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

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

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

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

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

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

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

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

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

This is from Tim Heck, the founder of Alkem:

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

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

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

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

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

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

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

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

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

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

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

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

Number of Plays

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

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

Average Player Count

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

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

Desire to Win

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

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

Rating Delta

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

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

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

Anecdotal Analysis and Conclusions

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Publisher Jamey

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

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

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

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

Designer Jamey

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

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

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

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

Gamer Jamey

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Quality Control (and the Veneer Thereof)

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

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

Branding Is Constantly Evolving

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

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

Longevity Is a Selling Point

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

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

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

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

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

The World Isn’t Stagnant, and Neither Are We

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

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

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

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Read about my customer service experiences in Ireland.

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

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

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

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I recently had an excellent, candid, meandering chat with Peter Vaughan (Cardboard Alchemy), facilitated by Will from the Hungry Gamer YouTube channel. Peter highlighted some really important reasons that publishers–even experienced publishers–consider crowdfunding, including a revelation about changes in distribution and localization.

I believe that crowdfunding remains an incredible tool for all types of publishers, especially newer creators, established publishers who are undergoing an important change, and publishers who want to offer super deluxe version priced beyond the limits of retailers. Here’s a quick checklist of considerations for new creators considering crowdfunding.

There isn’t just one way to serve customers, and I love seeing publishers trying and refining different methods to accomplish that goal, even if their methods are different than ours (we wait until our products are ready to ship before launching them on our webstore, like with the upcoming Finspan: Sharks & Reefs and Euphoria Essential, both on May 13).

Feel free to check out our 35-minute chat if this is a topic that interests you or that you’ve been debating. I’d love to hear your thoughts in the comments!

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I’m fascinated by–and in awe of–the Savannah Bananas.

The Banana Ball League, which started in Savannah, is a new type of baseball where the entire focus is on entertaining fans. In fact, Fans First is the title of the book written by founder Jesse Cole, and across several examples it’s clear the extent to which he applies this ideology.

Here are my top 4 takeaways from Cole’s recent chat with Simon Sinek on the A Bit of Optimism podcast:

1. Every game might be someone’s first game. The Bananas have an incredibly long wait list to watch them play–over 4 million people. So when someone attends a Bananas game, there’s a good chance it is their first game. Knowing this, the Bananas approach every game like their first (and perhaps only) chance for every fan to have a great time. I think that’s a neat approach to tabletop games too: What if my game is someone’s first game? Or it ends up being the only game they play for a long time?
2. Fans can impact the outcome of the game. One of my favorite rules twists in Banana Ball is that if a fan catches a foul ball, it’s an out. In some ways, this is akin to crowdfunding, where backers can have a direct impact on a game’s final form. In others, it’s more like a game being a living entity that fans shape over time via fan-made content (like Wingspan’s promo birds) or lore-driven decisions (like what Thundergryph is doing with Etherstone).
3. The fan experience is prioritized over the sanctity of the game. I love sports, but I think sometimes long-standing, classic sports forget that they are ultimately a form of entertainment, and that means evolving with the times. A brilliant example from the Bananas is this rule: After a game reaches the 2-hour mark, no new inning can begin. This effectively puts a time limit on a sport that is notorious for dragging on, instead prioritizing the fan experience.
4. Look at the game through the eyes of the customer. The Bananas travel around the US to a variety of baseball stadiums, and whenever they arrive at a new place, the first thing they do is walk through the stadium and look at the field from various perspectives, including the most distant seats. They do this to see the game through the eyes of every fan, as they want to make sure they aren’t just serving those in the first few rows. I love this mentality, and it’s a great reminder for me to approach our platforms in a customer’s shoes (the content we create, our website, webstores, how our games appear at local retailers, etc).

Have you been to a Savannah Bananas game? I’m hoping to go someday, and I’d love to hear about your experience.

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If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.

