Signal to Noise retrospective 2: Post fulfilment

Back in March, I did an initial retrospective on my ZiMo campaign for Signal to Noise but now that I’ve completed the fulfilment of the game I wanted to revisit those thoughts and look at my options for the future. I’m also going to pull together final spending for a subsequent post as I like to be open about these sorts of things.

First up, the game – which is a delight to hold and looks beautiful thanks to Val’s fantastic art. It was such a pleasure to work with her and I hope I can do so again in the future. I can highly recommend commissioning her if you’re looking for detailed and realistic art.

Seriously, look at that art! If you somehow missed out on buying Signal to Noise before now then it’s available in digital from itch and drivethruRPG while physical copies are available via Etsy (with distribution via Peregrine Coast and IPR coming very soon).

Fulfilment itself was, I’m happy to say, a relatively straightforward process. That came down to a few factors – Mixam printing everything correctly the first time, the scale of the project (<50 shipments), most packages being a single zine and having help filling envelopes while I focused on the postage. At the moment I know the game has reached backers in the UK, US and even Australia but thanks to good old Brexit copies heading to the EU may still be in customs limbo.

So now that I have two successful campaigns under my belt how do I feel? Pretty good. I have no doubts that I’ll run another campaign next year and I’ve already started initial planning in terms of what to focus on. Starting planning six months out from Zine Quest might look a little premature but I need to ensure that I have a solid concept in place so I can advertise it at Dragonmeet (where I will be running a stall for the very first time).

The big question that hangs over any future crowdfunding I do is what platform I will use. I genuinely think that Game on Tabletop offers a robust ecosystem and the level of support I received from their team was outstanding. As you might suspect though there is a but hanging on to the end of that statement, in the form of “but I am certain Signal to Noise would have done far better on Kickstarter.”

And that is a frustrating situation to be in. I switched to Game on Tabletop because of Kickstarter screwing with Zine Quest and proposing that they enter the tech bro crypto market. While the community did try and support those of us that moved off of the platform many people stuck to Kickstarter and had wildly successful campaigns. I could say that I’m not into game design to make money (which is true) but on the other hand, making money allows me to make better games. I can’t afford to hire an editor or artist for games that don’t sell or fail to gather any attention, which is sadly true of much of my work.

On the selfish level, I also want people to play my games. It’s a fantastic feeling when someone says they’ve played something you wrote and that’s not going to happen if I only run campaigns that barely garner any attention. Signal to Noise is, I believe, a special game and I think it would have done significantly better on Kickstarter just by being tied into the ecosystem. Just comparing these two campaigns Project Cassandra was backed by 175 people, 107 more than Signal to Noise and every single one of them will receive an email if I launch a new campaign. Even if most of them ignore that email it’s such a big and effort-free marketing boost that I would be foolish to ignore it. That was true going into the Signal to Noise campaign but I had hoped the anti-Kickstarter feelings at the time would compensate for it and the truth is it didn’t. Or at least not as much as I’d have liked. I’ve always been upfront about the fact that Project Cassandra only did as well as it did because of the Zine Quest force multiplier effect and much of that is, frustratingly, baked into the Kickstarter site.

All of the above is really avoiding the big question – what am I going to do going forward? Honestly, probably go back to Kickstarter. I would like to pretend otherwise but the disparity in terms of the English-speaking market share between them and Game on Tabletop is so significant that I would be shooting myself in the foot if I didn’t. It sucks but as a tiny fish in the big pond of crowdfunding I just don’t have the influence to pull backers to a new platform when I’m struggling to even build an audience. I wish I was ending this post on a more upbeat note but, well I’m not, because like it or not Kickstarter remains the site to beat.

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