Games and industry giant Asmodee as the most-nominated company this year.
The entirety of this year’s nominations are split between those three publishers, with White Goblin selected for Grégory Grard and Mathieu Roussel’s design Castle Combo in the Family category, and Keith Piggott-created River of Gold and Hisashi Hayashi’s Yokohama among the Expert games.
The remaining nominations are from Asmodee studios: Alexi Piovesan and Julien Prothière’s Take Time from Libellud in Family, and Space Cowboys’ Dewan (Johannes Goupy, Yoann Levet) and Office Dog’s two The Lord of the Rings: Trick-Taking Game releases (Bryan Bornmueller), which were judged as a single title, completing the Connoisseurs’ game shortlist.
The result sees DSV and Asmodee join White Goblin and fellow Dutch board game publishing veteran 999 Games as the only publishers to score at least three nominations in a single year since the Nederlandse Spellenprijs moved to its current three-category format in 2020.
999 Games was the only company to secure two nominations last year, and ultimately won both categories it contested, with Hisashi Hayashi design Bomb Busters taking the Family award and Botanicus (Samuele Tabellini Ferrari, Vieri Masseini) triumphing among the Connoisseurs games. DSV won the remaining Expert award with Tomáš Holek’s SETI.
This year 999 Games has no nominees at all – a not unprecedented situation, with the publisher also having missed the shortlist in 2021, but one that marks a sharp turnaround from its five nominations across 2024 and 2025. They included Sky Team winning the Family award two years ago.
DSV Games was launched in 2023 by online shop De Spelletjes Vrienden, with a focus on visually appealing titles which offer exceptional gameplay – making use of “stunning artwork, high-quality components, and well-crafted mechanics”, according to its website.
Its debut release slate in 2024 comprised four games including Rats of Wistar, designed by Simone Luciani and Danilo Sabia, which secured the publisher its first Nederlandse Spellenprijs nomination. The publisher increased its output to nine releases in 2025, and put out another 11 releases between January and the end of June this year – the cut-off point for games eligible for the 2026 award.
DSV co-owner Marieke Kuit-van Woesik said after the Nederlandse Spellenprijs victory last year, “We are really proud that as a publisher, which has only been around for two years, we receive this wonderful confirmation that we are on the right track with our small team.”
DSV Games co-owner Marieke Kuit – van Woesik collects the Nederlandse Spellenprijs Expert Game award for SETI in 2025
This year’s nominations take DSV into territory previously reached under the current award system only by two of the most established names in Dutch-language board game publishing.
The Nederlandse Spellenprijs added its intermediate ‘Connoisseurs’ category in 2020, creating the current annual line-up of three nominees apiece across Family, Connoisseurs and Expert games.
999 Games took five of those nine nominations in 2020, with White Goblin taking three. White Goblin followed with four nominations in 2021, while 999 again reached three in 2024. No other publishers bar those had scored three nominations in one year under the current format prior to 2026.
More than 100 board and card games released for the Dutch market during this year’s eligibility period were played by the Nederlandse Spellenprijs jury, which selects its nominees with a focus on quality, playability and originality.
The winners of the Family, Connoisseurs and Expert categories are due to be announced on October 10 at BumbleBeez Spellenwinkel in Bergen op Zoom.
Nederlandse Spellenprijs nominees2026
Family Castle Combo – designed by Grégory Grard and Mathieu Roussel (Published by White Goblin Games) Rebirth – Reiner Knizia (DSV Games) Take Time – Alexi Piovesan and Julien Prothière (Libellud / Asmodee)
Connoisseurs Dewan – Johannes Goupy and Yoann Levet (Space Cowboys / Asmodee) Pondscape – designed by Tomáš Holek (Published by DSV Games) The Lord of the Rings: Trick-Taking Game (Fellowship of the Ring and The Two Towers) – designed by Bryan Bornmueller (Office Dog / Asmodee)
Experts Ants – Renato Ciervo and Andrea Robbiani (DSV Games) River of Gold – Keith Piggott (White Goblin Games) Yokohama – (White Goblin Games)
Gaming convention major PAX is doubling down on the success of its tabletop-focused Unplugged show by launching a second event in Houston, after growing the original into the second-largest tabletop gaming convention in the US after Gen Con.
PAX Unplugged Houston is set to take place at the George R Brown Convention Center from June 25 to 27 next year – marking the first expansion of the Unplugged brand since the dedicated tabletop convention debuted in Philadelphia in 2017.
Company event manager Sean Gonzalez told GamesBeat that PAX had considered several major cities while investigating the feasibility of a second Unplugged show, adding that Houston stood out based on infrastructure, demographics, data from other ReedPop events and demand from the industry.
“Most importantly though, Houston is where exhibitors wanted us to place the event,” he said.
PAX said in a separate announcement that Unplugged Houston will feature an expo floor for tabletop exhibitors alongside panels, tournaments and community events, although it is yet to reveal exhibitors, floor space, expected attendance or badge prices.
The show marks a return to Texas for the business, which previously ran PAX South in San Antonio from 2015 to 2020.
Gonzalez told GamesBeat Houston offered an opportunity to bring PAX back to the community which had attended PAX South, while giving the new event a more specific tabletop focus.
He added, “While we know that the current state of the economy impacts everyone, we are extremely confident based on the tremendous success we continue to see with the PAX events, particularly our Philadelphia PAX Unplugged, that the market will support PAX Unplugged Houston.”
PAX was launched by Penny Arcade web comic creators Jerry Holkins and Mike Krahulik in 2004 as the Penny Arcade Expo, after the pair decided they wanted a show exclusively to celebrate video gaming and game culture.