Yesterday I announced the Euphoria Essential Edition, which combines the core game with the expansion and includes some revised rules/components, particularly the board layout. It will be on the Stonemaier Games webstore, ready to ship, starting on May 13.

While discussing the game on yesterday’s livecast, I started to reflect on the factors that result in us considering an “essential” version of an existing game (e.g., Viticulture, Between Two Cities, Between Two Castles, and now Euphoria). I mentioned a few then, and I’ve added a few more to this list:

1. The game only has 1 expansion, and we can combine the expansion with the game without significantly increasing the price of the essential version compared the original game’s price. This is critical, as we are always focused on price accessibility. If a $60 game and a $30 expansion combined together would still be close to $90 due to the manufacturing cost, we might as well keep them separate. But if the combination leads to some production optimization for a new price of $65, that’s great.
2. The combined game plus expansion is still accessible to newcomers. Any first expansion of a Stonemaier game is at least partially the result of learning from what people say about the game. Many–but not all–first expansions offer seamless additions rather than new elements that make the game more complex, making them prime for essential editions.
3. The game and the expansion have successfully been on the market for years. I like to give our games the time to find their audience and thrive in the wild for a long time before revisiting them before considering an essential edition (opposed to releasing the game and then creating a new edition right away).
4. The game is out of stock but still in demand. For us and the amazing retailers who support our games, we wouldn’t want to create a new edition of a game while there’s still ample inventory of the previous version. We also only consider games with continual sales month-to-month.
5. We are excited to revisit the game to offer the best version. Even if we’re literally just combining the core game and the expansion, there’s a lot of work involved, especially for the rulebook (but also potentially the box, reference cards, punchboards, etc). And sometimes–like with Euphoria–it’s even more work, as it’s an opportunity to improve the original. I spent a lot of time redesigning the board to make the order of operations and interconnected elements much easier to understand, learn, and teach, and artist Jacqui Davis completely remade the art to match the revised design. We’re passionate about all of our products, but there needs to be a special spark to revisit something that was deemed final for so long.
6. If there are changes, they do not negate the investment of anyone who already owns the game and the expansion. This is really important to me, and it’s why we created an update pack for Euphoria that includes the new board, updated rulebooks, and the smaller artifact cards. It’s for this reason that I try to be very intentional while weighing the importance of making gameplay changes opposed to just seamlessly combining the game and expansion.

What do you think about these reasons? Is there anything else you would like me to consider for future essential editions (none of which are in the works)?

If you’re curious to learn more about the inception of Euphoria Essential, I’ve included the latest design diary post below.

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April 23: The Inception of Euphoria Essential Edition

In March 2025, almost exactly 13 years after finishing the design for Euphoria, it was time to reprint the game. We’ve reprinted Euphoria a number of times over the years–a reprint is simply printing more of the same exact game–but this time I reached out to Morten (who had designed the Ignorance Is Bliss expansion) with the idea of updating Euphoria with everything I’ve learned about the game over the last decade.

Here’s what I proposed to Morten: 

• Player mats and big tokens: Remember the tiles in Euphoria that let you quickly adjust token quantities (1x, 2x, 3x, etc)? I’m thinking we could update the player mats to have those tracks, allowing us to remove the big wooden tokens.
• Board and bazaar: The inclusion of the player mats allows us to use the area of the game board currently occupied by tracks for the bazaar. It might be just a little tight, though–maybe decrease the size of artifact cards? Also, I would like to offer a double-sided board (bringing back the grayscale look of the original version on one side).
• Recruits: I would love to offer a single set of recruits instead of telling players to use only the new or original recruits. To accomplish this goal, I’m open to removing some of the original recruits that aren’t balanced well for the expansion changes. I would also prefer to remove the factionless recruits. They’re clever, but by nature they are exceptions to standard recruit rules.
• Markets: I feel similarly about the markets–I just want to shuffle them all together. If we need to remove some markets to accomplish this, that’s fine.
• Gameplay: There are 4 elements of Euphoria that I don’t fully love: It’s difficult to teach despite its weight, I’m not sure the ethical dilemmas are necessary, it feels really bad to lose a worker due to a knowledge check (or even to see someone else lose a worker), and it feels impossible to catch up once someone has 9 stars and you’re behind. I’m not necessarily saying that anything needs to change to address these issues, but this is an opportunity to do so if we choose.

