Inspired by a recent video from Jamey Stegmaier talking about “overproduced” games (see here: https://youtu.be/PxRpL-JQMfI), I thought I’d share my thoughts on the topic. Please watch Jamey’s video first, so you know what the word “overproduced” means in the context of his video and my article. The topic is quite broad, and I won’t be able cover every aspect, but instead I’ll discuss a select few areas that I think can help focus everyone’s thoughts on the subject and allow you to be more constructive in your feedback to publishers.
In my view, the tabletop games community is generally a friendly, welcoming group of people. We seem to know that we are all human beings, and each of us has different skills, experiences, backgrounds, challenges and attitudes. We do our best to ignore stereotypes and prejudices and try to allow anyone join in the fun of escaping to another world, solving difficult puzzles or do whatever constitutes playing a game. Of course, our community isn’t perfect, but I would say the trend is in the right direction. The same is true for modern games, and many designers and publishers are clearly doing what they can to allow more people to join in the fun. There is still more work to be done of course, but again the trend seems to be in the right direction.
The tabletop games industry has been booming for some years now. Back in September 2016, the The Guardian website describes how the Thirsty Meeples cafe in Oxford taps into “[t]he rise and rise of tabletop gaming” (1). In January 2017, the New Statesman website explains “[h]ow board games became a billion-dollar business” (2), and in December 2017 the Financial Review website describes how “the golden age of board games” (3) allows the Draughts game cafe in London to benefit from the popularity of boardgames and how the industry grew over time. Even as recently as April 2018, an article on the Bloomberg website (4) says that board game nights are the latest way to network. So the boom clearly continues, and it has made me wonder if small players, be they game publishers, designers or developers, rules writers, content creators, game cafe owners or games group or exhibiton organizers, still have a role in the industry.
The advent of Kickstarter and other crowdfunding platforms has changed how people buy games. Buying games from renowned publishers through an online platform has never been particularly controversial, but buying new games from little known designers who decided to self-publish their games is more tricky. At the end of the day, it is very much about trust, and someone who is unknown will find it very hard to build up that trust with potential customers. Therefore most crowdfunding campaigns now come with a free print-and-play (PnP) download option, so people can try out a version of a new game and decide if it is for them.
Ever so often something new hits the tabletop game industry and when this happens, it is always hard to say if it is just a flash in the pan or a new breakthrough that will turn out to be a game changer. However, I will stick my head out and make a prediction – and be happy to swallow my hat, if I turn out to be wrong.
Prompted by the recent announcement of Between Two Castles of Mad King Ludwig, I thought I would look at co-productions in the games industry as a whole. So, in case you don’t know, Between Two Castles of Mad King Ludwig is a collaboration between Bézier Games and Stonemaier Games. Designed by Ben Rosset and Matthew O’Malley, with artwork from Agnieszka Dabrowiecka, Laura Bevon and Barlomiej Kordowski, this game is an amalgamation of Between Two Cities and Castles of Mad King Ludwig.