Attendees at PAX Unplugged in 2024 || Photo Credit: PAX/ReedPop
About 3,300 people attended the inaugural show, but that attendance had already soared to 58,500 by the 2008 event, leading to organiser to team up with New York Comic Con organiser ReedPop in 2009, and to launch a second con, PAX East, in 2010.
The company expanded again with PAX Australia in 2013 and the short-lived PAX South two years later, before launching the inaugural PAX Unplugged in 2017 after seeing the tabletop sections of its existing PAX conventions continue to expand.
PAX does not disclose precise attendance figures for PAX Unplugged, but says the Philadelphia event draws “tens of thousands” of visitors each year – believed to be north of the 30,000 mark. Its record 2024 show sold out all three days for the first time, filling all 528,000 sq ft of exhibition hall space with more than 350 exhibitors.
But Pax Unplugged’s success has seen it displace long-running peer Origins as the second-largest tabletop gaming convention in the US – and its decision to launch a second event just 12 days after Origins 2027 is due to take place puts further pressure on the latter event.
Origins has been rebuilding its attendance since the pandemic, but unlike other major tabletop conventions such as Gen Con, Spiel Essen and the UK Games Expo has yet to regain its pre-Covid record of about 20,600.
The show’s attendance fell 2.5% this year to 18,700 – its first annual decline since the pandemic, although the fall came as other measures of activity at Origins remained stable or continued to grow. Exhibitor numbers increased marginally from 410 in 2025 to 413 this year, while the number of scheduled events climbed about 10% from 7,810 to more than 8,600.
PAX has not overtly positioned Houston as a competitor to Origins, but publishers weighing whether to exhibit at both now face the prospect of getting their teams and products to two major US tabletop shows within less than two weeks, alongside the associated staffing, travel, freight and booth costs.
Badges for PAX Unplugged Houston are due to go on sale later this year, with applications for media and content creators also opening before the end of 2026.
The original PAX Unplugged returns to Philadelphia for its tenth show between December 4 and 6 this year.
Spiel Essen has launched a dedicated B2B matchmaking system aimed at helping publishers, designers, retailers and other industry professionals find potential business partners and arrange meetings before arriving at the world’s biggest board game fair.
The new service, which is restricted to exhibitors and people with business visitor tickets, lets users create profiles detailing what they are looking for and what they can offer, send specific business inquiries, connect via chat and schedule appointments at the show using the built-in calendar.
Spiel said today that the system will be integrated directly into its dedicated app, adding that the move is intended to make networking between trade visitors, professionals and publishers “more targeted, simple, and effective”.
Business has long been an important part of Spiel despite its status as a public-facing convention, with major publishers operating their own dedicated B2B areas for meetings with retailers and other industry professionals.
B2B-specific companies such as manufacturers, crowdfunding services and trade organisations were still scattered across various halls in 2019, but that situation began to change after Spiel was taken over in 2022 by Merz Verlag – whose core event, Spielwarenmesse, is one of the world’s biggest B2B toy trade fairs.
Those companies began to be more concentrated in Hall 4 during the 2022 event – a move which intensified the following year amid a major reorganisation of the halls which attempted to more obviously split the fair into themed segments such as children’s games, family and light-to-medium games, expert games, tabletop and miniature games, roleplaying games and TCGs.
Florian Hess, managing director of Merz Verlag, said after last year’s record-breaking Spiel, “For exhibitors at the fair the focus is also on the joy of the games. At the same time, an incredible number of effective business developments emerge here – and this happens naturally alongside everything else.
“I don’t know of any other event that is as strong a springboard for a business’s launch as Spiel. I have met exhibitors who started here a few years ago with a small booth and are now occupying several hundred square meters and selling games internationally.
“Experiencing this kind of B2B rocket launch never ceases to fascinate me.”
Hall 3 at Spiel Essen 2025
The new system arrives as Spiel prepares for its biggest-ever event from October 22 to 25 this year – with an expansion into all eight main halls at the Messe Essen exhibition centre for the first time expected to see the event challenge its record 220,000 attendance set last year.
But despite the show bumping against its space limits at its long-time home, a Merz Verlag spokesperson told BoardGameWire in March, “We love Essen – as a venue and the city – and have no intention of leaving. For the foreseeable future SPIEL will remain in Essen as it has for more than 40 years now.”
The fair’s expansion into a seventh hall last year helped the four-day show to its record 220,000 attendance, outstripping the 209,000 visitor record it set just before the Covid-19 pandemic.
Spiel might have broken its attendance record in 2024 were it not for a self-imposed visitor cap, which limited the number of attendees each day to about 50,000 – a measure introduced alongside wider aisles post-pandemic to help visitors move around the often crowded halls more easily.
More than 920 exhibitors from 53 countries are expected at this year’s event, with Merz Verlag saying in March that demand had come both from long-term exhibitors keen to “significantly increase” their booth space, as well as an “impressive number” of first-time exhibitors hoping to attend this year.
About half of the available tickets for Thursday, Friday and Saturday have already been sold, seven weeks before the show opens, with Sunday sales currently “lagging slightly behind”, the show announced today.
Access to the matchmaking platform comes as part of Spiel’s €46 business visitor ticket, which compares with €25 for a standard adult day ticket.
Spiel Essen 2026 takes place at Messe Essen from October 22 to 25.
Galactic Cruise could extend its run of major award wins after being named a top-three finalist in this year’s Deutscher Spiele Preis, the biggest community-voted board game award in Germany.
