Looking Forward…

If the last post was looking back at the worn path of 2023, this one is about looking forward into 2024. What has Caradoc Games got planned for this year, and what are some things I’d like to work on outside of that?

Ganymede Outriders

Scheduled to be the first release for 2024, Ganymede Outriders will be hitting Kickstarter in February as a part of ZineQuest/ZiMo

Ganymede Outriders is a big game in a little package. The game uses a custom designed system built for thematic and quick play; putting the emphasis on fun and high action.
Ganymede Outriders includes a full RPG system, and is ideal for both one-shots and campaign play. It is designed to be played with 2 to 5 players and a GM.

Ganymede Outriders will be published as a 40 page A6 zine – another pocket sized book because I like the format, and it keeps the shipping cheap for overseas buyers.

I’ve been working on a bunch of support material for this one, including an SRD, an example of play, and an adventure. It will be available for people to hack, remake, or create for under the Caradoc Games license. Which means you can make stuff using the system, or for the game setting, for free or for sale, without Caradoc Games expecting a tithe.

Everything for Ganymede Outriders is done and ready to roll, and I am super excited for this to launch. I think the setting is fun, and the rules lean into it – something I love doing with all my games!

Ganymede Outriders will be the first game I launch in 2024, but it won’t be the last.

With Every Fibre

Coming in second is With Every Fibre, which will probably be launched somewhere on crowdfunding a month or so after Ganymede Outriders, or the middle of the year at the latest.

With Every Fibre is a fantasy dungeon crawl. The system is designed to OSR-like, but uses D10s for skill tests, and a range of other polyhedrals for weapon damage, spells, and the like. Here’s the pitch:

With Every Fibre is a rules-light fantasy adventure game. Between the covers you’ll find the rules of play, spells to cast, weapon traits you can unlock for special powers, adversaries to face down, tables to roll on and more.

With Every Fibre includes a full RPG system, and is ideal for both one-shots and campaign play. It is designed to be played with 2 to 5 players and a GM.

With Every Fibre will be published as a 48 page A6 zine. I’m really proud of this one. First of all I think the game system is fun, and contains some interesting ideas. Mostly though because all the art and maps for With Every Fibre and the adventure were done by own hand!

Like Ganymede Outriders, everything for With Every Fibre is already done – the rules are written, the art is complete, the layout is finished… So basically, it’s ready for launch!

Heralds… Maybe…

The third release for 2024 is likely to be a game I have been working on for a while called Heralds… A game where setting building and map creation are a strong part of the game – but I haven’t decided whether this will be a setting book, or whether it will come with a game system as well. Knowing me, I’ll probably end up designing a game system for it, but who knows!

This one is planned to come out late in 2024, I don’t know the page count, and while it’s partly written, I need to go back and rework stuff I put down to paper from a couple of years ago… it’s very much fluid at the moment.

Of course, if Ganymede Outriders or With Every Fibre do particularly well, this third release for the year might be something expanding those systems, and Heralds might be bumped back to 2025. Speaking of which, at some point, probably in 2025, I want to revisit Corsairs and Rascals.

A Podcast?

One of the things I have been considering is starting a short review series – one where each episode is less than twenty minutes, and focuses on a single table top role playing game. One of the reasons I thought about doing this is because there are so many indie games that struggle for reviews, I thought it would be nice to do something to fill that gap. Yeah – it would probably keep a fairly positive focus, but that’s mainly because I’m motivated to talk about the things I like. I’ve done podcasting before, and I’m not sure I have the energy to make this a multi-person affair, so it would probably just be me talking into a microphone. Sure it could be TikTok or YouTube or whatever, but I’m not really interested in creating video content, and I almost never watch these forms of game media myself, stick to what you know right?

Other Stuff…

Three games and support material is a pretty reasonable release schedule for 2024, but there are other things I am working on, including a novel manuscript, creating more art for my projects, and other things both personal and professional. We’ll see how it goes.

Looking Back…

I’ve written about my gaming goals for 2024, and in the great tradition of the new year haze, I want to continue in that vein of thinking. But first, we need to look back.

