As the year draws to a close, I'm planning actual paid advertising for Smart Play Games in 2015. One thing I learned from my time in the ad world is that it's very easy to spend a lot of money in an unreceptive market. So I needed some data to find out where I should be sending my directed advertising, particularly any promoted tweets.
Thankfully, DriveThruCards was kind enough to provide a big sales report that included country and state for each of my sales up to mid-December of this year. That should be plenty of time to measure sales for each region and perhaps give me some insights as to where I should spend my ad budget.
Below are interactive pie charts and maps where you can see sales by country and by state.
Sales by Country
USA being the top seller is no surprise. The expense of shipping internationally is the biggest barrier to the POD model's global reach. That being the case, I'm surprised to see Australia beat out the UK for international sales by over half.
Clearly I need to focus my paid advertising in the USA. I figured that much by tracking my monthly sales and hearing feedback on social media. Good to see it confirmed by hard numbers, though.
Now let's break down the USA by state.
Sales by US State
Wow, this is very interesting. I expected North Carolina to be overrepresented since I live here and I'm always promoting my games around town. Also these sales numbers include my own orders. Let's assume it would normally rank somewhere closer to 4th place normally.
California is a big surprise. I'm equally curious about New York, Washington, and Illinois' high ranking on the sales chart. All four are home to major cities with big tech companies and numerous tech startups. I wonder if the high number of tech-oriented people out there made the POD model a bit easier to understand. Perhaps the whole thing just piqued DIY entrepreneurs' curiosity
At least this narrows down where I should target my advertising, perhaps even how I should frame my press releases.
I hope you liked this peak into my own analytics.
This weekend Patreon backers got a double-whammy of goodies. First up, a new set of icons inspired by Love Letter and the Dominion core set. This includes some more specialist actions like "trash a card" or "buy a card" which is distinct from "gain a card." Tricky stuff.
I included the Dominion example above for some context of where I drew inspiration for each icon. That was also an opportunity to suggest how you might use language-neutral typography to represent things like "You may trash up to four icons" or "If opponent plays an attack card, you may cancel it."
The second update went out exclusively to $20 backers. It's a vector CCG frame in InDesign readymade for DataMerge. Because it's vector, it should be pretty easy for you to customize to your liking without losing any resolution.
Get both goodies on my Patreon here:
Wow. How about that Legend of Korra finale? Normally I don't talk about anything besides game design and the business of tabletop game production on this blog.
However, one of my core tenets for the past few years is finding non-violent themes for otherwise competitive games. More than that, finding non-violent themes that are better matches for their mechanisms than a traditional war/combat trope. In this, I think my modest creative goals are similar to what the folks behind Korra achieved in the finale.
For what is definitely an action-oriented cartoon, Avatar: the Last Airbender, and Legend of Korra in particular, have often shown the consequences of violence. On the subject of violence, three big themes clicked in the finale. (Legend of Korra spoilers follow, hence the non-spoiler image up top...)
Violence as Vulnerability
The big giant glowing Avatar State is when the Avatar is most powerful, but also most vulnerable. The whole thousand-year-long cycle of Avatar reincarnation ends if the Avatar dies while in the State. It is a powerful weapon, but just as much of a risk to the Avatar as her opponents.
Still, this was Zaheer's whole plan in Season 3: Bring out the Avatar State, then execute Korra to end the cycle forever. We've seen Korra smash buildings, become a giant energy god, and beat up countless goons without a second thought. However, in her fight with Zaheer, she faced a peaceful philosophy perverted to justify emotionless killing. In turn, Korra became the most viscerally violent brute she's ever been.
But her victory was not gloating. She did not get a gaudy pro-bending trophy at the end. She was literally and metaphorically poisoned by the experience. This may have been what Aang was so scared of happening before his own ultimate conflict with Fire Lord Ozai. Not that he'd lose, but that he'd win and be forever scarred.
At other times, in other ways, we've seen characters scarred by their exposure to child abuse, war, and violence in all forms – but the end of Season 3 was the most heart-wrenching example by far.
Kuvira the Cypher
I'll be honest and say I've often found Korra's antagonists to have interesting motives at first, but eventually flatten out into one-note capital V villains.
