Tabletop gaming is a niche hobby at best. A selection of relatively simple board games is marketed for children and families by big toy companies. The granddaddy of all role-playing games, Dungeons and Dragons, is a major product line for its publisher, Wizards of the Coast, but the company still relies on card games and miniatures to keep itself afloat. And Wizards is just a small division of the toy giant Hasbro.
Only a handful of other games can compete with D&D for profitability. Many are lucky if they can even make it onto the shelves. Major book retailers like Borders prefer to deal only with established and well-supported games. Local gaming stores, meanwhile, are usually shoestring operations with limited shelf space and a bewildering array of options. Again, an established line is usually a safer bet.
Selling directly to fans seemed to become easier with the internet – anyone who could find your game online could order it, regardless of whether their local gaming store stocked it or not. But the costs of printing a large enough run were still prohibitive. Some publishers tried selling digital copies, starting with various e-book formats but quickly settling for the basic .pdf.
Unfortunately, anything sold as a .pdf is quickly shared, and stops selling as free copies become available. Sharing music isn’t catastrophic for independent artists, because they can make their money on live performances. Game publishers have no such option, however – the book or manual itself is their primary source of income. They don’t sell concert tickets or t-shirts. And independent game writers, without the resources of a bigger company to back them up, can’t subsidize their game books with collectible cards or miniatures.
If they can’t get paid to create games, they can’t keep doing it. At least they can’t give it the time and attention that it deserves. One game writer, however, is trying a new model, one that’s off to a promising start.
In 2004, Greg Stolze and Daniel Solis created a fun little game called Meatbot Massacre. It’s a tactical dice game where players design bioengineered war robots and fight them in an arena. It’s well-written and tightly designed, and introduces an innovative dice-rolling system. It’s a game that feeds the enthusiasms of a select group of gamers, a niche within a niche, but it’s not a game that will generate enough profit to be worth printing. Not on a traditional retail model, at least.
But Stolze re-imagined his audience. Instead of a group of individual customers, he saw them as a collective. He wanted to harness the support of the gaming community to sell the game to the community. They didn’t all have to buy as individuals – they just had to offer enough collectively. So he decided to hold the game for ransom.
In December of 2004, he announced that the game had been written, and would be released into the public domain when he received $600 for it. It was a small start – the game itself was only ten pages, and Stolze set the price by determining all the expenses and then paying himself four cents a word, the low end for game writing. Solis set up a ransom website with a PayPal button, and they set a deadline of September 2005. If the ransom wasn’t collected by then, the game wouldn’t be released, and whatever money had been raised would be turned over to a homeless shelter.
Ransoming a game was a novel idea, and no one knew how it would work. After a strong start, donations slowed to a trickle, but they kept coming in. The $600 goal was achieved in five months, half the time allotted, and the game was released as a free download in April 2005.
With this success under their belts, Stolze and Solis went on to produce …In Spaaace!, a comic role-playing game of space shenanigans. Like Meatbot Massacre, it was an innovative system, based this time on bidding with tokens instead of rolling any dice. And like Meatbot Massacre, while it would find a hearty welcome in a certain narrow audience, it would never be profitable for retail.
They set the ransom in July 2005, this time at $750 for a fifteen page game, still paying Stolze less than five cents a word. Instead of ten months, however, they set the deadline at six weeks, and it only took four to collect.
There was another big difference in this ransom, apart from the shorter time period. Instead of running their own site and collecting PayPal donations, Stolze and Solis moved their operation to a new site, www.fundable.org. Describing itself, Fundable says it “lets groups of people pool funds to make purchases or raise money.” It collects pledges, not actual payments, towards whatever goal the group leader sets. When the goal is met, the money is collected, Fundable collects 7%, and the remainder is sent to the group leader by PayPal (or by check, for a $10 fee.). If the goal isn’t met, the pledges are released and no money changes hands.
Greg Stolze went on to release two more games on Fundable. Soon after the success of …In Spaaace!, he teamed up with four other writers and designers to produce Executive Decision, in which characters are Oval Office advisors who compete for the President’s ear while pursuing their own agendas. It was offered in September 2005 as a fundraiser for the Red Cross after Hurricane Katrina. In one month, it met its goal of $1000, which was devoted to relief efforts.
Then in February 2006, Stolze and fellow game developer Dennis Detwiller offered Nemesis for a $1000 ransom. In this case, there was a 25-day deadline that was met in just 11 days. Nemesis was the largest yet, at 56 pages, and it was also an important release for other reasons.