2023 was a relatively quiet year for Caradoc Games, at least in terms of releases. Prisoners of the Elf King launched as a Kickstarter in February of last year, and only just scraped over the line thanks to the generosity of a friend. I was a little disappointed in how Prisoners of the Elf King fared on Kickstarter. I think it’s a fun game, and more than that, I think it’s a fun read. It’s done reasonably well post Kickstarter though – so there is a silver lining! With the post Kickstarter sales the game managed to cover it’s costs and make a little bit of money. By which I mean I paid the artist and made that money back, and managed to keep some change for myself as well, and if not enough to pay me for the design time, writing, and layout, is better than it not covering costs!

For anyone interested, Prisoners of the Elf King a game that pokes fun at some of the classic tropes in fantasy fiction, and in particular the Hobbit (who would have guessed from the name). If you want to know more, you can pick up a below, or from Indie Press Revolution, or from Exalted Funeral.

Why did it not fare so well?

It could be the format – A6 might not be as popular as A5, or something with a hard cover. To be honest, I don’t think this is the main issue, it just failed to capture much attention on Kickstarter. It could be that it was because it was marketed as a one-shot game – it is an adventure and all the rules required to play that adventure. I think it’s a fun idea, but maybe it’s not a commercial idea. This concept (story arc and bespoke rules set) may be something I come back to, but for now I’m going to focus on making game systems and settings that are not built around one plot concept, however funny I think that concept might be (and trust me, it’s funny). The next few games from me will keep the format, but will be fully fledged RPGs.

Sales of my other games also slowed down in 2023, though I did send off my last copies of Corsairs and Rascals to Indie Press Revolution. Corsairs has sold about 600 copies, and Rascals about 500. I could order another reprint of both, but sales have slowed, and to be honest, both of these are games I’d like to revisit.

At one point I’d love to do a bigger version of Corsairs, with the supplements rolled in with the core rules, maybe even a hard cover if that was possible. We’ll see.

Rascals is a game I am really proud of. I think the playing card system is solid, and I like it a lot. Again it’s a game I’d like to revisit, maybe as a second edition, maybe using the same core system in a different setting.

For now, both these games are almost sold out. The last copies available can still be purchased from Indie Press Revolution (Corsairs, and Rascals) and Exalted Funeral (Corsairs, and Rascals).

Why the slow down? I honestly don’t know. It could be related to the economy, but it’s most likely related to two factors:

1) I wasn’t very active in promoting my games in 2023. A fact that is almost directly related to

2) A main source of traffic for me in the last was through Twitter, which fell of a cliff in 2023. Post engagement is really low, directed traffic is really low to non-existent… Twitter was the main platform I used for putting out news and promotional material related to my games, and it was killed in a brutal if not amusingly ironic fit of capitalistic hubris.

Last year, when it came to considering how I’d promote my games, or whether I should post something, I just felt very disengaged and lacking in motivation. I tried all the things everyone else in the TTRPG industry tried: Hive, Mastodon, Tribel, Threads… the only one I have come to kind of enjoy is BlueSky, aka Twitter with the serial numbers filed off, and you can find me on that site here.

All of that, combined with changes to MailChimp – which I use for my mailing list – made it feel very difficult to get any sort of engagement. I think for 2024 I am going to focus on three things: BlueSky, my mailing list, and this blog.

A bit of a quiet year for Caradoc Games, and a part of this was the fact I changed jobs, and a part of this was that I felt a little disengaged from the whole thing. Prisoners of the Elf King was the only game I released last year, but I did put a lot of work into the design and development of some other games that will be coming in 2024. More on that in the next post…

The year that was…

2022 was an interesting year, for myself personally it has meant some significant change, for Caradoc Games it’s been a year of overcoming complications and trying out some new things.

Looking back over 2022 from a ‘games and writing perspective’, I have achieved a number of things this year. I finalised, printed, and fulfilled Foundlings. I ran a Kickstarter for Owlbear Omelette. I designed and wrote Prisoners of the Elf King. And I have almost fully developed the next game, slated for the second quarter of 2023: Ganymede Outriders.

It sounds like a lot, and I suppose it is, but I also felt like I did a lot more than I actually did. On reflection, the key reason I didn’t get as much ‘game related’ stuff done as I had planned or thought I might was because of how busy my own life was outside of Caradoc Games. In 2022 I worked full time as a teacher, I also worked some 20 hours a week coaching gymnastics, and then worked on Caradoc Games related stuff outside of that. I have three very active kids, and family life is important. If I got less done on games than I had intended I think I can give myself a break – this year was busy!

