Red Markets Kickstarter is up!

The day has come. Let's see if all this hard work has been worth it. The Red Markets Kickstarter is now up.

If you're here to see what the game is all about, you can find my developer diaries below. Thanks for the support!

RM Update #10: Like Mad Men, but With Much Cheaper Drinks

A couple of weeks ago, that was me back there,
sending up a flare for proofreaders

Ad copy...

So. Much. Ad copy...

If you aren't aware, ad copy is all the writing for the game that has no demonstrable benefit the quality of the game. In order to sell the product, you have to describe the product. And in order to do that, you have to both include enough information that the customer actually knows what they're getting, while simultaneously condensing ideas down into the shortest of possible statements to compensate for the human attention span.

This means you end up writing the same damned thing, over-and-over, bouncing back and forth across a spectrum of drafts that can range from Russian-novel long to something that is no more than screaming the name of the game (RED MARKETS!...so how many can I put you down for?). And you never know where it needs to be cut or where it needs to be expanded...ugh.

Anyway, that's how I'd describe the last few weeks of writing: ugh. I'm very glad I don't have to do advertising every day for a living. It's awful. Combine the impossible task with my tragically Midwestern allergy to self-promotion and makes for a rough month.

But it's over!

The ad copy is done, or as done as it is going to get. I'd rather give Medusa an eye exam than look at those paragraphs again. The trailer has been scripted and recorded. I've got all the art over to Ross, who is kind enough to be making the trailer. As of now, I'm just waiting on the video and some art assets for the text (stretch goal banners, fancier heading, etc). The press list is assembled, and the whole campaign is built. If I didn't mind going up without some fancy visuals, I could launch the campaign today.

Not that I'm eager to get started or anything...

I'm so far along on my end that, aside from building a Facebook page for the game, all that's really left to do is to wait for the calendar to hit May 23rd. So this week I finally got around doing my complete rewrite of the Negotiation rules. What started out being my most dreaded revision from the beta playtest has quickly turned into welcome relief. I forgot how much more enjoyable it was to make a thing instead of describing how you plan to make that thing.

I'm not fooling myself here. I know keeping the word circulating about the Kickstarter will be no easy task, and I know I'll be trading financial anxiety for fulfillment hell if we're lucky enough to fund. But even acknowledging how long the road ahead is going to be, it's a relief to think about a time in the near future when there is nothing to focus on save getting the book done. No more constantly promoting it. No more waiting long, quiet months for more feedback to roll in. No more seeing how much money I can skim off my paycheck next month to pay for art. I might soon have a bank account dedicated to Red Markets, with the funds ready to hire out whatever work I need. All my time not spent on staying alive or on the day job can be solely dedicated to getting the game done.

God, that sounds nice.

So, to sum up, the last few weeks have been all about promotion, but I've finally hacked away enough at it that I can get back to the real task at hand. The pre-KS hasn't been all bad though. I've done a lot really fun podcast interviews lately: Misdirected Mark, Insert Quest Here, and Legends of Tabletop, to name a few. I look forward to the many more I have scheduled.

But talking on a microphone isn't words on the page, and that's the only metric that ultimately matters. I better get back to it then.

Thanks for following along with the updates. I hope to see you on Kickstarter May 23rd!

RM #5

This week's lack of progress is brought to you by Death and Taxes: specifically, because I feel like the former (flu) and had to do the latter.

Taxes are a bit of a nightmare for me. I make wages that could best be described as "rock-bottom middle class." When my freelancing work provides extra income, it typically has to go out the door the instant arrives; as an example of what I'm talking about, go read the entire book I wrote to pay for a single trip to the ER. You can't really setup auto-deduct for 1099-MISC freelancing checks, so you end up having to pay dearly for all that RPG work at the end of the year. This makes taxes really expensive and annoying, as you're scrambling through boxes of receipts so you can deduct your home office and anything else you use to run your "business" of one employee.

Still, I got some writing, podcasting, and art direction done...just not to really warrant an announcement. In the meantime, you should go read Laura B's blog. Laura's the editor of Red Markets ("God knows he needs one" says everyone who read the beta). She's also working on really great projects of her own, novelizing some of RPPR's more popular games. She introduced herself at GenCon by handing me a beautiful self-published edition of Wages of Sin, and now she's into her third draft of a novel based on The Dangers of Fraternization. Go give the lady some traffic. Her work deserves it.