[end of message to Morten]

I’ll cut to the chase on a few of these elements: The final result was that we  consolidated information onto player mats, we combined all recruits (102 total: asymmetric abilities that each player has), and we combined all market tiles (34 total: worker-placement actions to construct on the board). This essentially results in Euphoria plus the Ignorance Is Bliss expansion, offering a ton of variability with everything seamlessly integrated into a single box.

What do you think about this inception story? Join us tomorrow to dive into the core elements of the Essential Edition’s board, including a few minor-but-impactful rule changes! You can also click here to get a May 13 launch notification (followed by shipping later in May).

I made a huge intentional shift in my life in 2011. I’m now 45 years old, and looking back I realize how distinctly different my life was before and after my 30th year (mostly for the better).

If I had the chance to speak to my 30-year-old self, here are a few things I might say:

1. Creativity thrives in the small windows of free time, not the big ones. For most of my 20s I hoped for big gaps in time that were completely clear of other responsibilities–weeks and months–when I could write a novel. But the two times I had a big gap of time (the summer after college and when I was between jobs), I mostly just played and procrastinated. When I turned 30, I decided to spend 2 hours every night writing the novel, and I was done in 2 months while still maintaining my day job, friendships, and other hobbies. Realizing I could do that motivated me to also spend those small windows of time to design a game, Viticulture. This is one of the biggest changes I’ve ever made in my life, and my career with Stonemaier Games wouldn’t exist without this shift.

2. A change in location won’t make me a different person. I’m an introvert with a rather crippling social anxiety regarding approaching people. I romanticized the idea of going somewhere completely new by myself to see if a different, fearless version of Jamey would emerge, so I booked a solo trip to Ireland for a few days in 2011. Not only did I learn that I much prefer to travel with at least one other person, but also found that I’m still myself–for better or worse–even in a different country where everyone is a stranger. Another way to put this is: For the things about myself that I most want to work on, there’s no magic bullet.

3. There is so much to learn after formal education. I’m incredibly grateful for the all the teachers and professors who guided me from kindergarten through college. But there’s a whole world of knowledge outside of the classroom. I’ve learned so much about game design, for example, by listening to podcasts, reading articles, and watching videos (along with actually playing and designing games).

4. Healthy living starts to take effort after a certain age. I’ve been physically active my entire life, and I was blessed with a great metabolism, so for many years I didn’t feel the need to eat with intention. That was all fine and dandy until I started running Stonemaier Games in my early 30s, a job that often involves sitting at a desk for 12 hours a day. I was no longer playing sports as regularly, yet my diet was the same as ever (and it wasn’t even terrible–I ate fruits and vegetables every day). My body changed incrementally, and before I knew it, I was 20 lbs heavier than I’d ever been. Fortunately I realized it’s never too late to change, but I wish I could tell myself what I was doing to my body and how even 20 minutes of exercise every day can make a huge difference.

5. I don’t want kids, and I’m not alone. For most of my life, I thought I wanted to have kids–I never questioned doing the same thing my parents did (I have a brother and sister). It wasn’t until my early 30s that started to realize that the creative, nurturing, and compassionate sides of myself were fulfilled and challenged better in other ways (game design, friends, cats, etc). But when my siblings and college friends started to have kids, I struggled sometimes to feel like an “adult.” But then I started to make some wonderful friends who were just as happy not having kids as I was–and I found a partner in Megan who also doesn’t want kids–and I’m so grateful for those relationships (they even helped the relationships I had with friends and family who do have kids).

