Intermission – A Recap

In case you missed it, the Kickstarter for Bill Shakespeare is Dead happened. It was fascinating, fun, stressful, enlightening, stressful and…stressful? The game didn’t make it to the goal, but that doesn’t mean this is over. In fact, the game will be back up in just 5 days as I write these words. So this is just a brief intermission. And surely a few lessons were learned, right?

Some of the lessons I learned are really specific to this campaign and its relaunch. Some are more general and might apply to you as well. In any case…here goes!

 

1. Put the art front and center. This was just silly 0n my part. Seriously silly. The art is one of my favorite parts of the game. And while I think the page itself looked nice, I didn’t do nearly  a good enough job showcasing the art. Those characters needed to be front and center, where everyone could appreciate them. Otherwise, what’s the visual hook that keeps people on the page? The Google Analytics for the page tells me that people bounced away to another page pretty quickly, which means they just weren’t hooked.

I think the representative image I used looked nice, but didn’t do a great job of showing off the art. I’ll be ditching the “box” and just showing Shakespeare. Also, the characters will be all over the page.

 

2. Lower the goal. This should just be obvious, right? Just make it cheaper! But really, lowering the goal means raising the risk. I don’t kick myself for the $10k goal in the first campaign. At that number, it was getting everything I wanted plus a nice buffer. In the next campaign, it’s down to $8k. I think that will really help, but it means the buffer is smaller and the risk is higher. One hopes not to have to put their own money into the project after it funds (you invest your money before ideally), but if that’s what it comes to, that’s what it comes to and I am budgeting appropriately for it.

 

3. Lowering the pledge. Again, this is one of those obvious things that’s not quite so obvious. Lower the price and get more people, yeah? Frankly, this game is running on a much tighter margin than most games. The general principle in pricing games is to make the MSRP somewhere around 5 times the cost of manufacturing. And let me tell you…that’s not happening here. But the difference between $25 and $30 is vast, psychologically. So I’m prepared to place my bets and make the game less expensive, even if it makes me sweat a bit.

 

4. Make it family friendly. There are a lot of people who like adult games. And frankly, Bill Shakespeare is Dead has always been a rough PG-13 at its very worst. But the feedback I’ve gotten overwhelmingly tells me that the audience will be much broader if the base game is family friendly right out of the box. Now, that doesn’t mean that it won’t be a little bawdy (Hilariously Fake Breasts are staying in) or a little on the gross side (Trunk Full of Toenails). But some of the more extreme stuff? That’s going into…

 

5. Expansions. It seems that, at every demo, someone asks if there are going to be expansions. I think it’s a great idea, so why not start right off the bat? This next campaign will feature a deluxe model with your choice of 3 expansion packs of Nouns and Verbs. So those who want the NSFW experience will be able to pick that up. Those that want a really Shakesperean experience (like teachers!) can grab the Shakespeare pack. Along with those are a Family Friendlier pack and a Pop Culture pack. This means that people can really get the game they want, customizing the whole way.

 

6. Smarter Advertising. Let’s be completely real: advertising on BoardGameGeek is really expensive. It’s $500 just to get your foot in the door. Booking the front page (which is really just the top-most banner) is another $200 for a day. Now, I’m not saying it isn’t worth it. I have no doubt that the campaign brought in $700 in pledges from people who clicked on the ads. But A) it wasn’t a great return on investment because B) I don’t believe this is the right kind of game for those ads.

Ads on BGG are great for games that really  appeal to the  hardcore gamer crowd and/or games that have a big name behind them. If someone is already anticipating a game, then they see an ad for it, that can prompt them to jump on it right then. But frankly, the world of party games doesn’t always intersect with the world of who logs on to BGG. So while we may have gotten $700 worth of pledges from there, it isn’t necessarily the best use of money.

Instead, a better use of ad funds is likely Facebook. Facebook allows you to directly target certain demographics. So instead of just a wash of gamers, I can tailor my ads to those who like Cards Against Humanity. Or Shakespeare. Or people who indicate they are english teachers. There are a wide variety of people who might love Bill Shakespeare is Dead, but they don’t necessarily hang out on the same Venn diagrams. Plus, Facebook allows you to see the stats, so you can tweak things if need be. That kind of feedback is crucial.