GenCon Presence

I'll be all over the place this GenCon networking, running playlists, and generally having fun. I like to stay mobile and fluid in most of my scheduling, due to the notoriously flaky nature of most gamers and the sheer insanity of a convention that size. If you're looking for me, the only places and times I can commit to are the seven panels I'm speaking at this year. Here's the info for any who are interested.

Introduction to RPG Design - Thurs. @ 9 AM (Crowne Plaza Penn. Stn. B)

Guests: Jason Pitre, Caleb Stokes, Andreas Walters

Description: We'll present the fundamentals of roleplaying game design. Interested in hacking or reskinning a game? Want to design your own RPG system from scratch? Let us help you get started.

Game Designer's Workshop: Everyday Hustlin' in the RPG Industry - Thurs. @ 11 AM (Crowne Plaza Penn. Stan. A)

Guests: Caleb Stokes, Ross Payton, Rob Boyle

Description: Talk with Caleb, Ross, and publishers about how to get started writing for games. With a few tips, you could be barely scraping by just like the pros! The goal of RPPR's GDW podcast has always been educational. To that end, Ross and Caleb will do their best to give advice on "breaking into the industry" in a post-Kickstarter age. The conversation will focus on the more logistical, legal, and mundane business of freelancing in RPGs. On the publisher side of things, Adam Jury and Rob Boyle from Posthuman Studios are dropping by to lend their expertise. Prepare to be demystified, warned, clued-in, and tipped-off about the path to seeing your work get included in games. Questions are welcome and encouraged.

Scary Parrots: Weird Horror in RPGs - Thurs. @ 1 PM (Crowne Plaza Penn. Stn. C)

Guests: Caleb Stokes, John Kennedy, Ross Payton, Jack Graham

Description: Horror gaming can go beyond Lovecraft and tentacles. Sometimes the most frightening moments in RPGs can come from obscure references and mundane moments. Surprise your players from a new direction! The panel will include Caleb Stokes (No Soul Left Behind, No Security), Ross Payton (Base Raiders, Zombies of the World), John Kennedy (Demonworld), and Jack Graham (Eclipse Phase). The title "Scary Parrots" refers to an RPPR game in which the players completely forgot about the plot and focused on a parrot THAT COULD NOT BE. Rather than dismiss the moment as a one-off, this panel will explore the unexpected places that the GM can exploit for terror. Between other writers of The Weird, discoveries in neuroscience, and philosophical thought experiments, this panel will provide a ton of original plot hooks and little disquieting scares to throw at your players.

Education & Games: With, In, and How to - Fri. @ 11 AM (Crown Plaza Victoria Stn. C/D)

Guests: Ross Payton, Caleb Stokes, Fuzzy Dan, Steve Radabaugh

Description: What advice can educators provide for teaching game rules to players? How about using games to enhance education? And what about the portrayal of education in games? This panel covers it all and more. Caleb Stokes is an educator and RPG writer. He frequently uses games in the classroom for a variety of purposes, and he recently worked with Arc Dream to publish No Soul Left Behind, a campaign book for the game Better Angels set in a charter high school. Ross Payton has written extensively for Monsters and Other Childish Things, and he's been teaching rules to players for twenty years. Steve Radabaugh is a high school teacher and creator of app games like Dungeon Marauders and the upcoming dice game Fey Ball. Come ask questions about how to include education in your game setting, or find out which games and game design principles work great in the classroom.

RPPR Game Designer's Workshop: Live Episode - Fri. @ 1 PM (Crowne Plaza Penn. Stn. C)
Guests: Caleb Stokes, Ross Payton

Guests: Ross Payton, Caleb Stokes

Description: Ross and Caleb continue their proud tradition of screwing up in real time. Lend your questions and comments to a live episode as the pair gives updates on Red Markets, Ruin, and other game projects. More specifically, Caleb will be doing playtests of Red Markets at GenCon, and No Soul Left Behind will be for sale at the Arc Dream booth. Ross has news about Ruin. Both have news about current freelancing projects and plenty of advice for aspiring game designers in attendance.