The space tourism-themed worker placement title faces competition in the final from Ark Nova creator Mathias Wigge, who could win the award again with just his second major design – the similarly zoo-themed Sanctuary.
A win for Sanctuary would double down on Matthias Wigge’s success following the colossal performance of his debut design Ark Nova, which as well as becoming the second-highest ranked game on BoardGameGeek has been a sensation on digital gaming platform BoardGameArena, with more than 13 million games played since its online launch in May 2023..
That latter title, which made designer Reiner Knizia the first person to complete a clean sweep of the Spiel des Jahres, Kennerspiel des Jahres and Kinderspiel des Jahres awards, finished sixth in this year’s DSP vote.
The Lord of the Rings: Fate of the Fellowship, another game which has already enjoyed significant awards success this year, finished just outside the top three finalists in this year’s DSP.
Take Time, which won the Austrian game of the year and Swiss Gamers Award this year, took fifth place in the DSP, ahead of Rebirth, Cozy Stickerville, River of Gold, Star Trek: Captain’s Chair and Forest Shuffle – Dartmoor.
Asmodee-owned studios secured four places in the Top 10: Z-Man with Fate of the Fellowship, Libellud with Take Time, Unexpected Games with Cozy Stickerville and Lookout with Forest Shuffle – Dartmoore – although none managed to break into the top three.
Other recent DSP winners have included Planet Unknown in 2023, Ark Nova in 2022 and Lost Ruins of Arnak in 2021, following The Crew, Wingspan, Azul and Terraforming Mars among winners from the previous decade.
The 2026 DSP is open to standalone games released in German between May 1, 2025 and April 30 this year, with voting open to people living in Germany, Austria and Switzerland.
Merz Verlag, which has presented the award since 1990, said “many thousands” of people voted during the three-month voting period.
The children’s DSP has also named its top three finalists: Mooki Island from designer Florian Sirieix, Paleolino from Marco Teubner, and Toriki: The Castaway Island by Wojciech Grajkowski.
Asmodee has continued its revived acquisitions spree by picking up the Welcome To… IP and game range from French publisher Blue Cocker.
The deal hands the board game publishing and distribution giant control of a flip-and-write series which has sold hundreds of thousands of copies since Benoit Turpin’s breakout design Welcome To Your Perfect Home was released in 2018.
Subsequent releases have included standalone sequels Welcome to the Moon and Welcome to New Las Vegas, while its implementation on online platform Board Game Arena has racked up more than 3 million played games, and averages over 3,000 unique players daily.
More new versions seem likely to be on the way following the acquisition, with Asmodee head of collections Mathieu Aubert saying, “This acquisition goes beyond bringing a strong IP into our portfolio. We see huge potential to expand the Welcome To… universe, and the team already has plenty of ideas to bring it to life. I look forward to sharing more about our projects in the coming month.”
Asmodee CEO Thomas Koegler said during the announcement of the revived M&A strategy that many of its targets were businesses it already knew “in and out” through existing commercial relationships.
Asmodee CEO Thomas Koegler
Hespecifically highlighted publishers behind successful games it already distributed as potential targets, alongside social and party game businesses and IPs, hobby game studios and local distributors.
Welcome To… fits withing that strategy, with Asmodee already handling Blue Cocker titles in markets including the UK and US. In Asmodee’s home market of France, however, Welcome To… and other Blue Cocker Games are currently distributed by Hachette subsidiary BlackRock.
The original game helped popularise the flip-and-write format, replacing dice rolls common to roll-and-write games with shared cards which allow players to make their choices simultaneously.
Asmodee SVP of tabletop games Benoit Clerc said, “Welcome To… established itself as landmark titles in modern board gaming, combining elegant game design with exceptional accessibility.
“We have tremendous respect for the work accomplished by the Blue Cocker team, Benoit Turpin, and everyone who contributed to the success of the game and their different iterations.
“We are excited to welcome this intellectual property into Asmodee’s portfolio and join our line-up of great family games and look forward to building its future.”
Blue Cocker founder Alain Balay added, “From the very beginning, our ambition was to create a game that would stand the test of time and bring people together around the table.
“We are incredibly proud of everything Welcome To… has achieved over the past years, and we are confident Asmodee will now carry the brand forward and introduce it to even more players around the world.”
Blue Cocker was launched by former aeronautical engineer Balay in 2013, and operated as a one-person business until the success of Welcome To… and the company’s international sales allowed it to expand to a five-person operation in 2019, he recently told French newspaper La Gazette du Midi.
He said exports accounted for 60% of Blue Cocker’s revenue at that point, but have since fallen to just 10% amid ongoing global financial and political uncertainty.
Balay added that despite that, the French market has held up well despite concerns about a resurgence in inflation in the country.
Blue Cocker’s remaining titles include 2014’s Medieval Academy, 2016 release Meeple War and 2025’s The Last Droids, while its main 2026 release so far has been corporate deckbuilder SAN.
The company’s 15th release, the two-player cooperative title Les Yeux Fermés designed by Antonin Boccara and Julien Prothière, is slated for a 2027 release according to its BoardGameGeek page.
Forthcoming Blue Cocker release Les Yeux Fermés, designed by Antonin Boccara and Julien Prothière
Asmodee has kept its potential acquisitions tightly under wraps, but has plenty of financial firepower for further deals.
The company’s net debt, meanwhile, stood at 1.6x adjusted EBITDA at the end of June, rising to 1.7 times once M&A commitments were included – down from 2.1 times a year earlier and comfortably below the company’s 2.5-times leverage target, given it significant headroom for M&A.