Amon began as an interesting argument about the role of non-benders in society until being exposed as a hypocritical con artist. Unalaq wanted to re-connect the Spirit realm to the physical realm in the face of rapidly encroaching industrialization, but ended up becoming pretty much the Devil. Zaheer probably had the best arc, keeping his (short-sided) anarchist motives clear nearly until the end.
In Kuvira's case, we barely got any sense of her motive. By the point when we heard about work camps and re-education programs, I was far more interested in why the heck anyone around her couldn't see she was an outright villain. Even the brief glimpse of her relationship with Bataar Jr. was subverted within the same episode.
Still, in the end Korra and Kuvira's relationships flipped completely from the season opener. Korra began the season alone, Kuvira surrounded by supporters. In the end, Korra had her friends and family while Kuvira literally towered over the rubble of her friendships.
Korra the Detective
You can say I went into the finale not feeling too excited about a perfunctory battle against an uninteresting villain. (I felt the same about Fire Lord Ozai, to be honest.)
Boy, was I blown away by the end. All around, from tactics, to animation, to simple "hell yeah!" character moments, that climactic fight was an amazing piece of work. Still, I expected the villain to either be captured, ambiguously vanish, or die by their own hubris... just like any American action cartoon. I was so cynical, despite my love for the series and the universe. That cynicism was extremely misplaced, I'm happy to say.
What I really liked about the finale is how despite the massive magic-vs-mecha battles and city-destroying Colossus, this battle could have ended with a nice clean bow. But no, by the end, Korra and Kuvira are barely strong enough to throw rocks at each other, yet they still keep fighting. I'm reminded of Einstein's quote:
“I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.”
What ultimately prevailed was an opportunity for Korra and Kuvira to be alone with each other. Korra realized what made Kuvira so violently oppressive. (Perhaps even before Kuvira realized it.) Both Korra and Kuvira faced trauma mixed with immense responsibility, but responded in very different ways. Korra sequestered herself from others. Kuvira shielded herself with an army and armor.
All at once, the whole point of Kuvira being a one-note villain made sense for this season's arc. Korra had to find a way to stop the war that didn't involve a punch-out, that much was clear from the beginning. But in doing so, she would need to find some common ground with a person absolutely determined to resist it.
In this, Korra finally begins her era as a mature, fully realized Avatar.
Also, Korrasami forever.
|Hearthstone Cards (Source)|
Good news, graphic designers! Next month, I'm releasing new Skillshare course on laying out cards for a collectible card game. This series of videos focuses on how to make the borders, backgrounds, high-def graphics, and variable text of a typical CCG. I'll be dissecting the graphic design from popular games and breaking down how to get the same effects from Photoshop and InDesign. It'll be fun! Look for more in coming weeks.
People of Earth! Smart Play Games now seeks small card games to license for print-on-demand publication. This is a weird idea, so check out the FAQ below!
What's all this then?
After a successful run of self-published games on the print-on-demand site DriveThruCards, Smart Play Games wants to help other designers try this fast, low-risk publishing option. In time, we want to make print-on-demand a viable "farm league" funneling high-quality, customer-vetted products to traditional publishers.
What is Print-on-Demand?
To the customer, it's just like ordering any other tabletop game online. Presently, the one difference is that Smart Play Games' preferred printer DriveThruCards does not offer custom printed tuckboxes, but that will be added in coming months.
To the designer, it means faster releases, aimed directly at an engaged and connected audience. It's also an opportunity to test out niche game ideas that might not be viable in traditional publishing, but can still find a smaller devoted fan base.
To the publisher, there no need for large print runs or over-committed crowdfunding campaigns. Licenses can be written more leniently and generously for the designer, because there is less overhead and risk.
I can release Print-on-Demand games on my own, though.
Yup! And you should definitely give it a shot. More competition and higher quality games will raise the legitimacy of the model as a whole. A rising tide lifts all boats.
So why should I license to Smart Play Games?
Smart Play Games offers award-winning graphic design and art direction services, plus development, editing, and marketing from experienced professionals.
What is Smart Play Games looking for?
- Fully playtested small card games with 54 cards or fewer. (For more info, see this post for how card count affects prices.) A small card count also makes it easier to transition a product from POD to traditional publishing.
