Monday, September 4

Small Print Runs are Liberating

Most people designing and self-publishing board games are turning to Kickstarter to share them with the world. There are a lot of advantages to this (not least getting a good idea of the market size and not having to front the all of the production costs yourself), but I've chosen a different route. I've mentioned before why I don't like Kickstarter (see here, here and here).

But there are distinct advantages to the opposite approach too:
  • Knowing what you're getting into up front
  • Personal connection with your customers
  • Personal connection with the games
  • Freedom to do the unusual

Knowing what what you're getting into up front

I've not done a Kickstarter and I've only backed two, but reading Brandon the Game Dev, you need to have art ready to go before you start your Kickstarter. So unless you are or you know really well, an artist you're already a few thousand pounds out of pocket before you start. Then, with pledges and stretch goals you don't really know what you're getting into until the day the campaign finishes, when you have hundreds or thousands of people out of pocket awaiting you to deliver on your promises. That's stress I could do without.

I knew before I spent any money that I was risking £785 of my own money on Zombology. No more, no less. I've spent that £785 and now I'm just waiting to see how much of it I can recoup/will I make a profit to invest in my next game. 80 odd orders and I break even, 100 odd and I fund the other things like website costs and other game development costs. All 200 and I make a small profit to reinvest in my next game.

Because I've funded it myself there's no-one out of pocket but me, I'm not taking money from my customers until I have their games ready to ship, so it's no risk for them, which eases the pressure a bit, seeing as I'm not sitting on a pile of other people's money with obligations to deliver.

Personal connection to the customers

Lots of the pre-orders I've received so far are from people who bought games from Reiver Games. They are people who've supported my games designing and publishing over the last thirteen years. I've never met many of them (they are worldwide), but I feel like we have a connection and I hugely value their support.

Selling hand-crafted games direct lets you form a bond with the customer in a way that selling to distributors who sell to shops who sell to customers really doesn't. Plus, hand-crafting the games lets you personalise them a bit too - with signed and numbered copies each of which can have a personalised message inside.

Personal connection to the games

As awesome as it is to walk down the aisle of a dusty warehouse surveying the pallets on which your games are piled, it's not the same as making the game yourself. Personally cutting the box net, folding it, taping it and then applying the label. Folding the rules sheet and the individually cutting out each card and then rounding their corners gives you a close bond to each and every copy. Time is money. Doubly so when you have a busy job and a young family. That I've devoted 45 minutes to the construction of each and every copy makes them more valuable to me and hopefully to you.
Zombology before I start crafting it

Freedom to do the unusual

I've got 200 copies of Zombology to sell, probably 195 after review copies and a copy for myself. Of the 7.4 billion people in the world I need to find only 195 that are willing to part with a tenner for my game. In that position, I can afford to make a quirky game that appeals to a niche within the strategy gaming niche market. If you're kickstarting a game it needs to appeal to as many people as possible to increase its chance of funding. Glorious art, loads of minis, popular mechanics. I can afford to try something a little more off the beaten track (e.g. semi-cooperative) and do the art myself (with crowd-sourced art direction!).

It's liberating doing small print runs and now I've started making the games I'm really appreciating the route I've taken once again.

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