Despite Asmodee’s long-time image as a board game publishing heavyweight, more than 72% of its revenue now comes via its distribution of other companies’ games – up from an already hefty 63% in the previous financial year to March 31, 2025.
TCGs make up the lion’s share of Asmodee’s annual net sales – about 60% in the 2025/26 financial year, up from just over 50% across the preceding 12 month period.
The company’s own board game publishing operation, meanwhile, saw its net sales fall 5.8% in the last financial year – while net sales for the first quarter of this year were down 9.8% compared to the same period in 2025.
He said in response, “We have insisted a lot on the fact that one of the strengths of Asmodee is to be a publisher, but the first strength that we do have is our global reach across all categories, from TCGs and board games.
“That’s the superpower of Asmodee – and then being a very strong publisher is a way of accelerating performance.
“So I would say that there is no change, we continue to capture opportunities across the board wherever they come from… our aim is to be a dominant player, bringing all games to the market, anywhere they can.”
The move puts McGinnis into a hugely influential position within the tabletop industry. Asmodee’s chief product officer has responsibility for its studios, franchise development, licensing and studio marketing, according to the organisational structure the company published ahead of its stock market listing last year.
California tabletop publisher and game development studio Solis Game Studio is expanding its reach into US hobby retail through a new distribution deal with Southern Hobby, following several years of building its own catalogue through crowdfunding and direct sales.
The Massive-Verse Fighting Card Game, designed by Brian McKay, from Solis Game Studio
Its contracting work has included projects such as the Cyberpunk TCG, with Solis having led game design and development of a prototype that secured licensing for a new game.
Solis also did development work on Emerson Matsuuchi-designed Metal Gear Solid: The Board Game, and last month announced it would be the developer for the official card game of battle royale video game PUBG.
The company said Southern Hobby will distribute new Solis release Six-Sided Seas, as well as Treat, Please! and The Massive-Verse Fighting Card Game, describing the deal as a “major step forward” for the business.
The publisher has previously used crowdfunding to bring several of its games to market, with its biggest success to date 2024’s licensed Massive-Verse Fighting Card Game, designed by Brian McKay, which raised just over $50,000 from about 800 backers.
Solis has also already been selling directly to retailers through its own wholesale programme.
The publisher’s newest release, push-your-luck worker placement game Six-Sided Seas, will enter US distribution on October 2 with a $24.95 MSRP.
The two-player pirate game, designed by Kroze Kresky, is built around an unusual component format, consisting of 32 dice and a 14in by 24in edge-stitched playmat which is rolled inside the game’s box – allowing the title to be presented vertically, horizontally, or with a collapsible hangtab in retail.
Solis has previously said the idea grew from a visit to game stores in Thailand, where Chris Solis saw a store employee laminating a game board to protect it and began considering whether the board itself could instead be made from playmat material.
He said in the blog post, “When I returned home I issued an internal design challenge to my community. What does a game that is a playmat and single component look like?
“We explored a ton of really interesting designs and even did a limited release for one of them but none captured me like Six-Sided Seas by Kroze.”
Solis launched the game at Gen Con earlier this month, and said it sold all the copies it brought to the convention. Several of its scheduled learn-to-play sessions at Gen Con also sold out, according to the convention’s event listings.
In addition to founder and owner Chris Solis, the studio’s team includes developer Bryan McKay, business operations specialist John Brieger, graphic designer Katherine Boils, marketing manager Courtney Shernan, convention manager Sara Jordan and community manager Antonio Gil.
Asmodee has named Exploding Kittens CEO Carly McGinnis as head of its global publishing operation, putting an executive who helped transform a record-breaking Kickstarter game into an international brand in charge of a portfolio including Catan, Ticket to Ride, 7 Wonders and Dobble/Spot It.
McGinnis has been appointed Asmodee’s chief product officer and EVP publishing to replace Jean-Sébastien de Barros, who leaves the board game giant after almost a decade at the company. She will report directly to CEO Thomas Kœgler and join Asmodee’s executive management team.
The move puts McGinnis into a hugely influential position within the tabletop industry. Asmodee’s chief product officer has responsibility for its studios, franchise development, licensing and studio marketing, according to the organisational structure the company published ahead of its stock market listing last year.
McGinnis’ promotion – Asmodee bought a 55% majority stake in Exploding Kittens at the end of 2021, and exercised its option to purchase the remaining 45% minority stake last year – also comes at an interesting point for Asmodee’s publishing business.
The company has enjoyed huge revenue growth over the past year, but much of that has been powered by its distribution operation and the booming trading card game market rather than sales of its own board games.
That picture improved during April to June, when Asmodee’s own published board game sales returned to growth – albeit by just 1.8% year-on-year – compared with a 16% increase for board games overall.
McGinnis brings to the role experience of helping build one of the board game industry’s most striking success stories of the past decade.
Last year Exploding Kittens revealed it had sold more than 60 million games as it marked a decade in business – with the company’s growth having extended well beyond the tabletop.
McGinnis helped develop Exploding Kittens’ partnership with Netflix, which expanded the property into mobile gaming and an animated series, and she was a co-executive producer on the latter.
That deal, which covers “scripted and unscripted projects” across film, television series, and other formats, came four months after Asmodee agreed a similar deal with Netflix for screen adaptations of its fellow bestseller Catan.
Netflix first teamed up with Asmodee in 2022, when the board game giant worked in the other direction to create a trio of titles based on Netflix shows Squid Game, Stranger Things and Ozark.
Those games have been followed by a Bridgerton-themed version of Love Letter, while Netflix brought Asmodee’s creations to screens for the first time in 2024 with French film Family Pack, which is based on the Werewolves of Miller’s Hollow card game.