- Games with no need for other components besides cards. Paper and pencils are okay for scoring. It's also reasonable to expect some small tokens, but anything you can do to keep the game limited to cards is best.
- Games with no combat, horror, or exploitative themes. Be ready to discuss re-themes if you propose Zombies vs. Cthulhu Colonialist War Game.
- Animals seem to be a recurring theme here, with Arf, Nine Lives, Koi Pond, and Ten Pen already in our menagerie. Animal themed games will still be considered, but bear in mind that we have quite a few already. Get it? Bear? Ha!
- Competitive games are still perfectly fine, especially if they're framed in unusual and/or family-friendly themes.
- Games that make clever use of the physical nature of cards.
Who should submit?
Published and unpublished designers are both welcome.
We're also interested in licensing beloved, but out-of-print card games. Given the existence of low-cost print-on-demand technology, we want to make any well-loved game always available at a reasonable price.
Women and people of color especially encouraged. (Play Parable of the Polygons by Vi Hart and Nicky Case for more info on what it takes to boost diversity in a group.) Smart Play Games is a minority-owned company.
How do I submit?
You can email the gmail address smartplaygames with the subject "Game Submission: ____" and the title of your game in the blank.
If you'd just like to discuss anything in this post, feel free to leave a comment!
One of the most perplexing challenges of tabletop graphic design is how to design a whole deck of cards with variable text, stats, images, and borders. Fortunately, DataMerge makes that much easier as I describe in my SkillShare course. But there are some advanced problems that still pop up even when you've mastered DataMerge: Namely, inserting icons into any part of the text.
I discussed one method of doing this a few weeks ago, but that relied on using a pre-existing dingbats font for your icons and making bizarro GREP styles. As of that post, I hadn't found a reliable and easy to use font creator that flowed seamlessly from Illustrator to TrueType to InDesign. Well, I'm happy to say Icomoon is the app I've always wanted.
You can upload your own SVG vector files, assign keywords to them as ligatures, and save them as TrueType fonts. When you type your keywords with this font, it's automatically replaced with the icon you've chosen. All you need to do in InDesign is make a simple GREP style to apply a new character style that keyword. The character style is your icon font, plus any advanced baseline or kerning adjustments you want to make.
Designing CCG-style cards just got so much simpler.
One tip, though: Make sure your keywords are not a common combination of letters that might appear in another word. For example, if you have an icon for "hat," then it will affects words like "that" and "hatchet."
A few months ago, Brazilian publisher Funbox Jogos licensed Light Rail as Metrocity and Suspense as Emboscada. They had a Black Friday sale to launch both products and it's safe to call them both a smash hit. Within 24 hours, nearly a fifth of both print runs were sold out! That's a hell of a start for any product launch. Check out these preview videos for Metrocity and Emboscada (Portuguese).
My next batch of icons on Patreon will be something a little different. I'm trying to make language-neutral icons for existing games, the first set being Love Letter and Dominion.
Fortunately, some of the basic concepts in these games have already been covered in past icons. Basic actions like "discard from hand" are well handled. I won't just copy-paste those files with new names.
For the rest of the icons, things are a bit tricky. In some cases, cards' effects are simple enough that I can make one icon for them, just as I have for the past several batches. That is, each file is a generic standalone icon. If your game has some complex effects, you can put those simple icons together, like letters from an alphabet.
In other cases, like Dominion, the effects have multiple steps and so are somewhat outside the scope of the existing icons. I can make files for each card, which would necessarily mean some repeating iconography (+1 action, for example). Or I can try to break up the individual actions from those cards and save those as separate files, again as I've been doing so far.
Which would you find most useful for you?
This weekend I was on Something From Nothing talking about my first foray into the realm of CCG design, or as I more often call it "cards with words," or "cards with effects." Chevee Dodd had lots of really good advice for how to model the kart racing theme of A La Kart. In response, I had rambling, ambiguous answers to his questions. Oh my god, I just would not shut up. Not my best showing. :P
Almost every Saturday morning, I volunteer at the local animal shelter socializing puppies and then tweet updates about each one. Part of this #pupdate is noting which puppies would be best in a family with lots of activity or other special conditions. I've been doing the #pupdate for over a year now and since the beginning, folks have asked if I'd do a game about it. Well, here we go!