 

And finally, there’s no replacement for the tribe. Gathering a following is a thing that takes time and effort. Over 100 people pledged for Bill Shakespeare is Dead this last time out. So now we’ve got supporters. People who are excited about the game. People who will champion it to others. You can’t buy that with ads.

 

So let’s get ready to raise the curtain for Act II on May 19th!

 

 

Kickstarter Log 8: The Campaign Page Part 1

For about a month now I have been putting together weekly breakdowns of Kickstarter campaigns over at All Us Geeks. The truth is, I have looked at every single tabletop Kickstarter campaign that has gone live in 2015. All of them. And for a great majority, I’ve studied those campaigns and those pages. Looked at the charts. Read all the comments and updates. This has been my homework, 5-7 days a week, for several hours a day. Now, I’m not saying that is something you have to do before launching your first Kickstarter campaign. But for me, I felt the need to do this level of research.

 

Now, what does this translate to? Hopefully, it translates to a campaign page that looks like I give a damn. Let’s take a look at some of the elements that make a quality campaign page.

Video It’s right at the top of the page. And while not everyone watches it, I’m of the belief that you absolutely should have one. There are campaigns out there that have funded without a video. But there are countless failed Kickstarters without one. So what makes a good video?

-Good Audio: I (and I’m not the only one) would argue that good audio is more important than good video. People will sit through a video with less quality camera work, but fuzzy, hissy audio will make people turn it off every time. Get a good microphone (even spending $60-70 will get you something suitable) and sit down with an audio editor (Audacity is free, though I haven’t used it. You can pay $30 for a month of Adobe Audition, which I swear by). This is a place where you need to make an investment. So do it!

-Time: It seems that the sweet spot for videos is right around 1:30. There are a lot of good videos shorter than that, but most videos over that feel too long. And just about everyone who has run a campaign will tell you that most people turn off the video long before it finishes. Make it short and sweet, then get out. If your video is  longer than 1:30, make sure the hook is early.

-Thematic/Personal: I think you should ideally have a short section that fits the world of your game, and a personal appeal from the designer. If the video is 1:30, then I would say 30 seconds or less should be devoted to the thematic part, then the rest should come directly from the designer (designer, not publisher). People like to invest in people. So show your passion. Make us feel it. Nobody loves the game better than you, right?

 

Pledge Levels There are a ton of different opinions on what you should put in your pledge levels. Some people will tell you about early birds. Retail levels. All kinds of things to add on to your levels. But the research that I have generally says that simpler is better. So here’s what good pledge levels look like:

$1

Base Level

Deluxe Level

 

That’s it.

-$1: Look at a $1 pledge as a welcome mat. This level tells people “Hey, I’m really glad you’re here. Come in and stay awhile.” Just about anyone can throw you a buck. And having that level tells people that you value their buck. Is their dollar really going to help you? No. But if they get in for a dollar, they get to comment, they get all your updates, and you have the opportunity to let them know why they should turn that dollar into a full pledge. It happens. A lot. So make sure to put the welcome mat out on the porch.

-Base level: There’s nothing between the $1 and this. Nothing. No early birds. No mugs. No posters. No t-shirts. Nothing. Not only does that help the page look more elegant, but it maintains the value of your product. “But wait,” you might say. “People love early birds, don’t they?” No, actually. People like deals. Many tolerate early birds. Some people actively hate them. And I don’t believe they really work. An early bird does not motivate a large swath of backers to a substandard product or page. People will snap up early birds to a game they would back anyway. If they find that they don’t actually want your game, they’ll dump the early bird level halfway through and make your pledge levels look even worse. Also, an early bird devalues your product. If the base level is $30 and you sell 100 copies at $25, people are going to wonder why you’re not just selling the game for $25. And why aren’t you? Is it because you want that 5 dollars as padding for your wallet? Or because you’re selling those 100 copies as loss leaders? I can virtually guarantee that no backer will assume you’re selling at a loss.

So to end the rant, find the lowest price you can and sell at that price. Don’t sell at a loss, but don’t do anything to devalue your product either. Pick a price and defend it. Say “It takes money to make a game, and this is the amount of money each copy needs to be so that we can not lose money.” Pick that price and make it stone. It’ll be the best deal for the most backers, and it will mean that people understand why they need to pay what they’re paying.

 

-Deluxe Level: What this is is going to change depending on what your project is. It might be the game plus an expansion, a nice box, another character, or something customized. It should be something that helps drive you to your funding goal without significant cost.