McGinnis said of her new role, “I’ve spent the last decade building Exploding Kittens from one game into a global business, and I’m excited to bring what I’ve learned to the broader asmodee portfolio.
“We have incredible games, studios and people around the world, and I see a huge opportunity to build on those strengths, creating great new games while investing in the brands and franchises with the potential to grow for decades.”
Exploding Kittens has continued to stand out within Asmodee’s portfolio during a difficult period for parts of the US board game market.
The promotion comes as Asmodee is making a wider push into social and party games – a category where Exploding Kittens has been one of its strongest brands.
In March the company agreed to pay up to €250m for French social and party game publisher ATM Gaming, with Kœgler saying the acquisition would combine ATM’s strength in Europe with Exploding Kittens’ strong position in the US. Asmodee has said it expects the social games category to grow at between 4% and 8% annually between 2025 and 2030, compared with about 4% for the broader board games market.
It also launched US party game studio Moodbox Games last year, a move de Barros described at the time as strengthening Asmodee’s presence in a category where Exploding Kittens and Zygomatic were already seeing strong success.
McGinnis’ promotion is the latest in a string of senior personnel changes at the top of Asmodee.
In April Asmodee co-founder Philippe Mouret stepped back from his leadership role, with Julia Marcelin taking responsibility for five studios – Days of Wonder, Repos Production, Libellud, Next Move and Space Cowboys – while veteran Catan Studio head Pete Fenlon handed control of that business to former Spin Master executive Mike Bisogno.
Last November company COO Steve Buckmaster stepped down from his role driving the board game giant’s global distribution operation after almost 24 years with the company and its predecessor business in the UK, replaced by then deputy COO Marjolein Lubberman.
Asmodee said he had helped build its publishing capabilities, diversify its brand and IP portfolio and oversee the launch of what it described as its biggest trading card game to date, Star Wars: Unlimited.
Kœgler said, “I want to sincerely thank Jean-Sébastien de Barros for his instrumental leadership and contribution to asmodee over the years.
“As Chief Product Officer, he brought a strong strategic and structured approach to our product organization and built strong cross-functional teams along the way.
“With these elevated publishing capabilities of asmodee that Jean-Sébastien spearheaded, asmodee successfully launched its biggest trading card game to date and broadly diversified its brand and IP portfolios – laying an important foundation for our next phase of growth. I wish him all the best in his next chapter.”
He added, “It is with great pride that I welcome Carly to the position of chief product officer and EVP publishing, reflecting the strength of the talent within our company.
“Her product vision, international experience and collaborative leadership will be invaluable as we strengthen our global portfolio and partnerships.”
Asmodee is yet to announce McGinnis’ successor as CEO of Exploding Kittens.
Road to Essen, a competition designed to showcase Vietnam’s burgeoning tabletop design scene at the world’s biggest board game fair, has returned for its second year – with organisers changing things up in the hope of helping turn publisher interest into commercial deals.
The contest was launched last year by Vietnamese board game publisher Everjoy Publishing and its global arm Everjoy Global, in an attempt to help designs from Vietnamese creators break out internationally.
Entrants receive access to workshops and playtesting, while later-stage contestants receive mentoring and jury feedback, with selected games ultimately presented to the international industry at the giant Spiel Essen board game fair in Germany.
Thinh LeHuu’s co-operative card game July, themed around Vietnam’s seventh lunar month and its Hungry Ghost festival, was named the inaugural champion last year from about 160 entries – winning over a judging panel that included Cascadia designer Randy Flynn with its “clever gameplay, polished design and cultural message”.
The 2026 competition is now under way with a theme of ‘Vietnamese Culture’, encouraging designers to draw on areas including the country’s history, legends, beliefs, festivals, folk arts, cuisine, crafts and architecture.
Rulebook cover for July, designed by Thinh LeHuu
But there is a significant change to the timetable this time around: rather than taking the winner to Spiel just weeks after the competition concludes, organisers have scheduled their next international showcase for Spiel Essen 2027.
Claire Ton, head of the organising committee for Road to Essen 2026, told BoardGameWire, “It’s a deliberate decision to give the work its best possible shot.
“A winner chosen in late 2026 can’t have a polished, publisher‑ready game on the Essen floor a few weeks later – and a rushed debut serves the designer least of all.
“Aiming this edition at SPIEL 2027 gives the winning team close to a full year to develop the game, act on the judges’ feedback, line up a publishing or distribution partner, and arrive ready to actually do business.
“It also lets us plan the Vietnamese presence at the fair properly. Getting a Vietnamese game to Essen was never really the goal – getting it there ready to sell is.”
The extra development period addresses one of the main barriers Road to Essen was created to tackle: getting games from Vietnam’s rapidly-growing community of local designers into a form that can be presented effectively to publishers and distributors outside the country.
Everjoy Global co-founder and CEO Ionah Nguyen told BoardGameWire in 2025 that Vietnam had experienced a roughly 400% increase in locally-designed games entering its market in just two years – but said designers continued to face a lack of international publishing and distribution connections, language differences, unfamiliarity with global supply chains and the cost of attending overseas shows.
Almost a year later, Ton told BoardGameWire, “The first edition did exactly what a first edition should: it put Vietnamese design in front of the world and proved there’s real appetite for it.
“We brought the games to SPIEL Essen 2025 and the response was genuinely exciting – our winning title, July, drew particular attention.
“That interest is now powering the next stage. Most of our finalists are deep in development, sharpening their games with everything they took from our international judges and from the fair floor.