I'm happy to announce Arf! the game of picky puppies. Players are volunteers at an animal adoption fair, trying to offer puppies different homes that meet their very specific demands. Some puppies want lots of room, others want lots of food, some want only love and don't care about room or food. Picky picky!
Arf! is now available on DriveThruCards! Remember, you have to place your order before December 8 to be sure to get it before xmas!
Each month I make public my sales numbers for my print-on-demand card games. No sense burying the lede here, November was an awesome month for Smart Play Games! To the numbers!
2x Arf! (preview copies)
1x Bird Bucks +1
35x Kigi +30
21x Koi Pond: A Coy Card Game -1
6x Koi Pond: Four Walls (Promo Card 2) -2
6x Koi Pond: Four Winds (Promo Card 1) -2
10x Koi Pond: Moon Temple +2
17x Light Rail +1
10x Monsoon Market -2
4x Nine Lives Card Game +3
3x Penny Farthing Catapult +0
7x Regime +7
3x Solar Senate -5
31x Suspense: the Card Game +16
1x Ten Pen +0
107 Total Sold
$1,301.89 Gross Sales
Grand Totals for 2014 (to date)
1564 Products Sold
$10,924.16 Gross Sales
Sales were up for many products after a brief post-convention lull. We exceeded July's numbers and fell just short of the August spike from just before GenCon/Pax/Essen. Holiday shopping began in earnest well before Thanksgiving, rising sharply as we approached Cyber Monday. (As of this writing, DriveThruCards is experiencing traffic overload. Hope it stays live today!)
It's hard to say, but I do hope my demo table at the Museum of Life and Sciences during their game theory event drove some traffic to the site. It was a great time with lots of very interested casual players. I handed out nearly half of my business cards. Definitely my target audience.
It was also around this time last year, after releasing Suspense and Nine Lives, that I seriously began tracking sales. It will be very interesting to see how year-over-year sales compare to each other. At the time, my margin was about a third of my retail sales. Now it's closer to 3.5, coming from over over three times the products. That I've managed to maintain those earnings from a growing catalog feels like I'm doing the right strategy this year for a first-time venture.
However, strong correlations probably shouldn't be inferred since the overall environment now is way different than last November. This year saw more exposure, more promos, more product, just more more more. Hard to make a pure A/B comparison.
Suffice it to say I'm feeling good about 2014. It's modest for a traditional publisher, certainly, but this is all one big frontier. Hopefully some other brave designers will join me out here and we can get some healthy competition going. :)
As I mentioned last week, A La Kart has at its core the DNA of a CCG. There are focused constructed decks tailored to unique play styles, customization options for advanced players, and expanding options released over time. The whole shebang. This is a new territory for me, as I tend to design more standalone, (hopefully) elegant, single-deck games.
So, I got to work researching. I played Magic back in the day and a bit of Netrunner earlier this year. I downloaded and played Hearthstone, SolForge, and Adventure Time: Card Wars. Explored the deckbuilding side of things with Dominion, Ascension, Quarriors, Valley of the Kings, Master Merchant, and Star Realms. My wife and I have really got into Kaijudo, and we're disappointed that the CCG business model requires such a huge critical mass that the game is no longer supported despite some avid fans. That's another story, though.
But throughout all this, I've found some really smart people talking about CCGs as a design genre.
- Mike Elliott's designer diary for Dice Masters
- Mike Fitzgerald on the 'ABCs of CCGs' (Audio)
- Eric Lang: Star Wars and Warhammer LCGs + "lifestyle games" (Video)
- Darrell Hardy on the My Little Pony CCG (Audio)
- Darrell Hardy also collected one-sheets from a bunch of CCGs
- 10 Bits of Wisdom from Hearthstone development (Video)
- Grant Rodiek has the most coherent overview what makes a CCG
- Tom Rosen's Netrunner designer diaries
If you have some good lectures or interviews to share, I'm eager to see them!
The first full year of Smart Play Games is coming to a close soon and I've collected many many capital-O opinions about the viability of the POD business model for indie card game designers. Overall, I'm favorable and very pleased with my results from 2014, but the economics of the system shouldn't be taken lightly. Today, I wanted to talk about pricing in the POD market. If you were curious about what goes into the pricing of POD products, the general idea is...