Beyond Lawful Good and Evil: Ethical Concepts in RPGs - Sat. @ 11 AM (Crowne Plaza Victoria Stn C/D)

Guests: Caleb Stokes, Ross Payton, Andreas Walters, Shoshana Kessock

Description: How do you build a character with staunch ethical principles without stopping a game dead with the dreaded my-character-wouldn't-do-that problem? Do RPG systems imply ethical philosophies? Should they? Caleb Stokes (No Soul Left Behind), Ross Payton (Base Raiders, Andreas Walters (Baby Bestiary), and Shoshana Kessock (Living Game Conference) discuss ethical concepts in characters, in game worlds, and at the level of design. Bring your questions and curiosity.

The Case Against Fun: Social Critique & RPGs - Sat. @ 1 PM (Crowne Plaza Penn. Stn. C)

Guests: Caleb Stokes, Ross Payton

Description: Fun is obviously a byproduct of games, but that's where the usefulness of the term ends. This seminar presents the case against fun as a design goal, method of criticism, and aesthetic in gaming. Caleb Stokes (No Soul Left Behind/No Security) and Ross Payton (Base Raiders/ Zombies of the World) discuss the negative and positive uses of the word of fun in gaming, along with other critical frameworks by which the word can be understood (such as the 8 types of fun).

See you there. Try not to scream or get crushed.

RPPR's Game Designer's Workshop 8: Big Playtest, Big Problems

Red Markets is now in campaign playtesting, so this episode covers what we’ve learned about the game since the campaign began. Hear about the enclave I helped create and what kind of jobs we’ve done. Issues that have arisen solely from campaign issues have appeared that were invisible during one-shot playtesting.

Listen here.

RPPR Game Designer's Workshop 7: Multitasking Mayhem

Ross and I got together to update you all on our progress and talk about one of the major aspects of being a writer: dealing with multiple projects at once. Multitasking is a hard skill to learn, but once you master it, it pays off! We talk about keeping our noses to the grindstone, the benefits of doing multiple projects at once, and other topics. We also talk about Red Markets and Ruin.

Listen here.

RPPR's Game Designer's Workshop: Playtester's Progress

Believe it or not, I am still alive and working on games. Things have been uber-crazy the past year and seem to only be accelerating. You can hear more in-depth updates about my life and game design in the latest episode of RPPR's GDW: Playtester's Progress.

For those of you not of the podcast bent, here's the "too long; don't listen" update on Hebanon Games.

Personal News

Hebanon Games is no longer in immediate danger of going under because it's CEO and entire workforce (i.e. me) starved to death. After an insanely long and arduous job search, I've finally found another teaching position at a school I'm very happy with. The kids need my help, the staff shares my goals, and I'm rewarded for my efforts. It's all-in-all a vast improvement over my previous full-time job, and it pays much better than the hodge-podge mixture of part-time/night-shift/freelance work I'd been surviving off of for the past year.

That said, the commute to my new job is over an hour (one-way), and I'm working under a bigger course-load than I've ever experienced before. The crippling poverty and depression are alleviated, but they've been replaced with a hectic schedule geared away from game design. It's a good thing overall, but production has slowed and will continue to crawl at a snail's pace until the summer.

Time to write full-time again will come though, and I wouldn't have made it long enough to get there were it not for people continuing to support my work by buying into the No Soul Left Behind Kickstarter, purchasing The Devotees, and promoting No Security in print. While that money isn't enough to buy healthcare or anything, it was literally the difference between having a home and being turned out into the street on multiple occasions. I can't thank all of you enough. I never intended this stuff to be a full-time gig, but the fact that it supported my family for the most difficult year of our lives is something for which I will be eternally grateful.

Red Markets

I've been working on my baby this entire time. While progress is slow and piecemeal, I'm light-years closer to completion that I was at the start of this little project. The rules have gone through five rounds of playtesting. At this point, the game runs a mean one-shot, and I've played several successful randomly-generated and designed scenarios with a variety of groups. The rules aren't perfect, but they are definitely at the "tweaking" phase rather than the "throw out and despair" phase.

I have fun running Red Markets, and my friends have fun playing it. That's closer than I could have ever imagined being even six months ago.

Right now, the rules are in "Caleb-ese" (chick-scratch notes that constitute the bare minimum I need to remind myself of things I already know). I'm in the middle of drafting them into legible chapters that other people can use to teach themselves the game. From there, I'll be playtesting the macro rules (campaign play, roleplaying incentives, character advancement, etc) with the RPPR group and distributing a closed Beta playtest to some fans on the forums.

From there, it's just a matter of drafting the macro rules and all the setting material. Then we are ready to start the commercial and art direction stuff required for the Kickstarter.