“We’re building deliberately for lasting outcomes rather than quick headlines – the first publishing deals to come out of Road to Essen should be the right ones, and we’d rather bring a title to market ready to succeed than rush it out early.
“There’s a lot moving beneath the surface, and the next year is where it starts to show.”
Ton added, “We’re in the relationship‑building phase, and it’s an encouraging one. A lot of conversations were sparked at Essen – publishers wanting to understand the scene, see what’s emerging from Vietnam, and stay close to what comes next.
Thinh LeHuu collects his champion award at the Road to Essen competition in 2025
“What’s promising is that this feels less like one‑off interest in a single title and more like the early groundwork of lasting partnerships, which is exactly what a young design ecosystem needs to grow.
“The titles generating the most conversation share a clear profile: culturally distinctive, visually striking, and easy to pick up and play. Our focus this year is turning that momentum into concrete meetings and, ultimately, deals.”
That intermediary role directly addresses one of the problems Nguyen identified when Road to Essen launched: many Vietnamese designers lacked direct connections to international publishers and distributors.
She told BoardGameWire last year, “There’s no shortage of creativity in Vietnam. What we lack are bridges.”
But there are signs outside the competition that Vietnamese designers are beginning to find international publishing routes.
Mighty Boards edition of Yotei, designed by Huy Pham
Meanwhile Bunny 100 – designed by Hoang Vo and originally published by Everjoy Publishing – has secured a European release through Italian publisher DV Games.
Those developments come as designers elsewhere in Asia have had a striking 12 months in achieving recognition in the European market.
Ton said Vietnamese games’ biggest sales numbers nevertheless remain overwhelmingly driven by the country’s domestic market rather than exports, telling BoardGameWire research suggested Vietnam’s board game market reached about $100m last year at a roughly 10% growth rate.
She said, “Importantly, more of that is original Vietnamese design rather than imports, supported by a fast‑growing creator community and better retail distribution.”
Several Vietnamese-designed games are now reporting sales in the tens or hundreds of thousands of copies – like Bunny 100, Zodiac Rush and Galactic Super Beasts – thanks to the snowballing domestic market.
Ton told BoardGameWire, “The vast majority of those numbers come from Vietnam itself – and I’d argue that’s the most important part of the story, not a limitation.
“It proves there’s a large, real domestic market here: a home audience big enough to make original Vietnamese design commercially viable on its own. That’s the foundation everything else is built on.
“Export is the newer chapter – Bunny 100 into Europe through DV Games and across several Asian markets – and it’s growing, but the headline sales figures today are a signal of domestic strength first.”
This year’s contest will have an overall prize pool of about 500 million Vietnamese Dong – roughly $20,000 – split between the winner and a set of other award finalists.
They include awards for fan favourite board game, best visual design, most innovative board games, the game with most commercial potential, and best cultural representation – as well as categories for best junior creator (aged six to 15) and outstanding teen designer (ages 15 to 18).
Fledgling Dubai board game convention tabletop.me is facing a very different challenge as it prepares for its second year: persuading overseas publishers the commercial opportunity of reaching the Gulf’s growing tabletop market is worth pursuing amid safety concerns around the US-Iran war.
The three-day event, which debuted last November as the Middle East’s first dedicated board game convention, attracted about 3,000 attendees and 55 publishers according to founder Mark Azzam. He told BoardGameWire ahead of the convention’s 2025 launch that he ultimately hoped to create something akin to a “Gen Con of Dubai”, drawing visitors from the UAE and across the region.
The show is aiming for at least 5,000 visitors when it returns between November 6 and 8 this year, Azzam said – but he added that the US war with near-neighbour Iran had already caused some publishers not to return for this year’s event, while others plan to wait until September or October before making a firm decision.
Azzam told BoardGameWire, “The main concern has been staff traveling here. Several publishers have told us that, because of the current situation, their companies are simply not allowing employees to travel to the region for the time being.”
He said that although tabletop.me offers the option to take care of booth builds, staffing, game demonstrator training and product logistics without a publisher representative being present, tighter publisher budgets this year were also factoring into its challenges.
“Many publishers are being more selective this year and focusing on their established convention schedule, such as Gen Con and Essen”, Azzam said, but added: “We believe emerging markets like the Middle East are exactly where brands should invest for long-term growth.”
This year’s show has already signed up companies including Asmodee, Allplay, Dice Throne, Oink Games and Blue Orange Games, alongside TCG brands that participated last year and seven publishers which did not attend the first event, according to Azzam.
But the continuing uncertainty around the US-Iran war makes the task of building an international exhibitor base considerably more complicated than it appeared when tabletop.me first launched.
Dubai and the wider UAE have continued operating as major international business and aviation hubs since the war began in February this year, but the conflict has affected air travel and freight through the region.
Azzam said those developments had clearly affected publisher decision-making, despite day-to-day life and business activity in Dubai having largely normalised following the most intense period earlier this year.
He said, “From our perspective on the ground, the situation has been much calmer than many people outside the region may have perceived. The first few weeks were a little shocking, as you had never experienced anything like this here before, but the UAE authorities responded extremely well.
“Since the ceasefire on April 8, things have largely returned to normal. The airspace is fully open again, flights have normalised, and Emirates and Etihad Airways are operating as usual. From what we see day to day, life in Dubai feels very safe and business has picked up again over the past couple of months. I have remained in the UAE throughout the entire period and have always felt safe here.
“There has definitely been a difference between the international perception, mostly due to the media, and the reality on the ground in the region. While the news coverage naturally focused on the wider conflict, daily life in Dubai has continued largely as normal, and confidence is steadily returning.”