Stolze and Detwiller had worked together before, notably on 2002′s Godlike, a superhero role-playing game set in World War II. For this game, Stolze developed the dice mechanic that would become the One-Roll Engine (ORE), a generic game system that could accommodate any setting. Stolze and Detwiller would release Wild Talents, the sequel to Godlike, at the end of 2006, but in the meantime Godlike was all there was.
Nemesis was the ORE, stripped of superpowers, spliced to a system for madness from Stolze’s earlier work on the Unknown Armies game, and placed in a horror setting reminiscent of the Cthulhu mythos. It was the first ORE release since Godlike, and by working with characters who were ordinary mortals, it made the system accessible to a much broader range of settings than a superhero game could be. It served as a default system document for the ORE, and continues to fill an important function within the system.
But Nemesis only set the stage for Stolze’s next project. Reign was to be his long-awaited fantasy adaptation of the ORE, with a new set of rules for characters to build organizations and play on a much larger scale. It was to be a full-size core rulebook, over 350 pages, far larger than anything that had been published by ransom. Stolze didn’t want to stretch the ransom model to the breaking point, but he couldn’t afford to print the books himself either. He chose instead to use Lulu.com for print-on-demand (POD).
Reign came out on Lulu in May 2007. It came in four editions: hard or soft cover, and with a choice of cover art by Daniel Solis or Dennis Detwiller. The softcover editions ran into trouble with some misprints, which took several months to clear up. Also, POD can’t offer the price breaks of mass production, so the books were spendy: $36.89 for the soft covers and $49.30 for the hard, with more tacked on for postage. This compares to $29.95 for hardcovers of the core D&D books, and $39.95 for the hardcover of Godlike from the small press Arc Dream Publishing.
Despite the problems and the cost, Reign has sold well for POD. In October of 2007, Stolze reported on his website that he’d sold 675 copies. Not a lot compared to D&D, but a decent showing for an independent game. He reported that he’d currently made over $12,000 from Lulu, selling the four editions of Reign and one small book of short stories. None of that money included what he made from the supplements.
Traditionally, role-playing games offer one or more hefty rulebooks, followed by a number of supplements. Managed well, new supplements can continue to bring in money once the core books have leveled off. But from the player’s perspective, the constant flow of supplements sometimes feels like being milked for every available penny.
At the end of the Reign rulebook, Stolze makes a promise: “You’re holding in your hands the last Reign product to be released solely as a print book with a fixed price. Everything else is going to come out via the Ransom Model.”
From June to October 2007, Stolze offered for supplements for a ransom of $1000 each. Each one had a deadline of 25 days. The first three made their goals; the last one came up $20 short but was released anyway. More are said to be in the works.
Stolze seems to have dedicated himself to building a new model of making and selling games, one with the potential to reach players directly, saving the game’s creator the overhead of printing and distribution and bypassing the fight for retail shelf-space. He’s made a good start, but important questions remain.
Stolze and his collaborators were already well-known in the gaming community. Stolze had worked for White Wolf Publishing, the main competitor to Wizards of the Coast, as well as the smaller Atlas Games, where he had worked on the seminal Unknown Armies. The ransom model depends largely on his well-established reputation, which also helps to overcome the high price of print-on-demand. But will his model work for a writer without his reputation? What happens to a designer without a built-in audience? How will a system based on reputation allow for new blood to enter the field?
It also remains to be seen if this model will work for Stolze in the long run. Will ransom continue to work when the novelty wears off, and will it allow him to establish a regular source of income? Other than coming up $20 short on one Reign supplement, he hasn’t failed to achieve a ransom yet. What will happen when he does? The system looks good when it succeeds, but is it robust enough to handle failure?
Finally, what else can the ransom model support? Fundable’s primary market seems to be non-profit fundraising and group purchases. It also boasts of supporting books, music and film. How far can this approach be taken, and can it be optimized for particular types of products? Game design has such a narrow audience that it may have to ride the coattails of more popular fields, such as independent musicians.
Stolze’s efforts may succeed and grow, or they may become another internet casualty. But in the meantime, they’ve already put good innovative games in the hands of players, and broadened the range of what can be done with gaming. Long-range success is by no means assured, but Greg Stolze is doing his best to find a new way for his industry to work.
RESOURCES:
www.gregstolze.com
www.gregstolze.com/downloads.html
www.fundable.org
www.lulu.com
stores.lulu.com/gregstolze
Johnny Brainwash only talks about gaming and riding his bike. johnnybrainwash@hotmail.com
from OVO 18 MONEY (April 2008)