What should not be the deluxe level? The deluxe level should not be: multiple copies, retailer levels, anything that costs too much to make, or anything that renders the base level incomplete.

-Multiple copies: If people want to pledge for multiple copies, that’s fine. You should include something on the page (in the shipping section or in the FAQ) on how to pledge for multiple copies. But what people do here is, for example, have their base level be for $25 and the pledge for 2 copies be for $40. Do you see what happens here? People wonder why you can suddenly drop the price by $15 just because they ordered a second. You may have a great reason, but many of your backers will assume your product costs less than it actually does, and they will mentally devalue your product.

-Retailer levels: I love the FLGS. Don’t get me wrong. I love supporting the FLGS. But very very few game stores stock their shelves with stock they ordered on Kickstarter. It just doesn’t happen that often. Stores have connections with distributors. They pick up games at trade shows because they played them and maybe got free copies. For a game store to back your project to put in their store, they tie up money for 6 months or longer without a tangible product to put on their shelves. That is no way to run a business, and they know that. If someone wants to order multiple copies, refer them to that part of your page where they can do so. Don’t clutter your page with useless levels.

-High Cost: If your deluxe level is $10 more than the base level and it costs $7 to make, you’re cutting your margins too close. The deluxe model should be something that adds value to the product without adding a great amount of cost to manufacturing. Something simple and effective. A new game mode might just take 10 more cards. A new character might be a pawn and additional resources. It adds something to your game and it adds something to your buffer. It’s a win for everyone.

-Making Your Base Incomplete: Anyone who plays video games regularly knows that Day-1 DLC is not popular or fun. How it feels is that someone has shipped an incomplete game…but they’ll sell you the rest for a low, low price! Likewise, your base game should be complete. It should stand on its own. If you barely make the goal and nobody buys the deluxe level, everyone should be getting a fantastic, complete product. If people want a bonus, that’s great. But that’s really what the deluxe level should be. This is the same principle for stretch goals, which we will go over later.

 

So that’s part one! That was probably more detailed than I intended, but so it goes. While you’re waiting for part two, let me know what you think about my own campaign page: http://www.tinyurl.com/BillShakespeare   Make sure I practice what I preach!

Kickstarter Log 7: Print and Play

Why do people buy games? Actually, why do people buy anything?

We’re not talking about necessary things, but luxury items. Take a TV, for instance. Someone walks into a store, and how do they decide what TV they want? Sure, they can look at the box and see all the stats, see the size, the resolution, the features. They can read all that, but I bet you’ve never bought a TV like that. No, you walk through the electronics aisle, do your homework, then you look at the TVs on the shelf. You get to experience it before you buy it. The experience is just as important as the box, and it’s the same way for almost every other luxury item.

So let’s apply that to games. What influences people in buying games? Being a famous designer is great, if you are one. Then again, you probably aren’t (me either!). Having great features on the box and good reviews from others is also necessary. But nothing will excite people about your product as much as them being able to experience it for themselves. Of course, if your project is headed to Kickstarter, there likely isn’t a physical product they can buy. Instead, you need to put together a print and play.

Simply put, a print and play is a version of the game that people can download and print themselves. Note that I don’t say “the game” but “a version of the game”. Some games lend themselves perfectly to printing at home. Other games are way too large for anyone to logically print at home. But even if your game doesn’t lend itself well to home printing, you still need to put together some kind of version that can be downloaded.

There are 400 Nouns and Verbs in Bill Shakespeare is Dead. Very few, if any people are going to print out all of those cards. And frankly, you don’t need that many cards to get an idea of how the game plays. Instead, I cut that number to somewhere around half in the print and play version. It’s a simple version with simple art, and even so the whole thing comes out to about 50 pages. Do I really think someone is going to print out 50 pages and cut out all those cards? No. But I do not doubt my decision to put in the effort to make the game.

“But!” you might say, “I have a totally valid reason to not do a print and play!” Well, I already think you’re wrong, but let’s break down three common reasons that I hear.

1. People are going to steal my work.

No they are not. They’re not. There’s no “code” in board games that can be stripped and reskinned quickly. You can’t make “flappy catan” and throw it up on the app store real quick. Creating a tabletop game is a lot of work. You already know that because you’ve made one, right? So repeat after me: nobody is going to steal my idea. And so what if someone did? The best way to prove your copyright is to have the game out there on the internet with a time stamp and everything. And you know what does that? A print and play.