Azzam, who also runs a trio of Back to Games board game stores across Abu Dhabi and Dubai, said that rather than the conflict denting his retail business, demand had actually risen at points during the last few months.
He told BoardGameWire, “Interestingly, it has almost been the opposite of what we expected! It reminded me a little of the early days of Covid, where more people started spending time at home and looking for ways to connect with friends and family.
“We saw a noticeable increase in demand for tabletop games, particularly TCGs and board games. With many large events cancelled or postponed over the past few months, people seemed to turn toward tabletop gaming instead.
“Rather than seeing a decline, our retail business actually grew during that initial period when the conflict started. It was a pleasant surprise, and now that things have settled down, business has largely returned to normal.”
When asked what he would say to publishers whose management has ruled out attending because of regional tensions, Azzam said, “I would tell them that, if anything, the conflict increased demand for tabletop gaming rather than reducing it. We saw that directly through our retail business, where sales, particularly in TCGs and board games, actually increased as more people turned to the hobby.
“Distribution was affected for the first month or so while freight and logistics adjusted, but that has now completely recovered. Products are arriving on schedule again, and the market continues to grow, with new game stores and cafés opening across the region every month.
“From what we are seeing, thankfully, the long-term opportunity in the Middle East remains just as strong as it was before.”
Azzam has spent more than a decade building businesses around that opportunity.
Spotting a gap in the market, the former airline captain funnelled his savings into launching a small kiosk in The Dubai Mall in 2015, before launching his first Back to Games store in Abu Dhabi six months later.
He subsequently built Back to Games into a three-store operation and became co-owner of publisher and distributor Boardgame Space in 2017. BoardGameWire reported last year that Boardgame Space had localised more than 55 games.
Speaking about the Gulf market for board games in general, Azzam told BoardGameWire, “I think one of the biggest misconceptions is that an internationally successful game will automatically sell well here just because it succeeded elsewhere. In reality, brand awareness and marketing are incredibly important in the Gulf.
“People are much more likely to buy a game they have already seen in social media or online, heard about through creators, or know is trending internationally.
“Presentation also matters. The box needs to clearly communicate the game and look visually appealing, as that first impression is often what generates interest.
“Also, publishers should be aware of some cultural considerations, which is exactly where local partners like us can manage easily. We understand the market and can help publishers present their products in the best possible way for the region.”
Azzam added that the show was spending more heavily on marketing this year, using budget freed up from the “significant” first-year setup costs that came with launching the event.
The show is also introducing a rewards programme designed to encourage attendees to try out unfamiliar publishers and games.
Ares Games is considering bolstering its website protection after suffering its first ever DDoS attack, which it says left its site inaccessible for about 10 hours across three days of difficulties.
The Italy-based War of the Ring publisher said thousands of fake requests repeatedly saturated its server bandwidth and CPU earlier this week, temporarily preventing some customers from reaching its main website and e-commerce site, which is also used for preorders and crowdfunding pledge management.
Ares director of production Roberto di Meglio told BoardGameWire no customer data was compromised during the cyber attack, adding that he was inclined to believe the company was targeted randomly rather than specifically.
He said, “It’s difficult to assess the exact monetary loss in terms of missed orders. We can assume most of the potential customers affected by the issue will probably come back at a later moment, so the revenue should be delayed but not lost – especially if the customer was visiting for something specific, like a pre-order or pledge manager.”
Ares’ e-commerce infrastructure supports ordinary direct sales alongside preorders and crowdfunding activity. The publisher has continued to use crowdfunding extensively, with its 16th Kickstarter project, Mega Empires: The Far East, completing its campaign earlier this year.
Di Meglio told BoardGameWire at the time that the company planned a combination of reduced inventories, increased prices and product selection alongside “developing our direct sales to make up for the loss of profit through the traditional distribution tiers”.
While Ares has experienced other hacking attempts previously, Di Meglio said this was the publisher’s first DDoS attack. Its server administrators introduced additional security rules in response, and Ares is now considering whether to add further protection such as a DNS proxy service like Cloudflare.
But he added, “The main concern is that every rule or system you implement to stop this type of ‘swarm’ attack potentially might stop or slow down a regular visitor, so you have to find the best compromise between keeping danger out and allowing customers in.”
Plaid Hat Games launched its Kickstarter for The Monolith in June with a trio of successful crowdfunding campaigns under its belt – only to pull the project three days after launch when pledges unexpectedly ground to a halt, despitequickly beating its $20,000 goal.Less than two months later the revamped campaign is back, and has already pulled in almost four-times the amount the cancelled campaign managed in the same amount of time.In this first-person piece for BoardGameWire, Plaid Hat founder and CEO Colby Dauch explains why The Monolith exposed flaws the publisher’s previous campaigns had masked, what he believes it got wrong, and why the changes made for the relaunch appear to be working.
Plaid Hat Games is relatively new to crowdfunding and we’ve experience our first major setback in that arena. We launched our fourth ever crowdfunding campaign back in June, this time for a new game called The Monolith.
By the second day of the campaign the pledges had fully stalled out. It was self-evident that we had made mistakes, so we pulled the campaign with the intention to relaunch it after analyzing what had gone wrong, and doing what we could to address it.
As I write this article, I don’t know if our hunches will turn out to be correct. This article is scheduled to be posted as we relaunch the campaign, so I suppose we are all going to find out together! I’m more than a little nervous. Allow me to provide some background essential in understanding how we’ve come to make the choices we’ve made.