6. Money well spent makes a big difference. For the longest time, if I wanted a chocolate bar, I’d spend $0.50 at checkout at the grocery store. But one day I was shopping with a friend, and they said, “You love chocolate, right? If you love something, it’s worth paying for the best.” So I shelled out for a $5 chocolate bar, and it was amazing. This isn’t to say that I don’t still enjoy a Snickers, Kit-Kat, or Hersheys Almond from time to time. But I give myself permission to spend money on the things I love. Similarly, I’ve learned to pay for things that last–I have shoes and jeans that have lasted over a decade.

7. Every job before my career was a good use of time. I think there was a time when I didn’t believe this; I wished I could have found my path earlier in life. But whether it was waiting tables, project managing medical textbooks, or managing a nonprofit staff and fundraiser, I was learning indispensable skills and habits that have had a direct impact on Stonemaier Games’ success.

8. Loving a pet requires compassionate discipline. I adopted my beloved cat Biddy in 2007 when he was a tiny kitten, and raising him from beginning to end is one of the greatest joys of my life. Biddy loved to eat, and I gave him open access to cat food (and sometimes human food). At one point he tipped the scales at 20 lbs. He developed diabetes and required twice-daily insulin shots for the rest of his life. He died of intestinal cancer when he was 16 years old. While I don’t know if I could prevented any of Biddy’s ailments, I wish I had known earlier that I could have made Biddy’s life better overall by denying him a portion of the thing he wanted the most (kibble). Not enabling someone’s worst habit is a core part of loving them. I would truly do anything to have another month or year with Biddy–I miss him every day.

9. There is no rule that says everything must remain the way it’s always been. This applies to relationships, habits, routines, beliefs, hobbies, diet, behaviors, even our bodies. For example, for as long as I can remember, I had large protruding mole at the base of my back. I didn’t like it, but I figured it was too close to my spine to be removed. But then I asked a dermatologist about it, and she said, “Oh, sure, we can remove that right now.” Five minutes later, something that had bothered me for years was gone forever. I wish I could have known earlier that if there is any persistent element in my life that I could cut or add that would make me happier (and those around me), it’s never too late to choose to make that change.

10. Try a lot of different things to continually discover new passions. At 30, I thought I only enjoyed specific types of games and that I didn’t like party games…until I tried Telestrations, Just One, So Clover, Blob Party, and Caution Signs. At 30, I thought I enjoyed blogging as my only form of content creation…until I filmed a “my favorite mechanism” video for YouTube, tried a Facebook livecast, posted an Instagram photo, or recorded a podcast. At 30, I thought ultimate frisbee was the only disc-related sport I enjoyed…until I started playing disc golf during the pandemic and now play every week. The world is full of potential passions I have yet to try, and I won’t know if they’re for me until I actually try them!

I wasn’t sure where this list would take me, but I appreciate the opportunity to share. I’d love to hear if any of these resonate with you or if there’s something you wish you knew before you turned 30.

***

Also read/watch:

• The 10 Best and Worst Decisions I’ve Ever Made
• 10 Harsh YouTube Lessons We Wish We Knew at 20 and 40 Year Olds Share Advice for Younger Self (both inspiration for this article)

If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.

I’m excited to reveal the first expansion for Finspan, Sharks & Reefs!

Finspan: Sharks & Reefs adds to the variety of the core game with a focus on sharks and fish that live among coral reefs. This expansion introduces new coral reef habitats to your ocean mat and more incredible sharks—with fearsome new abilities!

Players can now nurture colorful coral reefs in each of their ocean’s three dive sites. Healthy reefs enable you to play powerful reef fish, unlock fish abilities, and score bonuses at the end of the game. Meanwhile, sharks scatter schools of young (to form even more schools elsewhere) and leave behind food scraps that any fish in your ocean can consume.