2. It’s too much time to do and nobody will print it anyway.

Yes, putting together a whole other version of your game especially for 8.5×11 pages is a lot of work. It can be a huge pain. But are you making a game because it’s easy to do? And looking at it from another angle, would you want to buy a game from a creator that avoided hard work? Would that kind of attitude inspire faith that they are going to produce a great game?

Also, you might be right. You might post it and have nobody print it and play it. Just like you might do the video on your Kickstarter and few people might watch it. Or few people might read the reviews for your game. But I can tell you that people want to see that you’ve done it. You inspire faith in your backers by showing them that you’ve taken the time and put in the effort that is necessary. You are asking them to trust you with their money. You have to earn that trust.

3. My game doesn’t work well for print and play because (insert gameplay reason here). 

I will say, that there are cases where a print and play of the game really isn’t feasible. Take Trickerion, which had something like 600 pieces. Can’t really print that. However, let me offer a potential solution. Take an element from the game, a cool hook, and develop a smaller thing around that. Maybe it’s just a 5 minute mini preview that gives people a taste of the cool gameplay. Maybe it will play differently than your final version, but it gives backers someone to get excited about, and isn’t that the point?

 

Of course, I couldn’t do a post about a print and play without adding my own. Here you can find the print and play for Bill Shakespeare is Dead. Print it out if you like. Play it if you want. But even if you don’t, I’m glad I made it:

Rules

Character Cards and Script

Stage Manager Book

Nouns

Verbs

 

In the next post: The Campaign Page

Kickstarter Conversations: Ben Pierro

There’s nothing fun about a campaign not working out. But there is perhaps no better learning experience than going through something that doesn’t work. And what’s great about Kickstarter is that falling short can just be one step on the way to funding later on. Today, I talk to Ben Pierro of Argyle Games about his experience on Kickstarter. Thanks, Ben!

 

BG: For those who don’t know, please introduce yourself. How long have you been designing games? What’s your favorite game? What’s the best game you’ve played recently?
BEN: My name is Ben Pierro and I am a graphic designer and artist living in Chicago.  I’ve been designing games as a hobby for a few years but it wasn’t until late last summer that I decided to try my hand at actually publishing them.  I setup a small start-up company to bring local indie designers’ games to a larger audience.
My favorite games lately have been cooperative games.  I’ve always enjoyed dungeon crawlers and Fantasy Flight’s new game Imperial Assault takes that formula and really puts a great layer of polish on it.  Each mission is challenging and I love the on-going campaign aspect.
BG: What was the project you put on Kickstarter? What makes the game awesome?
BEN: The project that just ended on Kickstarter was called Foodtown Throwdown.  It is a casual card game about building a food truck business with a heavy emphasis on humor.  It was designed as a warmup game or a gateway game – something quick and easy to setup to kick off a game night or bring new gamers to the table.
BG: Did you discover anything particularly interesting or surprising in developing the game and investigating manufacturing?
BEN:  I was surprised at what I didn’t know.  Every step of the way you learn something new, whether it’s the reality of shipping to international backers, the costs of getting a product produced overseas, how to plan for unexpected delays like labor disputes at shipping yards, etc.
BG: What do you feel is the best thing you did during your Kickstarter campaign?
BEN: Reaching out not just to board gaming media, but to food bloggers and food trucks as well.  Since the game is designed to be attractive to new gamers or people who would not consider themselves gamers, reaching out to non-game related media was a big help
BG: What mistakes did you make in the campaign that you won’t make again?
BEN: We didn’t have enough media coverage at launch.  The reviews, interviews, podcasts, and most of the social media following came during the campaign.  Since crowdfunding is a game of momentum, those things really needed to be in place before launch to ensure a strong start.  Having a strong start can give you that necessary momentum to stay strong throughout the campaign.
BG: What is your plan for the game now?
BEN: The game will relaunch in around 8-12 weeks, once more reviews and media start coming in.  This will also give me enough time to explore better options for manufacturing and fulfillment and really make sure that I can get the product out on time and on budget.
BG: Any advice for others who are thinking of doing their own project on Kickstarter?
BEN: Don’t give up, even if you have a weak start.  Keep at it and use the opportunity to learn as much as you can about what works, what doesn’t, and how to improve.  You will learn valuable lessons that you can take with you into the future, and you can’t put a price on that.  Good luck!
Big thanks to Ben. Would you like to have a conversation about Kickstarter? Let me know at brikenbrakgames@gmail.com

Kickstarter Conversations: Dan Letzring

Whether I meant to or not, this blog has become very focused on Kickstarter. So why not embrace that! Along with the Road to Kickstarter entries, I will be putting together Kickstarter-centric interviews. First up is Dan Letzring from Letiman Games.