High Margins, Low Prices
My earliest releases were fairly large decks of cards around 90 cards. The economics of print-on-demand releases dictate a fixed price per card as a minimum cost for production. Because DriveThruCards doesn't do rulebooks, I have to print rules on cards themselves. That means higher minimum cost for production.
My own earnings come from the margins I choose for each sale of a product, which DriveThruCards allows me to set at my discretion. I quickly found that a 90-card deck would need a commensurate higher price, but then I started hitting a ceiling. $14.99 games just weren't selling well. Instead, I found that $9.99 is the sweet spot for POD pricing. It's low enough to be an impulse buy, but high enough that I can still afford to do the occasional promotional discount. Anything higher than that gets a measurably lower sales.
Therefore, each card I add to a deck cuts into my overall earnings. For example, a card game like Light Rail has 10 cards per player, for up to four players, plus 8 bonus cards. That puts me up to 48 cards for the game alone. Now I add one card to act as the "cover" of the product. Then I add 6 cards for the rules. That puts me at 54-cards, which turns out to be just right to have a set a livable margin of profit for my work. See the pie chart above for how it breaks down.
Minor League System for Board Games
Of course, a more pessimistic way to put this would be high costs, low sales. Mainly because the price per unit would be far lower if I released these games in a traditional model of Crowdfunding > 5000+ print run > Shipping > Warehousing > Fulfillment. The price per unit would be pennies, but doesn't necessarily mean higher earnings when I tally the costs of all the other services involved in that model. And it would be way more stressful. And it would be way slower release schedule.
But even that presumes there is an us/them between POD and traditional releases. I've always held to the belief that POD is a complement to traditional publishing. It gives smaller card games a chance to perform on the marketplace with minimal risk, like minor league farm teams for the majors. When card games start going out of print in traditional retail networks, they can live on in POD for more long-tail sales, still earning revenue for the IP owner long beyond its retail life cycle.
I'm pleased to have seen Koi Pond get licensed by Joy Pie in China. Just a few weeks ago, Suspense and Light Rail were picked up by Funbox Jogos in Brazil. The "POD model" isn't an island. It exists in symbiosis with traditional publishing.
I hope other designers will soon experiment with this model, especially on DriveThruCards, who have been so extremely helpful and supportive from the start.
Update: Feedback from Other POD Publishers
After this originally posted, I got some very generous feedback from Fred Hicks (Evil Hat Productions) and Steve Segedy (Bully Pulpit) regarding their own sales numbers.
.@DanielSolis @wordwill A little over one year on the main POD #DeckOfFate product — https://t.co/iSvebTuYLS
— Deadly Fredly (@fredhicks) November 24, 2014
@fredhicks @DanielSolis @wordwill that's for a 61 card premium deck. We also bulk print it and sell through IPR for slightly more.
— Steve Segedy (@segedy) November 24, 2014
Check out the concept art of the first two racers from Kaitlynn Peavler and Kristina Stipetic!
available for your review here! I'd love it if you could spot any ambiguities or grammar issues. There is a surprising amount of information to pack into this light auction game, so it was a challenge to fit it within such a small amount of space. It's surprising how much text you have to use in a rulebook when the components are language-neutral! I hope it all makes sense.
Tonight in Durham, NC at the Museum of Life and Sciences from 6-9pm, I'll be running a Belle of the Ball and Smart Play Games demo table at their Game Theory event! It's ages 21 and up with plenty of fun games of all kinds, including tabletop games, video games, tournaments, and more. There will be super smart peeps from UNC and Duke will be there to talk about the nitty-gritty of game theory, with plenty of interactive examples.
Details and ticket information here! Hope to see you there!
Good news! The card game I pitched to a couple years ago is almost ready for kickstarter! Game Salute is releasing a set of three individual Princess Bride themed card games by Phillip DuBarry, Matthew O' Malley and yours truly!
Back it on Kickstarter!
My entry is called Princess Bride: As You Wish, it's inspired by the really neat drafting mechanisms in the 2-player variant of Antoine Bauza's Little Prince game. As You Wish expands on those ideas to up to 6 players, mixing in more interactive set collection, and making turn order based on the prior round's draft. All the while, you're remixing the key scenes and characters of Princess Bride into your own personal love story.