One other significant change that happened this year was that I stepped away from the classroom after nearly 20 years as a teacher, and took over the management of a gymnastics center. All of this happened at the same time the little country town I call home flooded. The gym was forced to move locations and the weeks from the floods to the recovery were massive. While this chaotic start to a new career was interesting, to say the least, I really am hoping for a more stable year to come. I loved coaching throughout 2022, and am looking forward to what the new year brings.

So back to game related stuff. The year started with Foundlings, and it was a rocky start. Originally I had intended to fulfill Foundlings through my own webstore, but an error I couldn’t work out in the coupon system was taking time to resolve. In the end I opted to run a pledge manager through Gamefound, which was… interesting. While it took more time than I had planned for, I am thrilled to say that Foundlings was successfully fulfilled, if a little late. This game seems to have done well post-kickstarter, and I ended up having to order a second printing not long after the first. I hope it continues to do well, I really like this little game, and I think it uses some really fun rules. If you’re after a post-apocalyptic fantasy game, with strong environmental themes and a focus on the slow degradation any post-apocalypse brings – this game might just be for you!

The second quarter was spent getting my game Freedom or Toaster finished and laid out for the Tiny Tome – a Kickstarter run by Long Tail Games. I really like this little micro-rpg of mine, and was thrilled it got a chance to be a part of such an awesome anthology of games. As a one-shot I think Freedom or Toaster works great – it has simple resolution mechanics, a fun and funny theme (human-like robots trying to escape a busy mall to live their best lives, while human robot police hunt them down). It also has one of the best rules I have added to a game (imo): every time a robot speaks they have a noise they have to include in their speech – maybe it’s ‘beep’, maybe it’s ‘woo!’ – every time I have played Freedom or Toaster this element has been a lot of fun.

Around the same time I started work on Ganymede Outriders, a game I originally hoped I would release as a perfect bound book of something like 100 A5 pages. But…

When fulfilling Foundlings I had a number of messages from backers complaining about the high cost of shipping. Believe me, I get it. As an Aussie, shipping is a nightmare. Having the cost of shipping be about the same as the game itself – for a game which is a staple bound booklet no-less… yeah. For Foundlings I actually charged less than what it cost me to put those games in the post, and at $14 for shipping per copy – no, it was not cheap. I looking at working with a shipping partner, I looked at localised printing, and while these offered some solutions, the cost in currency conversion between AUD and USD meant that any savings I could pass on were negligible or non-existent.

My plans to make bigger books with Ganymede Outriders and Heralds was only going to mean bigger shipping costs, but what if I went smaller instead? What if I could send something in a DL envelope? That would cost about $4 AUD for international shipping.

The plan for Owlbear Omelette was hatched.

Owlbear Omelette was a game I had originally released in 2019. I chose to revamp the game for this little experiment, and converted it into a 36 page staple bound A6 booklet. I reworked the rules, added some fun new options, redesigned and added a bunch of random tables for generating a dungeon or palace, and let it loose on Kickstarter. It didn’t explode, in fact, it barely scrapped over the line, but it funded. It funded and it let me trial how much cheaper and easier it could be to send stuff via DL. Owlbear Omelette wasn’t even on my radar for a re-release at the start of the year, but here we are: a successful Kickstarter fulfilled, and copies already available in retail at places like Indie Press Revolution, and soon to be at Exalted Funeral.

The experiment was a success, and this led me to work on my next game. It wasn’t that I abandoned Ganymede Outriders – that one was still percolating in the background, but I wanted to make something that was spiritually like Owlbear Omelette, something that was hopefully amusing to read and play, and that poked a bit of fun at itself and it’s genre. Prisoners of the Elf King was born.

In Prisoners of the Elf King you play as Dwarves, captured by the eponymous Elf King, and released from your cells by your burglar. Rather than climbing into barrels and getting dashed to pieces in a river, you have collectively decided to find your own way out.