 

BG: For those who don’t know, what is your background? How long have you been designing games?

DAN: I live in Rochester, NY with my wife and daughters.  I have been designing games for a few years but only really got into it seriously about 2 years ago when I successfully funded my first game on kickstarter, Ph. D. The Game.  These past few years have been an amazing learning process and I look forward working hard to develop my skills in both game design and publishing more each and every day.
BG: What are you currently working on? Give us a quick breakdown of the game
DAN: Dino Dude Ranch is a Set Collection/Resource Management game designed for Ages 8+.  My goal in mind was a fun family game that was a 20-30 minute casual game night filler. The main idea of the game is that players roll dice to collect resources (meat, fish, and leaves) that are in turn used to capture dinosaurs to place on their ranches.  Cards can be purchased as well using any combination of two resources and they make purchasing easier or add a light take that mechanism to attack other players.  All players have hidden bonuses that are revealed in the end in order to gain additional scoring and whoever has the most points/most valuable ranch wins!
Cover Cropped
BG: What’s the biggest hook to the game? The coolest thing about it?
DAN: Definitely that it is a great family game.  Adults love it, kids of all ages love it, it’s been a hit with most demographics.  It’s dinosaurs eating leaves, fish, and meat, it’s dice rolling, the cards add a lot of character,  What’s not to love?  Plus, the artwork is pretty fantastic too!
Player mat image only
BG: What’s the game that is closest to this one? So that fans of that game will know they’ll love this one too.
DAN: It’s got some similarities to a handful of games.  It has some similarities to Power Grid but is really nothing like it (if that makes sense).  So throw Power Grid into a melting pot with some casual card games with light take that and secret bonuses, mix with some Gamewright and you have Dino Dude Ranch.
BG: What is the biggest challenge you’ve had in creating this game?
DAN: Deciding how to balance it such that it is a kids game that adults enjoy.  I wanted enough appeal that adults and hardcore gamers would like it, but I did not want it to lose its identity as a light casual family game.  Once I made a decision to how I envisioned the end product, I think I was able to find a delicate balance that makes it appealing for all ages and player-types.
BG: What was the best moment you’ve had in developing or testing this game? 
DAN: When I ran into one of my playtesters on Christmas eve and he told me his 7 year old son had put Dino Dude Ranch on his Christmas list.  That was such a nice feeling.
635481231053198696
BG: Any advice for others who want to make their own game?
DAN: Spend the time to really talk to people who have done it.  Do not be afraid to share your idea, no one is going to steal it.  And take your time with it, don’t just rush it out as fast as possible because you are exited about it. Playtest and refine it until you are sick of it, and then do it some more.
BG: Why Kickstarter? What is the appeal for you?
DAN: Honestly, without it I will not be able to produce this game.  I do not have the funds to front the costs of purchasing things like the remainder of the artwork needed or the initial print run needed to use a large scale manufacturer.  Aside from that though, I have become really drawn into the kickstarter community.  In the last year I have backed about 40 projects and I have really been excited by the idea of a community of people coming together to discuss a project, throw ideas around, and work towards funding it and making a dream a reality.  It is really a great experience.
Thanks Dan! Would you like to have a conversation about Kickstarter? Let me know at brikenbrakgames@gmail.com

 

Kickstarter Log 6 – Reviews

At the time of this writing, 5 of the 8 review editions of Bill Shakespeare is Dead have been printed and are already out there in the world. With a month and a half to go (that doesn’t sound like a very long time) the majority of reviewers already have the game, and all of them should have it with a month lead time before the launch of my Kickstarter campaign. Getting that edition together and having it printed 8 times was a very intense, expensive process. But I have no doubt that it’s going to be worth it.

 

So why do I think a review is so worth it? And is it worth it for you? Not including shipping, I paid about $250 dollars to manufacture my review prototypes. That’s a lot of money. And I didn’t calculate it until just this moment, so it seems like even more money. But in any case, I am happy to spend that money because, based on all the Kickstarter projects I have studied this year, reviews are a HUGE part of whether or not an independent game makes it.