Sharks & Reefs is designed by Michael O’Connell, illustrated by Ana María Martínez, Catalina Martínez, & Mesa Schumacher, developed by David Gordon and Elizabeth Hargrave, and features an Automa solo mode by David Studley. The Finspan core game is required to play the Sharks & Reefs expansion, and the full rulebook is available now.

You can see larger versions of these slides on Instagram.

Over the next few days we will share stories about the creation of Finspan: Sharks & Reefs in the design diary series on our website, in the Finspan Facebook group, and on BoardGameGeek. Here is today’s post:

April 16: The Inception of Finspan: Sharks & Reefs and Product Design

Here’s designer Michael O’Connell with some Finspan backstory and an introduction to this expansion:

When David Gordon and I designed Finspan, we weren’t sure how it would be received. How would the world react to a third -span title, especially one released just one year after Wyrmspan? We had known for years that we wanted to do a game like this. There is even a topic on the Stonemaier Games Discord server that’s still called “aquatic Wingspan,” where folks within the company post regularly about the game. But would the public embrace it? Did fish hold the same fascination for people as birds and dragons?

Of course, Finspan has done everything we hoped it would. As with the other -span titles, it has helped bring new players into the hobby. Many content creators have tried to articulate why all three games deserve a place on your shelf. Each has its own identity. Finspan is the friendly one. Open hands, so everyone at the table knows what you’re working with. Abilities that help other players as well as yourself. Fascinating fish facts on the cards that make you want to read them aloud. Components that are colorful and a tactile delight—especially if you pick up the “squishy eggs” upgrade pack. The goal has always been that Finspan be genuinely inviting. A game where players can help each other, where the rules are intuitive, and where you aren’t asked to make a lot of small decisions.

We never wanted players to feel stuck or confused about how to get the resources they need. Need new fish? Dive here. Need eggs? Dive here. Need young or a school? Dive here. It’s always clear how to progress. The only thing you need to worry about is how to optimize that progression. That’s where the game’s depth lives. (Pun intended.) Finspan’s intricacies reveal themselves as you play, rather than hitting you all at once. And the game is forgiving. Don’t like your engine? Consume that fish that gives you nothing but points with a larger one that has an IF ACTIVATED ability. There is always a way forward.

Once you know how to play the game, my hope is that you never need to return to the rulebook. The player aids, the achievement board, the ocean mat—those should be enough. I don’t know if that’s possible to achieve with every group of players, but it’s what I strive for, and it shapes every decision I make about what goes into an expansion.

So. Sharks & Reefs.

When Jamey and I began talking about designing the Finspansions, we had the typical discussions around what players might want to see, what things might be improved about the game, and what things might be accentuated. However, in the case of Finspan, there was an additional consideration: Many, perhaps even most Finspan players are not typically the people who buy expansions. I’m guessing a lot of them don’t even know that expansions to board games are a thing. Players who buy expansions often want more to think about. But, with Finspan, we’ve tried to limit “more for the sake of more.”

And so, Sharks & Reefs is not just a “more cards” expansion. It adds a dimension to the game without the burden of exponential complexity. The coral overlay and tokens and new reef fish enhance the tactical and strategic choices available to you on nearly every turn. The sharks feel splashy and reward a well-timed turn, but they don’t require you to set your brain on fire to play them effectively. I’ve taught the game to brand new players with Sharks & Reefs included from the start, and it wasn’t dramatically more difficult than teaching the base game alone, which is exactly what I intended.

We designed Finspan (the core game) at the same time that Connie Vogelmann was designing Wyrmspan. Connie finished first, and so Wyrmspan was released first. (Yeah, she was faster than David Gordon and I combined.) But that gave us a year-long window to think ahead—to design the mats and the base game rules with future expansions already in mind while still giving our 100% focus on making the base game a complete package.