Like Owlbear Omelette, this game is both the adventure and the rules system, with the rules specifically designed to engage with the themes. In Prisoners of the Elf King Dwarves can ‘Dig Deep’ to score extra successes, but if they do it to much they can release their bane. The characters all have passions – which play off the characteristics of the Dwarves in The Hobbit and the Lord of the Rings, and if they are fulfilled the player can advance their characters. The party also has a sheet with three tracks – Fly You Fools measures how close the Dwarves are to escape. Diplomatic Incident is rolled after the game, and can mean the antics of the Dwarves lead to a massive war (Battle of the Five Armies style), and Drums in the Deep is the track that gets filled up if the Dwarves dig too deep too often.

I think the system is fun, and I got a lot of pleasure out of designing a set of rules that play with the material that inspired it. Like Owlbear Omelette this is a strongly focused game – it sets out to tell a story, and has all the rules you need to play that story. I’m thinking of calling this little line of games ‘Episodes’ – because that’s very much what it feels like. They are a different design experience to something like Corsairs, Rascals, Foundlings, or Ganymede Outriders – all of which are game systems and settings.

Prisoners of the Elf King will be hitting Kickstarter in February this year, as a part of the ZineQuest and ZiMo promotions.

Of course, with the rules for Prisoners of the Elf King done and dusted, I turned back to Ganymede Outriders. This is a game and setting, includes vehicle rules, and a travel system. I am going to try and squeeze all of that into an A6 book. Will it work? We shall see…

Toward the end of last year Thunderworks Games ran a Kickstarter for their Roll Player Adventures game. This was hugely exciting for me, as a part of this Kickstarter included the Tales of Ulos graphic novel. I wrote one of the comics in this novel: Blackjacked Buccaneers, and it was one of the most enjoyable pieces of freelance writing I have ever undertaken. You can read some thoughts about it all here. I was very pleased to see Roll Player Adventures do so well, not least for the selfish reason that I get to see a comic book I wrote go to print. And who knows, maybe we’ll see more of Kaemon and Pitlin in the future…

Well, that about wraps up the year that was. 2022 was a busy year, but I am pleased with everything I got done. It wasn’t the biggest year for Caradoc Games in terms of money made, and one of the reasons for this is because I had made the decision to move away from freelance work to focus on my own games (Blackjacked Buccaneers was the exception – I mean who could say no to writing a comic!).

The Owlbear Omelette Kickstarter raised about $1600 AUD, of that about $100 was profit, but I also sold copies into distribution, and that, for me at least, has been where my games have made the most. Online sales through my website were almost non-existent, sales on itch.io came to about $40, and DriveThruRPG sales totaled about $140 (after DTRPG took their 30% cut). Royalties from Long Tail, and sales through distribution (both Indie Press Revolution and Exalted Funeral) came to a bit over $3000. None of this includes royalties for the comic book – I expect those will start next year some time. Not a huge amount to show for the work it has taken, but all building. I now have four games in print, the experiment with cheaper shipping options was a success and has created the model for Caradoc Games moving forward, and I have two games ready for 2023. With a back catalog starting to make some money, and at least two games lined up for release next year, I hope the building I have put into this year will start to grow in 2023.

I have rambled long enough, I’ll write about my plans for 2023 in another post.

Early Reflections – Owlbear Omelette

Owlbear Omelette, our first A6 sized pocket-book style game, funded successfully on Kickstarter, has been printed and fulfilled, and is available now from the Caradoc Games webstore. Very soon, you’ll also be able to find it at Indie Press Revolution and Exalted Funeral as well! While it didn’t reach astronomical levels of funding, it funded enough.

A while ago I wrote about Owlbear Omelette as an experiment. I like making zines, and I have loved making games like Corsairs, Rascals, and Foundlings. But the increasing cost of shipping has become a problem. My last A5 zine, Foundlings, costs as much in shipping as it does for the game. This isn’t me price gouging on shipping, it’s literally what it costs. For me to post a bubble mailer just big enough for a game like Foundlings to the US costs me nearly $14 AUD. Paying as much in shipping as for a game is something people in Australia are accustomed to, but it also means we (well I certainly am) are more picky about what games we choose to buy and when. I got some kickback from some Foundlings backers about the cost of shipping, and while I completely sympathize, I charged less than what it actually cost. Owlbear Omelette was an experiment in how I could do better by my international customers, could I make a game I was happy with, and make sure it was sized in such a way as to drastically reduce the cost of shipping it?