I'd love it if you could look over the rulebook and offer any feedback for making the rules clearer. I think GS did a really good job so far, but more eyes always helps! Thanks!
Today's #BoardGameHour discussion about rules covered quite a bit of territory, but perhaps lost in the shuffle were some really nice examples of rules done right. One of those was Jaipur, whose rulebook has one simple trick that I try to use whenever possible.
Above you can see that the two basic actions in the game are color-coded, almost like buttons you can press. Either A or B.
When you turn the page, the next page spread is also color-coded, with option A on the left and option B on the right. It's so clear and obvious, I just love it.
Labels: graphic design
I seem to have stepped into a hornet's nest recently while designing the cards for Arf!
In most of my simpler games, I try to include ranks and suits on two corners of the card, so you can fan the cards in either direction. I asked people on Twitter and BoardGameGeek about whether it's worth the clutter in order to accommodate both hands and... wow, the responses can be rather passionate.
On one side, we have southpaws who often have to contort their wrists in order to see the pertinent information on their cards. Holding cards as feels natural ends up obscuring the game data.
On the other side, we have a few right-handed players who seem really, really opposed to making any visual compromises for 15% of the general population. (I couldn't find firm numbers about how many players are left-handed, but I suspect if color-blindness is any indication, it's more than 15%.)
There is a third path, since I'm producing these with print-on-demand services. I can release a right-handed and left-handed deck as separate products! However, that doubles the work of book-keeping. Also I plan to pitch this game to international traditional publishers, who will be dismayed at the idea of printing two decks.
Me, I just want to make the dang game. I'll double up the icons, and just make it work visually without cluttering things up too much. Better to serve functionality and earn new players rather than stand on this tiny hill and demand everyone conform.
One of the trickiest aspects of doing production design in tabletop games is figuring out how to automate tons of variable text across a set of cards or tiles. (Good thing I have a handy video tutorial course on just that subject.) But the really advanced next step of that process is figuring out how to insert icons at any point in a body of text without relying on linked image files. This is a challenge most commonly seen in CCGs but quite present in any number of other games, too.
I asked my tweeps for some advice on how to do this with InDesign GREP without having to learn any fancy coding. I've always been of the curmudgeonly opinion that there ought to be an option for graphic designer that doesn't require them to be a programmer, too. Perhaps I'm a Luddite in that respect, but fortunately I'm not alone in that sentiment. Andy Lenox sent me this list of GREP tricks, the last two of which were the real key I was looking for.
Now this might be a very roundabout way to do things, but it's working very well for me so I'm sticking with it for now. If you have a faster way to do this, feel free to share in the comments.
Your plain text is going to be peppered with shortcut letter and number combinations that represent specific icons you want to insert in their place. Those icons are actually characters from a separate font that you have either purchased or made yourself.
For example, this card...
Basically, you're going to make character styles for each of your icons and another character style that makes the number "disappear." Here's how...
Choose your Shortcut System
To keep all your icon codes straight, it can be handy to make a list that you use as a reference sheet. This is especially necessary if your working on a team. In my case, my font is Webdings and the "icons" I'm using are the characters N d i q e. When you use a custom font, you can control which characters are mapped to which icon, to make this part much easier.
I'm going to pair each of those special characters with the numeral "1" since it won't occur naturally at any other point in my game. So for example N1 will stand in for the "eye" icon.
Create your Character Styles
First, make a new character style called Disappear. This style will have the smallest horizontal scaling and point size possible, and have its color set to none. Visually, any text with this style will shrink to effective non-existence, though it will still be there if you do any manual selection of the text.
Then set up a character style for each of your icons. I actually like to create one "parent" style for my icons first, then make "child" styles based on that style. In this way, I can just edit the "parent" style if I want to make global changes to all the icons as a whole. In any case, you'll end up with a character style like this, with your chosen font and your chosen color.
Create your GREP Paragraph Style
Now you can set up your paragraph style for your CCG body text. I prefer to make this body text its own paragraph style so my edits here don't affect card titles, stats, or any other text on the card. Feel free to set up the text's attributes however you wish, with whatever font, leading, color, etc you prefer. The bit we're concerned about right now is under GREP Styles.
