GenCon 2012

I’d intended to post this earlier in the week, but (big surprise) things got away from me.

I returned on Monday from Indianapolis, having attended GenCon 2012 as both an “Industry Insider” Guest of Honor, and an Exhibitor (with Cubicle 7 Entertainment, whom I work for as a consultant and a freelance writer, in addition to partnering with them on Adamant’s print releases in the games industry). The picture above is a shot of our booth in the exhibit hall — the reason it’s clearly visible is because the picture was taken before the hall officially opened. Once open, the aisles were constantly filled with a teeming mass of gamers, and we were only able to be found by the Daleks which rose majestically above our arrayed products.

So yeah — busy. I spoke with GenCon owner Peter Adkison on Saturday, and he said that he believes that attendance passed 40,000 this year — he was fairly certain that last year’s attendance was surpassed either late Friday or early Saturday. The convention was noticeably busier, and every peer I spoke with talked about big crowds and big sales.

A joke was going around that the new GenCon greeting should’ve been “How’s your Kickstarter going?” The crowdfunding revolution has clearly made its mark — I saw dozens of games that had begun life as a Kickstarter project, and the two separate Kickstarter seminars that I was asked to participate in were both packed with attendees. I don’t see that trend slowing down any time soon.

Attending as a Guest of Honor was amazing. Yes, it meant that I was doing six hours of extra work on top of my traditionally-packed schedule, but occasionally I would take the time to note where I was, the company that I was counted among, and what that meant. In a field where the rewards are few and far between, it was absolutely a career milestone — a genuine honor.

One of the interesting effects of attending as a Guest of Honor was the increased visibility, from appearing in the convention program book. I had many people track me down just to tell me that my work had meant something to them — which was the greatest honor of all. One of them introduced himself as one of my first customers, having bought a copy of PERIPHERY from me at GenCon 1994 — my first commercial RPG design, only 500 or so copies of which were printed.

Others praised UnderWorld, which was released at GenCon 2000. In a related blast from the past, the Jaffe brothers (late of Synister Creative Systems, the company that published UnderWorld) made their return to GenCon for the first time in 11 years, with a new company, Eschaton Media Productions, and a new game, Dystopia Rising. Here’s a shot of Sean Jaffe with Jurgen Meyer, holding a copy of the 2001 Synister release, The Last Exodus, a few copies of which were available at the Eschaton booth.

The ENnie Awards on Friday night ended with the expected result — Tales of the Far West did not win (and barely rated mention as a nominee, thanks to a presenter who, it appeared, had engaged in some “celebration” before the show). When we saw the strength of our fellow nominees, we assumed at best a third-place finish, although we were pleasantly surprised to have gotten the order of winners wrong — The Lords of Waterdeep boardgame won Silver, while the Kobold Guide to Game Design took a well-deserved Gold. Thanks to everyone who lent us your support and your votes, they were much appreciated. The old cliché of “it’s an honor just to be nominated” is actually true for these awards, but some day we’re going to get one of those medals!

On a personal note, I was extremely proud of my wife, Laura, who not only worked as the business manager for Cubicle 7’s booth, but managed to put together an absolutely amazing costume on Saturday, appearing as Idris, the TARDIS made flesh, in the Neil Gaiman-scriped Doctor Who episode, “The Doctor’s Wife.” The pic at left was snapped by Ed Healy of Gamerati — I snapped a shot earlier, and posted it to twitter, where Neil Gaiman called it brilliant, leading to a very happy wife for the entire day.

The only drawback of the show was actually a function of its usual benefit: Spending days surrounded by my brilliantly creative peers usually leads to inspiration for dozens of projects that I want to work on immediately. Unfortunately, my plate is so full right now with things which already demand my attention, I have no time to launch anything new. Alas.

I suppose it’s a good problem to have, but it is frustrating.

It’s a strange business we’re in, where four 18-hour work days can actually recharge our batteries, rather than draining them completely, but there ya go. GenCon 2013 is set for August 15th through 18th. I’ll see ya there.
 
 

Friday Music

Time for another “Mixtape of Teh IntarWebs”, kids — just a collection of stuff that’s been banging around between my eardrums recently. I figured that since next week is GenCon, and I’ll be very, very busy, I’d put these out here now, rather than wait another two weeks.

First up are the lovely ladies pictured at left. Clairy Browne and the Bangin’ Rackettes are an Australian group doing spot on retro-soul revival. Imagine if Amy Winehouse had cleaned up, avoided her downward spiral, and then hired the Puppini Sisters as backing vocalists. I discovered this group through the latest Heineken ad, which features them as part of a transformation a bar undergoes when the commercials protagonists order a beer. This is the song featured: Clairy Browne and the Bangin’ Rackettes – “Love Letter.”

Moving from retro-soul revival to some absolutely sick dubstep, which some of you probably know from its prominent use in last weekend’s Breaking Bad. Knife Party is the electronic side project of Rob Swire and Gareth McGrillen of the rock band Pendulum. This track begins with a smooth reggae groove before dropping into the bone-shaking wobbles: Knife Party – “Bonfire (Original Mix).”