Moving to A6 has meant I was able to keep shipping costs to a minimum, and while this format has presented some limitations and challenges, it has also provided opportunities. Owlbear Omelette was a proof of concept – I wanted to see what I could do with an A6 format, something that I could comfortably get away with sending in a DL envelope. How much game could fit into 36 A6 pages? How much did I need to sacrifice from the sort of games I have enjoyed making (like Corsairs, Rascals, and Foundlings)? How much would shipping actually end up costing?

Shipping from Australia to the US costs me about $4 AUD, a full $10 cheaper than an A5 booklet. Yes, there are sacrifices in terms of how much detail I can cram into the space available, but I feel that Owlbear Omelette is a lot of game content in a small package, and it doesn’t cost too much to put in the post. I am happy with the results so far, and it will mean (for a little while at least), that you’ll be seeing more A6 formatted games coming from Caradoc Games.

While all my other games have been a full RPG, albeit in an A5 zine style booklet, Owlbear Omelette took a slightly different approach. It hyper-focused on a story, and everything was designed to lean into that story. It was, in essence, an adventure and a rules system bundled together – with the rules designed to make the most of the story. I wasn’t sure whether it would fund, I wasn’t sure if it would work, and I especially wasn’t sure if it would end up being cheaper for backers in terms of production and shipping. I am happy to say it succeeded on all the metrics I had hoped it would. Sure it didn’t over fund to a great extent, but it funded enough. Enough means I didn’t lose money. Enough is hopefully a good start to building an audience for this sort of game from Caradoc Games.

Owlbear Omelette is out in the world, available from the Caradoc Games store, and soon to be available from indie RPG powerhouses: Indie Press Revolution and Exalted Funeral. Hopefully those who pick it up will have a laugh, and if they play it, I hope they have a blast. Lastly I hope that Owlbear Omelette has done it’s job – proving a proof of concept, and will be the first of many little games from Caradoc Games, where the cost of shipping isn’t going to sour the deal.

What’s the next A6 game from Caradoc Games?

Prisoners of the Elf King

In Prisoners of the Elf King you play a group of dwarves who have just managed to break free of the cells you were unfairly placed in under the orders of the Elf King. While your burglar helped you slip your cages, the next steps they proposed could be generously described as ‘sketchy’, at best. So, while the burglar heads off to prepare, you and your fellow dwarves are going to find your own way out!

Yes! You’ll all be damned if you let some button-less burglar drown you in barrels, there has to be a fitter way out of this foresty fastness! 

Prisoners of the Elf King, like Owlbear Omelette, is a self contained adventure and rules system. The rules have been especially designed to play on the story and themes of the game. You are Dwarves, and naturally, when needed, you can dig deep to get the successes you might desire. But be wary of digging too deep! There are a bunch of fun rules in this game, some for the individual Dwarves to have fun with, some that impact the entire group. I am proud of this little game, and can’t wait to share more about it!

Prisoners of the Elf King is fully written and laid out, I’m waiting only on the art. With Christmas around the corner, I think any attempt to launch this game will be better held for next year. So… Prisoners of the Elf King will be coming to Kickstarter in February next year, just in time for the 2023 ZineQuest promotion.

Blackjacked Buccaneers…

Last year, around June, I wrote a comic book for Guf Studios and Thunderworks Games. It was the most enjoyable piece of freelance writing I have undertaken, and so very different from anything else I have worked on.

This year it is being published alongside the expansion for the hugely successful boardgame, Roll Player Adventures. You can check out the Kickstarter here.

The comic I wrote is the story of Kaemon and Pitlin, characters you can meet in the Roll Player Adventures game. When you meet them there is some tension in the air (I won’t get into spoilers), and I thought it would be fun to wind back the clock on these two characters, and find out how they ended up in a life on the high seas.

The comic takes place about 20 years before the events in Roll Player Adventures, and begins with Kaemon and Pitlin as vagabonds on the streets of Cutty’s Landing.

Writing a comic book was a challenge. Having 28 pages across which to spread the story, being mindful of when and where the story sits on the pages, what story beats take place across a two page spread, what to leave to the turn of a page, how to flow the action visually from left to right, all of it was such a fun way to visualise and write a story.

It was amazing to work with Juan Ochoa, the artist for the Kaemon and Pitlin comic. I’ve worked with Juan before on my games: Rascals, Owlbear Omelette, and soon on Prisoners of the Elf King, but this was a magnitude more involved. Juan did an outstanding job of bringing the story and world to life, and his art is stunning throughout.