I started work on the first two expansions while Wyrmspan was still being released and while the base game of Finspan was still in development (though we waited a few months after Finspan was released before finalizing the first expansion so we could learn from public feedback). This let me make choices that allow future content to slot in organically. The deepwater row in the base game is a good example of this. It started as an expansion idea, but playtesters loved those nightmare-fuel abyssal fish, and so we pulled the deepwater row into the base game to make room for more of them. That’s why there are three more slots for cards than in the other -span titles.

We couldn’t anticipate exactly how popular Finspan would be, but we knew we’d want to create multiple expansions for it. So, I thought carefully from the start about how they would work together. I want each expansion to be easy to learn on its own, and I want them to integrate cleanly with each other without overwhelming the players.

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Michael has some fun stories in the next few days that delve into the gameplay of Sharks & Reefs, and I wanted to briefly mention a product design element: In the expansion we included a large card tray designed to fit in the Finspan box next to the original tray. The new tray includes 4 slots for stacks of cards and a central area to hold tokens. Our hope in supplying this tray in the first expansion is that it will hold all components for the core game, this expansion, and any future expansions.

You can follow along and get a launch notification on May 13 by clicking here.

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If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.

Ever since I started using Kickstarter as a tabletop games backer 16 years ago, I’ve supported the inclusion of both a standard edition and a deluxe (or all-in) edition. But I’m starting to wonder if that reward strategy is still relevant in 2026.

Here’s how I described these two reward type in a 2013 article:

An anchor price establishes a base price for your product so your backers have something to compare the price of the other reward levels. It offers quantitative context, and it’s low enough that it gets people in the door.

The premium option is the opposite of the anchor price. It is a separate reward that is tantalizingly close to the anchor price, but SO much better. It should give people a truly compelling reason to upgrade, or simply an outlet to spend more on the project if they want to reach stretch goals.

This system only works if the publisher garners enough interest from backers in both versions of the game, as manufacturing minimum order quantities (MOQs) typically start at 1,000 or 1,500 units.

In recent years, I’ve noticed that the ratio of standard to deluxe/all-in has shifted considerably. I’m not a typical backer, as I almost always choose the standard version of a game, so it’s apparent on nearly every project I back that far more backers are choosing the premium option.

Here are a few examples of projects I’m currently backing or following:

• Garden Club (40 backers at the $39 standard level, 418 backers at the all-in level)
• The Great Sea & Towers of Sifnos (107 and 180 backers at the $47 standard levels, 812 backers at the $124 deluxe combo level)
• Oakspire (134 backers at the $39 standard level, 1033 backers at the $93 deluxe level)

I very much do not want crowdfunding to only attract those with deep pockets, so I’m not advocating that creators ignore price accessibility altogether. I also understand that backers have changed over the years: There are much bigger pricing gaps between current reward levels than there were 10 years ago.

Though I’m also looking out for publishers: As I mentioned above, if a publisher plans to make two completely different versions of the same game but they only have 100 backers for the standard version, they need to invest in at least another unsold 900 units of that version to reach the MOQ. That’s a big risk.

There are a few possible alternatives:

1. Just offer 1 reward level for the best version of the game. Paws does this with a single reward level, a $59 deluxe version of the game. This works because (a) the price isn’t too high (i.e., I don’t think this would work for a $100+ core reward) and (b) Gamefound lets creators show the full price compared to the listed price.
2. Just offer a standard version of the game. The Glasgow Train Robbery did this with a very appealing price of $34. Perhaps this doesn’t tap into the reason why many backers crowdfund games, but a game can look and play great without having super expensive components. Also, this demonstrates that a publisher’s margins are generally better when selling directly to consumers.
3. Keep both the standard and premium reward levels, but just compose the premium option of a series of add-ons and promos with their own SKUs (each also with their own MOQ). This also makes it easier to sell various inventory levels later on your webstore and at conventions. Garden Club does this.

What do you think about these strategies as we look at backer behavior and publisher viability in 2026? What options do you like to see when you consider a tabletop crowdfunding project?