Watched a German vampire movie via Netflix last weekend — Wir Sind Die Nacht (We Are The Night) — which was awesome, despite Netflix only giving you the option to watch it dubbed (unfortunately, the dubbing is anime-level bad, with the same flavorless voices that you hear in everything). The music was also brilliant, especially the track that accompanied a chilling opening featuring a lear jet full of corpses flying through the night. The music was provided by the Belgian women’s choir Scala, with production assistance of the Kolacny Brothers — who together are probably best known for their cover of Radiohead’s “Creep” that was used in the trailer for The Social Network. They do a lot of choral covers of alternative tracks, with a few originals mixed in. This is one of the originals, and I love it: Scala & the Kolacny Brothers – “Self-Fulfilling Prophecy.”

A track that I first heard last season on So You Think You Can Dance, choreographed by Sonia Tayeh, and then more recently in an episode of the AMC series Longmire. AWOLNATION – “Sail.”

Jumping back to the 80s, with a track that I’ll always associate with its use in Miami Vice (over a shot of a Ferrari racing down a highway through the everglades), by a post-Styx but pre-Damn Yankees Tommy Shaw: Tommy Shaw – “Girls With Guns.”

There ya go kids, enjoy. More after GenCon.

Insurgent Creative: The Kickstarter Bulk Reward Ban

There’s been a discussion recently, centered around a new project guideline enacted by Kickstarter, which now prohibits “rewards in bulk quantities.” Since a lot of projects in the hobby games industry had special “retailer tiers”, whereby local game stores could get in on a Kickstarter, there’s been a lot of push-back on this new prohibition. Those of us who had successful, relatively high-profile Kickstarter projects have been asked for our opinions, or asked to sign a petition against the policy.

I won’t be signing, because I whole-heartedly agree with the policy.

Kickstarter is a method of crowd-funding creative efforts — and, in my opinion, shouldn’t be turned into a wholesale distribution network for retail. It should be about creators directly connecting with people who are backing ideas they love. That appears to have been the intention of the site all along, and this policy reinforces that.

The cry from retailers and their supporters is that this just another direct-to-consumer model which cuts the retailers out of the loop. To which I say: yes, it is, and I don’t have any problem with that.

Insurgent CreativeI used to be a games retailer. From 1988 to 1990, I worked for Titan Games and Comics in Atlanta. From 1993-1995, I worked as the games manager at T&T Comic Market in Lawrence KS. So it’s not as if I don’t have any sympathy for people working in retail — but the simple fact of the matter is: Things are changing. Direct-to-consumer is the model that works best for Creatives, and the tools exist to do that. Shoe-horning retail into that relationship is a nice gesture, but it’s a temporary fix at best — that effort would be better spent in figuring out ways that retail can change, to offer something unique themselves.

Also, bluntly, there are huge issues of entitlement at work here. Retailers have complained when publishers started offering direct sales from their own websites. Retailers have complained when publishers offered digital sales — that this move was somehow an effort to “cut them out.” And now, retailers are complaining about Kickstarter. The ironic part of all of this is that these efforts (direct sales, digital sales, crowdfunding) have grown as a direct response to a lack of support from retail, the majority of whom stock shallowly and only from the largest producers.

I offered a retail tier on the Kickstarter we did for Far West. 5 copies of the game at wholesale, with the option to increase that order. Only 8 retailers took advantage of that, despite widespread promotion (including coverage on i09). Not a lot, but hey — we made the effort, and are happy to serve those store owners who joined us. Of course, after the Kickstarter ended, and Far West started getting attention and discussion due to the amount we raised, etc. — I was contacted by many more retailers, complaining that we were “cutting them out” by doing a Kickstarter. Some vowed to never order any product from us. Some asked to be let in on the deal after the deadline, and raged when I said that the limited edition was Kickstarter-exclusive, but that they’d have the opportunity to order a retail edition in the future. That wasn’t good enough.

At the ICV2 Conference on Comics and Digital before the New York Comic Con in 2010, Mark Waid said: “We cannot allow ourselves to be held hostage by two thousand retail accounts.” (referring to the total estimated number of dedicated comic book retailers in the United States.) There are even fewer of those accounts that sell games. We’ve tried for years to make them happy, to acquiesce to their demands, even when those demands were to be let in on something that had grown out of their own short-sightedness. We made sure not to under-price them when we sold direct, via website or at Conventions. We made efforts to develop ways that they could earn money on digital sales (and, speaking personally, that was a multi-year effort at inclusion that still hasn’t been widely adopted, and you still see retailers complain about digital, despite those efforts to include them).

Enough. Not everything is about you, or should be.

I’m sorry that the business model is shifting beneath your feet, I really am — but in a question of whether to do something to benefit the creative, or to benefit retail, I’m going to side with the creative, every time.

Kickstarter is about connecting the creative with a consumer — a community-building effort that creates a fanbase, and (when it works as intended) that creates an ongoing relationship. Efforts to include retail in that equation were a move away from that focus, and I think that Kickstarter is right to pull focus back where it belongs.

 
 
Update, 8:12pm: Kickstarter has responded to the controversy by clarifying what they mean by ‘bulk.’

“As of today, we’re defining “bulk quantity” as a reward that offers more than ten of a single item. We feel that a limit of ten will prevent bulk commercial transactions while still allowing independent stores (the most frequent backers of these rewards) to back projects and share them with their communities. Projects are welcome to offer rewards intended for stores so long as they are in quantities of ten or less.”