My favourite piece of art in the comic, amazing work from Juan!

The above piece is a single cell that spreads across the top of the page. Just prior to this (on the previous page) the characters experience a pretty rough wake up call, this page starts with a storm breaking – a visual metaphor for the characters hitting a moment of stark realisation. Kaemon and Pitlin develop something on this page: resolve, and the page ends with calmer skies. Probably no-one in the world will notice or care about this transition as a visual expression of the characters’ state – but it’s little things like this throughout the story that I absolutely loved thinking about.

I realised when writing this story what a visual thinker I am. When working on it I had a large whiteboard behind me with numbered bullets in two columns – 1 through to 28, arrows to show which pages were double spreads, and next to each of the bullets a quick note about how the characters enter and leave the page – all mapped against my outline. In front of me, while writing, I had an A4 sized whiteboard – I imagined how the characters and story moved through the page and drew out the empty cells, then on the computer I wrote the script that flowed from this process. I have no idea how other people work on comics, but this method worked for me, and I absolutely loved every minute of it.

As an aside, here is the script for the cell above:

Panel 1 – full page width, ¼ page down, extreme long shot

The Dagger is being rolled in heavy swells and pelted with rain. Lighting dances around the masts. Raging storm clouds blot the sky. The ship is visible in varying levels of detail, lit by the lightning around it. Figures are still at work in the rigging, scuttling up and down the ratlines, and on deck tied together with ropes.

Blackjacked Buccaneers is one of four comics in the World of Ulos graphic novel. I had a huge amount of fun writing the script, and thoroughly enjoyed working with Juan, as well as the wonderful teams at Guf Studios and Thunderworks games.

You can find The World of Ulos graphic novel, and the Roll Player Adventures expansion, on Kickstarter here.

On the Cards… A Question of Design

You’ve been called back. Back to the life you thought you had escaped. A foul plot is afoot…

Rascals is an action-adventure science fiction role playing game. It was inspired by such movies as Rogue One, Bourne, The Dirty Dozen, and so on.

Rascals uses traditional playing cards as the core engine for resolving skills tests and challenges. Today I want to talk a little about how this works, and some of the design decisions I made when creating this system.

You can find the pre-launch page to Rascals here, hit Notify to follow the project…

Context

Before I delve into why I made the system this way we need to know how the system actually works.

In Rascals each player will have a hand of cards. When a player undertakes a Challenge, or Reacts to something, they will play a card from their hand into the middle of the table (called the Pot). The GM (called the House), will also play a card according to the Difficulty of the Challenge or React.

  • Easy: The House will draw two cards, will discard the higher card face up, and play the lower card face down into the pot.
  • Average: The House will draw and play a card to the pot.
  • Hard: The House will draw two cards, will discard one face up, and play the other one (note that the House can choose which to play).

Discarding a card face up in an Easy or Hard Challenge will give the player some indication of what they need to succeed. The House may choose the card to play in a Hard challenge, because many adversaries have abilities that can be activated when they play a card of a specific suit. Sure the House may play a card thinking they have a good chance of losing the Challenge, but it might mean that the Adversary gets to do something extra, or special…

Players will redraw cards on Reactions, but not for Challenges they undertake. Cards are the characters inspiration, their drive, and their focus. If they get caught in a series of Challenges – a chase, a complicated engineering problem, heated debate, or firefight, their hand will slowly dwindle. Their options will contract…

Why?

Because in the movies this game is inspired by there is always that dramatic narrative, the heroes are challenged, they are set upon, beat down, they escape and struggle, thrown from one bad situation into another, they are running out of options, out of luck…

Until…

They manage to duck into a cafe and avoid pursuit, find that vet’s clinic and patch themselves up, or lay low in a dive-hotel, giving them a chance to reset, draw breath, plan…

This is the drive behind Rascals, the second act, the false victory leading to despair up to the point where all seems lost, but…

The purpose of this system is to have the characters pushed, to stress their hand and their Hustle (that’s another post), encouraging the players to find ways their characters can break the momentum, change the scene, take control, seize the initiative.