How long will that take? Well, see the employment stuff above: next year at the absolute earliest, and that's dependent upon scoring a lighter course-load for next year and a productive summer. What I can say is that the project will get done; I've progressed far enough and seen enough potential in Red Markets that failure is no longer an option.

Freelancing

The only real sad part of getting this new job is having to cut back on the work I take from other companies. I love working with people like Arc Dream and Posthuman Studios, and I was originally planning to use GenCon to increase the stable of clients in my freelancer files. I'm having trouble enough finding times to meet current commitments though. I'll be taking jobs as they come from my current collaborators, but I'm going to hold off on working in any more systems until I get Red Markets done.

Everything Else

I hit up GenCon this year and it was the best ever...just like every other year. I also got some great testing done at Springfield GAME this year. In general, I'm looking to increase my convention presence this summer and into next year, perhaps producing an ashcan draft of Red Markets to sell at the IGDN booth and/or running the design gauntlet that is Metatopia.

I'm getting really into board and card games, making pie-in-the-sky plans to throw my hat in that arena after Red Markets.

I'm still on the twitterz at HebanonGCal. I mainly talk about game design stuff, so give me a follow without fear of hearing about what I ate that day.

RPPR is great as always. I don't get to play nearly as much as I used to, but I'm trying to get in on a game with the guys at least once a week still. GDW with Ross is stimulating as always, and I often ponder doing another, two-folks-talking podcast in the traditional format, but I can't decide on a topic.

Anyway, that's anything and everything. Thank you for continuing to follow Hebanon Games. We'll keep you posted as we can, and I hope y'all are still around when we have something to show for all your time and devotion.

Money Talk: A Look Inside a Completed Kickstarter

I've been putting this post off for too long, and considering the confusion I created with my little DTRPG mistake, I suppose I can do so no longer. Here's how the finances of the No Security Kickstarter played out, and how they're informing my decisions in pricing the upcoming print version.

Why Am I Letting People Look Into My Wallet?

Well, the intention of Hebanon Games is to make easily available, professional quality gaming products. Largely, I think we succeed on that front, but the fact of the matter is that with exception of Ross Payton and other friendly mentors like the members of IGDN, I'm working without a safety net here. Tabletop Gaming is such a cottage industry that it's never really evolved beyond the Do-It-Yourself education model. While that makes the industry appealingly "punk rock" and original in some ways, it also means that people make mistakes a lot more often, as evidenced by my previous post. There aren't any traditional classes specific to this medium available, and instructional methods I could adapt into publication know-how (classes in marketing, technical writing, business, etc) are no longer available to me due to finances and time.

I think the quality of No Security is stellar considering the sheer amount of things that can go wrong. But experience remains my primary teacher, and despite commonly held opinions, experience is a TERRIBLE teacher. I know I wouldn't send my kids to a school that hired teachers dedicated to giving the test first, punishing inevitable problems with pain, refusing to use assessment to alter the "lesson" in any way, then giving the same damned test again. That's the educational ethos of a SAW movie, and errors are bound to occur.

So since I can't be perfect yet, at least I can be well-intentioned. The whole point of the RPPR Game Designer's Workshop series is to take the sting off experience's lessons for other noob creators, and I can be doing work on this blog to the same effect. While it might lose me some customers to lay my financial decision-making bare, Hebanon Games is about transparency even when people might disagree.

And if it ends up tanking the line? Well, that's just another lesson learned for the next iteration, right?

"Would you like to learn something?"

The Kickstarter

I'm not going to break out line-by-line receipts here for the sake of brevity (plus, I don't have the gas to make it to my storage unit aka Mom's house). Suffice it say that the KS money is LONG gone. After the 9% cut given to Amazon and Kickstarter, No Security made roughly $6,100. The pool of money generated by our generous backers went to fund the following.