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Also read:

• Reward Levels: The Premium Option
• The Deluxe Dilemma
• Can a Publisher Serve Backers with Different Budgets?

If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.

Have you ever bought a mystery box, a blind booster pack, or a subscription with an unknown assortment inside?

In the early days of COVID, Megan and I signed up for Universal Yums, a treat box subscription service. Every month we would open a new box together and do a taste test of the various sweet and salty treats, and we’d often pair it with a thematically related movie. It was a delight.

I’ve also purchased my fair share of Magic booster packs over the years, most often to draft with friends, not to collect, sell, or compete in tournaments. I can’t deny the thrill of opening a booster and looking through the contents for the first time.

Yet that’s probably the extent to which I’ve engaged with mystery boxes. I don’t like most surprises, and I’m selective about the things I buy–quality and specificity over quantity.

Recently I asked livecast viewers what they thought about mystery boxes. Reactions were mostly mixed at best, and many were fairly negative, with people talking about how blind buys play into gambling compulsions and how they can cheapen a brand.

However, many people also acknowledged that they have enjoyed at least one mystery box (across a wide range of categories): Specific IPs they enjoy, category-specific subscription boxes (tea, chocolate, etc), and when they were just starting a new hobby.

So I’m curious what you think: Have you ever had a good experience with a mystery box, blind booster pack, or surprise subscription?

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Also read:

• Can a Publisher Offer Rarity Without Using FOMO Tactics?
• Is There Value in One-of-a-Kind Products and Rewards?
• “Ancient” Artifacts as a Marketing Strategy
• The One Ring and Extreme Rarity in Games

If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.

A friend recently mentioned a statistic (that I’ve since verified according to multiple studies) that most people–over 80%–who have purchased a bottle of wine have made their decision largely based on the label. Not taste or research, just a label that spoke to them.

Have you ever purchased something based on its packaging? I absolutely have. Wine, games, books, chocolate, coffee, disc golf discs…sometimes the packaging draws me in and inspires me to learn more, but sometimes it’s almost the entire decision (i.e., I want this because of how it looks).

I mentioned this topic on a recent livecast, and viewers had even more examples: beer, hot sauce, restaurants, cereal boxes, and more. It also came up on a recent podcast episode of Unit Economics about how Byte’m brownies focused their packaging on a delicious-looking brownie instead of on their high-quality ingredients.

In the tabletop game space, box covers have a huge impact. It isn’t just about their marketing appeal; publishers try to make boxes that people are proud to display, that are compelling both at a game store and in an online thumbnail, and that function from different angles.

For all those reasons, at Stonemaier Games we pay far more for the box illustration than any other individual piece of art in the game (only a detailed game board comes close). I often look to other games for inspiration (thank you, BoardGameGeek!), and I always like to get at least 3 concept sketches from the artist before pursuing one of them in detail.

Then there’s another set of decisions to make about the labeling on the box: The size and position of the game name, the names of the designer(s) and artist(s), and the inclusion of key information like player count and playing time on all 6 sides.

There’s also the presentation on the back of the box, where we’ve traditionally placed a 3D setup image.  We’re starting to pair that with 1/2/3-style explanation speech bubbles so a potential customer can quickly grasp what the game is about.

It’s always a work in progress, and I’m always learning from other publishers–it feels like every week there’s a new game announced with a truly stunning, evocative box. Whenever I go to a local game store, I try to pay close attention to which boxes grab my attention; I also recently went to Barnes & Noble for this specific purpose.

Have you ever bought a product based on its box, label, or cover? What would you like game publishers to learn from your experience?

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If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

***

Also read or watch:

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

If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.

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

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

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

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

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

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

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

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

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

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

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If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.

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

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

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

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

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Also read:

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

If you gain value from the 100 articles Jamey publishes on this blog each year, please consider championing this content! You can also listen to posts like this in the audio version of the blog.