When characters find space in a scene they can use a Second Wind to regain cards or heal some, if they escape a scene they can redraw their hand… it’s about movement and momentum. About changing the ground. It’s about the characters, beat down and hurting, relentlessly pursued, struggling as they roll from one encounter to another, and finally managing to find space, time, to catch their breath, to reform…

This momentum swing – in a narrative arc going from the second to third act and back again – is exactly what the card system in Rascals is designed to reflect. Players should start feeling powerful and in control, slowly feel the pressure mounting as the action builds, then feel the drive to force change – a change of momentum, a change in scene, an escape and reprieve…

Rascals is all about that second act, when things start going sideways for our heroes, when, in the movie theatre, we are on the edge of our seats waiting to see how they’ll escape this one… and the relief and excitement when they do, when they pause the tempo, when they manage to find a way to wrest back control.

Did I mention the prelaunch page? It’s here… go hit Notify!

mockups-design.com

In a bind…

I’m in a bind. With Zine Quest 3 unofficially officially announced through a number of email responses from Kickstarter posted on Twitter I find myself in the middle of writing and laying out my next project: Heralds.

Heralds is a fantasy role playing game, and it emphasizes home and exploration. A big part of the game is the collective creation of the Enclave (settlement) the characters belong to. This process includes some map making, some populating the Enclave with people, and some generation for the Enclaves network of nearby settlements. Characters are created through a light life-path system, and the creation of the Enclave and the characters happens at the same time. These systems work together to create varied characters, who are uniquely tied to their home, in short, it gives the characters a context. In my various play tests of this system there have always been multiple hooks generated through the creation process, meaning that the first game, games, or even campaign is seeded in the characters and the setting the play group collectively builds. I like how it all works.

I’m in a bind though…

I like how it all works, but the game is going to be bigger than Corsairs, my RPG for the 2020 Zine Quest. Where Corsairs sat at 36 pages front to back cover, I estimate that Heralds will sit closer to 60, and could easily be longer. Yes, it still works as a Zine, and it could work for Zine Quest. However, at that page count it will push the cost of shipping internationally from $8.30 AUD to $13.50. This is not an insignificant jump, and will likely mean that the cost of shipping will be greater than the cost of the game itself (something we who live in Australia are all too familiar with).

Is this too high? I’ll admit that I thought the cost of shipping would push people to opt for the PDF only Backer Level for Corsairs, and you can read here how my expectations on that front were wrong. But is it too much? Am I better off creating a smaller game (I have a few nearly written), and running that game for Zine Quest instead, saving Heralds for a Kickstarter later in 2021, where it wouldn’t be released as a part of the Zine Quest, and would therefore have a little more flexibility in how it could be put together (perfect binding anyone?).

What to do, what to do… I just don’t know where I will go with it right now. Part of me wants to push on with Heralds because I am loving it right now, and part of me wants to take a step back and tell myself to hold off and make it a bigger and better beast that can be released on it’s own two feet later in 2021.

I am at a loss, and yet a decision needs to be made sooner than later so I can focus my attention on getting the Zine Quest project (whatever it is) Zine Quest ready… Hmm…


This article is a part of a series about running a Kickstarter campaign for Zine Quest, you can find the other articles in this series here.

Done and in the Works…

Speed, Strength, and Wits is complete! Download codes sent to Backers… and with that everything achieved for the Corsairs Kickstarter has been completed and sent.

Corsairs is the core rules book, and includes all the rules for play, character creation, equipment, scoundrels to face off against, and also includes rules for sky ships and sailing.

Smoke and Oakum is the first supplement for Corsairs, and delves into the world of Sky Ships. It includes rules for weather, heights, managing a crew, upgrading a ship, and much more.

Speed, Strength, and Wits is the second supplement for Corsairs, and expands on the rules for characters. Providing 54 new Abilities characters can learn, more nuanced rules for relationships, new conditions, rules for building a refuge, and much more.

All three books are now available to buy, you can find them in the Caradoc Games shop, and also over on DriveThruRPG and Itch.io.

Physical copies of Corsairs are still available, and you can get those through the Caradoc Games shop…

All three of these books together represents something around 100 pages of content. It started with a Kickstarter during the ZineQuest promotion in February of this year, with the physical copies of the core book having shipped out in August, and the two supplements unlocked as stretch goals have since been released.