• Art and layout: $3,000 plus and worth every penny. This includes everything in the original PDFs from Ean, Steff, and Chris, in addition to the commissioned sketch rewards.
• Printing the miniatures: $300 or so
• Shipping miniature rewards: $400 plus...I  remember being shocked it was more than making the damned things. Keep in mind this was before the international rate hike of earlier this year. I shudder to think of the cost had we had to wait a little longer to ship.
• Designing and printing postcards: $300
• Moniker domain name: $30 or so for the past two years
• Webhosting: First year was free, second year was roughly $150, and it was a total waste of money. Sorry, but I couldn't predict the fact that Eastern European muslim terrorist groups would love hijacking my site so damn much. THANK GOD we never built an online store. Bullet dodged.
• Increased Bandwidth: $50 during the months we distributed the preview actual plays. The original contract was for the minimum package and it didn't cover the downloads we were getting on the reward audio.
• Skype headset: $25 or so. I had actually never Skyped before the first online game, believe it or not. 
• Taxes: $500 plus. Sadly, the money from the KS jumped me a tax bracket last year since I still had a job at the time. As the lady at H+R Block was older than dirt and thought a "Ransom Kickstarter" meant I was holding a motorcycle engine hostage, I'm still not entirely sure I didn't get screwed on this deal.

So let's call the total $4,755, leaving $1,345 or there about for ole' Caleb. I freely admit to spending that money on luxuries like food and shelter. To put the number in some context, freelancing rates in the RPG industry usually land somewhere between .03 to .06 cents per word. Including the reward scenario Lover in the Ice and the reward short stories "To Bright Boy" and "A Cult of Two," that equals roughly 97,000 words. If we assume the minimum of .03 cents per word, an industry rate for that much writing would run about $2,910. I cleared less than half that, which I don't think is too bad a deal for customers taking a chance on a new creator. Considering that I didn't ask for that money in the first place (it was generously donated above the $1,500 funding goal) and much of it went to funding stretch goals, I have a hard time feeling like a profiteer for using that money to stay alive. 

But if after reading all that you still equate me to some Gordon Gecko-esque shark akin to the creator of The Doom That Came to Atlantic City, allow me one last retort. To distribute $1,500 across the hours it actually takes to write, edit, playtest, and revise 97,000 words is to be paid a pennies per hour. 

In short, my goal of buying the S.S. Hebanon and retiring to the Bahamas is a LONG way off. I assure you we're playing for the love the game over here, and I'd urge anyone thinking about getting into RPG publishing to aspire to nothing greater.

Behold the decadence of a thousandaire

The Pay-What-You-Want Model

The plan was to get on DTRPG and sister sites far sooner than we actually did. A lost email meant that reformatting the logo to fit their requirements took Ean 5 months instead of 5 minutes, but we finally got the page live in July. The goal was to merely increase our exposure; at the time we were planning to get a Hebanon Games page on their network, OneBookShelf Inc. didn't even offer a PWYW model. The scenarios were all placed as free with the exception of Lover in the Ice. It costs $1.99 because A.) it helps maintain some of the exclusivity of the backer reward and B.) the adventure includes some mature content that, while I'm not ashamed of, feels more comfortable behind a paywall and after a disclaimer (there's something to be said about the can o' worms opened up whenever sexuality is brought up in the horror genre and gaming in general, but that learning experience is best left for another post).

A few weeks after the set-up though, DTRPG and its sister sites started testing a Pay What You Want option. Since we had a few more scenarios to release (Revelations and The Wives of March were still in development at the time) and I was already considering how to fund Hebanon Games' next project, I reformatted the $0.00 to PWYW. 

The response was very positive and generous. Things only got better when, the week of GenCon, those beautiful bastards at at DTRPG featured Revelations as their featured free product. Plugging Hebanon during the week everyone has gaming on the brain increased our exposure massively and resulted in a lot of donations. By the time Wives went live, sheer luck had secured us a fanbase much larger than our original 250 backers.

Roughly five months after signing up with DTRPG, the products of Hebanon Games have been downloaded a combined 4001 times. We've made more than $800 from donations. The distribution deal we have with DTRPG dictates that we get 65% of sales after printing costs. Factoring in other processing fees, that leaves us with a little over $500 in profit (note: I don't include an exact amount here because it could potentially be used in a hack of the payment services used to distribute royalties).

If I promise to put the image of a terrorist in every post,
will you please stop hacking my games website,
anonymous jihadists? Please?

The POD Version

As my last post suggests, making a POD version of No Security has not been without challenge. I approached the endeavor for a number of reasons.