Plaid Hat founder and CEO Colby Dauch
We’ve been around since 2009 and watched from the sidelines as crowdfunding took hold and grew into a large part of the board game industry.
For many years we swore off crowdfunding. Internally we were critical of it for a number of reasons. My biggest reservation was that it felt dishonest to me that an established company would tell its customers “we need your help to make this product”, when they had already proven previously that they were capable of putting together the funding necessary to launch a new product onto the market, without requiring the customer to buy said product a year or more in advance of its release.
However, things have changed over the years in more ways than one and honestly, it has been a bad business decision to hold out on the crowdfunding model for as long as I have.
When we did finally enter the crowdfunding space a couple of years ago I told myself, and others, that there was clearly no longer an expectation that the companies going to crowdfunding needed to be there. I believed it to be understood that it was more akin to a pre-order system and that the consumer knows that. I even said as much in the article I was interviewed for on this very site, posted on June 30th, about us pulling the Monolith from Kickstarter. It’s not true. I had only convinced myself that it was.
I’m in the midst of reflecting on every decision I’ve made that led to a failed campaign, and what that failure means for my company, the people I employ and my family, if I’m not able to correct course. The reality is that we moved to crowdfunding because the things that made us successful in the past aren’t working anymore and we were growing desperate for a solution.
Getting attention on a board game release announcement isn’t free anymore. It’s not news. At best it’s a bullet point on a long list of new release announcements for the week. The traditional method we’ve long employed of selling to distributors who sell to retailers who sell to players, sadly seems to be falling apart for us, and I suspect for most publishers.
So we found ourselves trying to incorporate crowdfunding into our business model while simultaneously telling ourselves we could do it different – better. Our approach:
We will severely limit the use of exclusives. We don’t want people feeling like they HAVE to buy the product now or they will be missing out.
We aren’t seeking to punish the people who have long supported their local board game shop by purchasing our products through them.
Most of all we don’t want to manipulate our customers by preying on their fear of missing out.
We will reduce the long wait between the time you back a game and the time you get that game by being fully ready to go to production at the time of the Kickstarter.
There were flaws in this approach. Flaws that I believe were masked in our first three campaigns because they all had something else big going for them.
Wandering Galaxy was the latest installment in a series of games we had released that had gotten a lot of attention for their amazing storytelling and voice acting (in a companion app).
Ashes Ascendency was a reinvigoration for a game that has ten years worth of glowing reviews to put in front of people and a dedicated fanbase.
Super Auto Pets Card Battle was based on an amazing and charming digital game, and we were able to rely on the attention of fans from that.
The Monolith had no predecessor.
The Monolith || Kickstarter image
This is why I believe our attempts to do things ‘different from the others’ has come back to bite us:
We wanted to limit FOMO.
A crowdfunding campaign must be compelling beyond the presentation of the game itself. You are asking the customer to pay for a game long before they can expect to have it in their hands. We need to give them a compelling reason to do that.
In the Super Auto Pets Card Battle campaign, the most popular pledge was by far the ALL-IN pledge, because it was the most compelling. You got all of the sets, all of the add-ons and in a storage box that would organize it all and only be available during the campaign.
I took away the wrong lesson. What I decided was that what those results were telling me was just that people want all the stuff, so with The Monolith let’s just make the core product all of the stuff.
We wanted to reduce the wait time on the game.
This is the one where I really messed up with The Monolith. As I established, the reality is that we needed to make changes to how we were doing things and I allowed myself to miss out on a key advantage to crowdfunding: measuring demand.
In an effort to shorten the window on how quickly we could deliver on a campaign, and further spurred on by a yearning to have a line at our booth for a new game release at GenCon or Essen (that feeling is the highest of highs), I started having plastic molds for the game well before the campaign so that they wouldn’t delay production – and remember this game was going to have all the upgrades packed in, so it was a lot of plastics and a lot of mold costs.
Further compounding the issue was that the mold costs were so high, to get the cost per unit down, I felt like I needed to be prepared to produce 10,000 copies. And like the molds, I got that production started before the campaign even started.
It was the exact kind of risk we had always needed to take when producing a game, but crowdfunding should have given me a chance to mitigate that risk, and in doing so really been a fulfillment of the core concept of crowdfunding to begin with: Asking the player to help be a part of bringing the game to the market.
So here is what we are doing differently with the relaunch of The Monolith campaign to try to address what went wrong with the initial campaign:
Creating a 1-2 player mini-expansion.
Lowering the retail price of the game and offering a larger discount on that already lower price for backers.
Creating a 6th shaman character add-on.
Creating glass blood tokens add-on.
Creating a metal first player and surge tokens add-on.
Creating an All-In tier with all of the add-ons included at a lower price than purchasing them separately.
Different marketing partner and strategy.
Finally, here are my take aways for how we will do campaigns differently in the future:
When possible, create a version of the game that focuses on lower price and a version that focuses on maximum bling.
Be more willing to compete with the price point that we and everyone else knows online retailers are going to put on our games.
Give the campaign a chance to communicate what the demand is. We will still be production ready, but I won’t be putting the cart directly in front of the horse again.
Better leverage the community-based systems that already exist to support crowdfunding.
Follow Up
As I write THIS bit, the campaign has relaunched about 24 hours ago and is doing much better this time! By a large margin, backers are opting for the pledge level that includes all the add-ons. So I believe this supports the theory that the add-ons were essential for a successful campaign.
It is hard to quantify exactly how much each of our changes contributed to the better result, but overall, the adjustments seem to be working. I’m so grateful to everyone who has backed.
Anmelden