The big question for me in regards to Corsairs is where to next? I have a bunch of notes ideas, but I am keen to see what others would like to see from the line. I’m not only interested in seeing what you would like to see released next for Corsairs, but also what format you would like that to take. To that end I have created a survey you can find below…

What else is coming from Caradoc Games?

I have been working on the next game, and at the moment the plan is to launch it via Kickstarter during ZineQuest in 2021. The rules are nearly finished, as is the setting. I just need to start pulling things into a more cohesive whole. I am really excited about this one, and I think it will be a lot of fun. I won’t say more yet, as much as I am itching to do so…

I am also starting to pull some of my shorter games into a different format. I started with Brigands of Sherwood. A silly one-shot about being robbers in Sherwood forest who legitimately want to get rich, but who have to keep giving their loot away thanks to Robin ‘bloody’ Hood. Instead of the A4 layout it’s currently in, I am working on putting it into a brochure format… it’s been fun to play around with Affinity Publisher as I am doing so. I think I will do the same sort of format for Freedom or Toaster, and The Hoppy Pops.

I am hoping that 2021 will be a productive year for Caradoc Games, with lots planned and around the corner, I am quietly excited to see what comes…

Implications…

Earlier in this series of articles about running a Kickstarter (links to all of which can be found here), I wrote a post called Levels and Goals in which I talked about setting the backer levels, the prices for the backer levels, and the funding goal for the Kickstarter. The relevant part is that I had decided that the physical zine would cost $15 AUD, and the digital only zine would cost $10 AUD. In the linked article I delve into why I made these choices, and for the digital zine that level seemed on par with what a lot of other ZineQuesters were charging for their digital zines (Australian Dollars translates well into US Dollars, with a $10 AUD level costing about $6.70 USD when the Kickstarter launched).

All of this has implications…

I don’t mean implications for the Kickstarter, though obviously pricing is important, and I’ve lost track of the number of times I have written hand-wringing articles about the added costs of shipping. No, I mean implications beyond the Kickstarter.

Corsairs funded (yay!), the physical rewards have been sent, and of the two digital supplements that were unlocked as stretch goals one has been fulfilled, and the other will be fulfilled in the next few weeks. But, what about after the Kickstarter? What would I do after the dust had settled and the Kickstarter has been fulfilled? Is that sweet goodnight for Corsairs?

Obviously not. I had always planned to have Corsairs available to buy digitally through both Itch.io and DriveThruRPG. What I had not considered was the implications of setting my backer levels, and what that might mean in the months that followed…

At the moment Corsairs is available on both Itch.io and DriveThruRPG for $7.99 USD. Why this price? Why not cheaper? I mean, it would be nice to have Corsairs sitting at say $4.99, and appearing in the ‘Popular Under $5’ lists on DriveThru. It’s certainly a more appealing price, and likely to lead to more sales. So… why?

Well, the reason comes back to implications… The backers of Corsairs spent good money supporting my Kickstarter, and without them it wouldn’t be a success, and certainly wouldn’t be available as it is. For the digital only copy backers paid their $10 AUD. How would they feel, having supported me, to turn around and see the game on sale for cheaper? Is it a betrayal of sorts? Would I be disrespecting them? Playing them for fools? Would I be undermining any future Kickstarters I run through such disregard?

All these were thoughts that swirled through my head when it came to putting Corsairs up for sale as a digital product. While the backer prices I set were a reasonable choice for the sake of the Kickstarter, they had implications and set (in my head at least) boundaries on what I could or should charge after the Kickstarter… How could I place Corsairs up for sale for less than what my backers paid? In the end I didn’t. I have no doubt that a number of purchases have been passed over because of the cost, and that more sales would have been achieved at a lower price point, but still…

I am pretty confident that many backers wouldn’t mind seeing Corsairs online for a little less than what they paid, after all they got two extra digital zines as Stretch goals, and yet… I also think there would be some who would feel they had been unfairly treated, and that is valid.

So what does this rambling thought train of a post imply? For me at least it means that next time I will think carefully about the future implications of pricing for backer levels, and what that might mean carried forward past the Kickstarter phase. I need to ask myself where will this game be available in six months time, and what sort of price do I want to be selling it for. And lastly, I need to parse those thoughts and bring them into the decision making process when defining backer levels.

Implications…


This article is a part of a series about running a Kickstarter campaign for ZineQuest, you can find the other articles in this series here.