1. I was always a little sad that we never hit the print stretch goal. It's a writer's dream to hold his own book in his hands. I want to experience that for purely selfish reasons.
2. I got numerous requests from people asking for a print version. The messages trickled in regularly over the course of the whole year the project was underway.
3. I want Hebanon Games to succeed in the long term, and that means building a stable of varied print publications.
4. The added funds from the PWYW model helped us reach the stretch goal after the fact, so why not?
5. If the book was successful, it could fund the upfront cost of the next Kickstarter, allowing me to pay artists for their skilled and important work rather than dropping some lame line about compensating them in "exposure."
6. I would never make enough money to pay someone to redo all the layout for a print version, but I needed to learn Adobe InDesign anyway and I thought adapting pre-existing PDF's for print would be a good tutorial (note: this was a FANTASTICALLY stupid idea).

So that profit from the PWYW releases? Yeah, that's all gone too. I spent $600 to pay for art from Chris and Ean's cover design; I'll let you ask the artists for their exact rates because it's not my place to quote prices for them. The money from the PWYW customers and some personal donations on my part (read: plasma donations) are making the print version possible.

Plasma donation: like crowdfunding for hemophiliacs

Pricing

Here's where things get risky: I'm telling you the profit margins I'm planning for a product that doesn't yet exist. The print PDFs have yet to be approved for print by their respective publication houses, and the book is not yet for sale. People that disagree with my margins could very well not buy the book as a result. While that disappoints me, it will be a business lesson hard learned from that cruel bastard of a sensai, Experience. At least I will have been honest with the people kind enough to take a passing interest in my work.

Honesty is edible, right?

The plan is to have TWO versions of the book. The DTRPG and sister sites version will be a standard color, softcover priced at $20.00. If it is successful, we'll consider doing a deluxe version that is hardcover with glossy color pages, but the price will likely jump into the $30 range for those interested in the fancy option. We'll cross that bridge when we cliche it.

I also hope to have a CreateSpace version. The CreateSpace version of the book will also be a softcover, but it will have a Black and White interior. This is because CreateSpace has A.) more expensive color printing rates for B.) inferior color fidelity, in my opinion. The B+W version will be priced at $15.99. I include the CreateSpace version for international backers because they've all reported to me that DTRPG products are very hard to get due to shipping costs. CreateSpace has a more international presence, so hopefully this will make the book more available to fans outside the United States.

With both titles, I've set my profit margin to a little under ten dollars per book after taxes, printing costs, and distributor cuts (again, I don't include the exact rates for the security purposes; security questions for e-commerce sites often ask for the exact amount of the last transaction). Copies purchased through Amazon will earn a little less than half that, but my hope is that the increased exposure will even things out.

I've actually given this thought. The margin is informed by the following concerns:

1. It's comparable. For example, The Final Revelation by Pelgrane Press (great book, btw) retails for $22.99. It has more art than my book and is printed on glossy paper, but it's 20 pages shorter and entirely sepia toned. In my estimation, this adds up to a wash in terms of production value and the books are similar in tone and subject matter.
2. The scenarios remain free online. I'm not taking down the PWYW scenarios, so I can't expect the kind of numbers I would get if the adventures were exclusively available in print.
3. At the current margin and using only POD distribution, the book can break even if it sells 70 copies. If it sells another 70 copies, it funds the estimated cost of preliminary art and previews for the next Hebanon Games project, Red Markets. I think 140 copies is a pretty rosy estimate for a book made up of content already available online, but it's not outside the realm of possibility
4. If by some fluke the book is popular enough to sell way more than 140 copies, the excess can be used to fund a traditional print run for "brick and mortar" distribution and purchasing ISBNs. I've had some generous offers already, but the $3000 or more it would take to make the initial run is beyond my means. I'd be lucky to make 1/4 of my profit margin using traditional distribution, but at the current rate it would remain worthwile to pursue if I could fund the initial cost of wholesaling copies to game shops without going into debt. Setting the profit margin lower would mean that brick and mortar copies would make me pennies per book and still require an enormous investment on the front end. The current margin is fair, in my estimation, and it doesn't exclude other options in the future.

Now I just need to figure out how to get the gutter margin
to f***ing 3.75 inches and we'll be good to go.
Just give me a few more months....

Conclusion

So that's the past, present, and future of Hebanon Games' finances. Hopefully, my disclosure hasn't sparked any outrage, and if it has, I apologize and look forward to the trolling in the comments (as if my permission were needed). More importantly, I'd love to hear from any aspiring new publishers that have questions based on this post. If I can't come up with an answer, I'll do my best to find someone that can.

I hope to feel your watchful eyes when the print versions are finally ready and I announce them here. As always, thanks for your interest in Hebanon Games.