For each icon, make a new GREP style as shown below. For example
tells InDesign to look for the character N, but only if it is followed by the number 1. Any other instances of N are ignored. To that character, I apply the Character Style Icons - Eye. You can call your styles whatever you want, but I like to be as literal as possible. In this case, the character N in Webdings looks like an eye, so it made sense to label it as such.
As you make each GREP style, if you have "preview" checked, you'll see your work in progress! Like magic, those characters will be replaced with colorful icons.
But wait, now you have all these random 1s floating around the text. How to get rid of them? With your Disappear character style! Because this style will be applied to each indiscriminately, I can use the following string in this grep style:
This tells InDesign to look for any instances of 1, but only if preceded by the characters N d i q e, then apply the Disappear style to each. When you're done, it should look like this.*
There! Now you have handy icons sprinkled into your regular text without having to manually insert any external image files. Don't forget to check out my Card Design for Tabletop Games video course that teaches you how to make a whole deck of cards and tiles in a snap!
*Update: 11/7/2014: Check Mark Sherry's comments below for a shorter version of this expression that can also work. (?<=(N|d|i|e|q))1
We're approaching the end of my year-long challenge to polish and release a new game each month via DriveThruCards. As a part of that process, I'm releasing sales reports for each month so you have some perspective on your own POD sales performance. First up, here are some charts!
0x Bird Bucks +0
5x Kigi new!
22x Koi Pond: A Coy Card Game +4
8x Koi Pond: Four Walls (Promo Card 2) +3
8x Koi Pond: Four Winds (Promo Card 1) +4
8x Koi Pond: Moon Temple +0
16x Light Rail -10
12x Monsoon Market -1
1x Nine Lives Card Game -4
3x Penny Farthing Catapult +1
0x Regime -2
8x Solar Senate -10
15x Suspense: the Card Game +11
1x Ten Pen -1
107 Total Sold
$829.11 Gross Sales
Grand Totals for 2014 (to date)
1564 Products Sold
$8,809.34 Gross Sales
Clearly August and September were the huge spikes in sales, converging around Gen Con sales. Since then, we've settled into a plateau of around 100 products sold each month for the past two months. I'm pleased that despite lower sales this month than last, the earnings have been roughly equal. This is likely because my lower-margin items dropped in sales, but were compensated by some higher-margin products like Koi Pond and Monsoon Market.
A Dubious Milestone
This month also marks the first unfortunate milestone of any business. This month is the first in which an existing product sold 0 units.
The novelty value of Bird Bucks kept it aloft for a long time, but that wasn't going to last without further support on my part. Sadly that's hard to come by with my current freelance schedule and ongoing development cycle.
Regime has the largest card deck of any of my games, but has relatively light gameplay. The high card count means that it's priced more like my heavier games, despite being roughly equal to Penny Farthing Catapult in terms of depth. That likely reduced sales.
In both cases, I don't have a video tutorial explaining how they work, so that would need to come first before I decide to remove either from the catalog. Besides, the beauty of POD is that there is no cost to warehouse inventory. I can keep these products up indefinitely for whoever stumbles across them months from now. There's no such thing as out-of-print!
A Hopeful Future
The past two months have shown me that if I'm going to have a clear freelance docket next year, I may have to end my 2014 project a month early with Arf!, the puppy adoption game. I think that will sell very well for the holidays, given the cute puppy art and light gameplay suitable for the whole family.
This month sees the release of Kigi, the game of pretty trees and tricky choices. I hope the lovely art in that game, plus a low price point, plus being playable with up to 5 will make this a long-term stalwart product with appeal for international licensors.
I was really hoping to reach the finish line, but I gotta keep things in perspective. Next year is its own huge project, releasing my own micro expandable game line via POD with crowdfunding support. 11 new products in 2014, plus four products from 2013 is nothing to sneeze at. The remainder of the year looks quite bright. :)
When you're making your first game and doing the graphic design yourself, watch out for these common pitfalls of typography. Click the image below for full-size description of nine different legibility problems and what you can do to avoid them. This image is released under an Attribution-NonCommercial-ShareAlike 4.0 International Creative Commons License.