-Reviews are important because we tend to trust reviewers more than creators: Nobody is going to put their project on Kickstarter and then say “I’m proud of it, but I’d give it a 7.5/10”. And we shouldn’t expect them to. If you are not unfailingly supportive of your own project, you need to find a different project. But the fact is, every project has flaws. Nothing is perfect. And we look to reviewers to be objective and tell us both what is great about a game and what doesn’t work.

-Reviews are a great opportunity for feedback: Unless you are Queen games, the game that you put up on Kickstarter shouldn’t be 100% complete. You should still be open for improvement and refining. Of course you should have had plenty of feedback already from playtesters, but reviewers are a great resource for this as well. Reviewers look at games all the time, and a good one will know what works and what doesn’t. Heed those words well.

-Having reviews shows that you know what you’re doing and how to play the game: If you haven’t already, look through this geeklist on BoardGameGeek and look through all of the games there. And I do mean all of them. If you haven’t done that kind of market research, you haven’t done enough. Take a look at what has funded and what has not. There are exceptions to this, but most of the games that fund solidly have a lot of similar features to their pages, and reviews are a part of that.

 

The bottom line: you should do everything you possibly can to get the word out there about your game and draw people to your project. Finding at least one reviewer (preferably 3 or more, but the more the better) that has favorably reviewed games like yours, contacting them, and getting them a good-looking prototype should be part of your larger strategy for making a professional page and getting the word out about the game. Can you do a campaign without all that? Sure. You can also fail to fund. So that’s up to you.

 

In the next log: Print and Play

Kickstarter Log 5 – Testing

There are a lot of different rounds of testing that your game is going to go through. Some will be very tedious, most will be nerve-wracking, and a few may be fun. All will be necessary.

 

So where do you get started?

 

In the last log we talked about prototypes. Once you have a solid idea for a game, something you think might be at least somewhat playable, you need to put together a workable prototype and get it in the hands of players as soon as possible. That can be your friends, your family, or even strangers on the internet if you put together a print-and-play version. The bottom line: your game will never progress until you test it.

 

So to go through my own process: I got the idea for Bill Shakespeare is Dead on a Monday, I think? I knew my friends and I would be getting together for a game night that weekend, so I quickly got to work. A few days later, a lot of the cards were already set, and at least part of the format was complete. I was really excited. I thought I had a real game in my hands. We had our game night, and once everyone had a few (I wanted to ensure I had a receptive audience) I brought out the game. And it failed. It crashed. It burned. The Hindenburg looked at it and said “Dude, you’re a mess”. It’s a game in five acts, and after act 1 I packed it away and that was that.

 

So what happened? Was I terrible? Did I do something wrong? No. I didn’t do anything wrong. I simply tested an idea and it didn’t work. If I hadn’t tested it, I would never have known how bad it was. And more importantly, if I hadn’t tested it, I wouldn’t have known how easy it was to fix.

 

If you don’t know the structure of Bill Shakespeare is Dead, it goes kind of like this: As two performers are going through the scene, there are parts missing from the script. As they hit those missing parts, the Stage Manager calls for “noun” or “verb”, the other players contribute the card they think that works best, the Stage Manager picks the winning word, and the performer repeats the line with that new word. All in all, each of those interactions takes 5-10 seconds. The pace is super super fast, which makes it great. In comparison, my original test still had the missing words in the script, but I originally had the stage manager gathering the nouns and verbs before the scene even started, then had them do the scene with the words inserted. The same actions, but completely separated from one another. It was miserably slow.

 

After that first failed test I wracked my brain for a little bit, then realized I needed more chaos and fun in the game. Once I realized that the structure just needed to be mashed together, I got ready for my next test. A few weeks later we brought out the game at the Great Falls Gaming Rendesvous and it was an absolute smash. My switch from “broken” to “awesome” was pretty fast, and your testing phase might take a lot longer. Results may vary, but you’ll never get there without testing.

 

So now that the game works, what now? Now, I’m still testing. I test with friends. Strangers. Brikenbrak Games will be at several locations throughout the northwest in March, testing all the way. Everyone who plays the game has an experience, and some of them have great ideas. You need those experiences. You need those ideas. Test your game as many times as you possibly can.

 

And finally, nobody wants to buy a game that isn’t really tested. Would you?

 

In the next log – Reviews