Here's the bottom, or back of the new box. As you can see, I've divided it into halves, or two columns because it's easier to read that way. And it's packed to the gills with a lot of good stuff.
The goal of this copy is to intrigue players with the theme and highlight several unique features of the game. In this case, I've included the words Cyberpunk and epic, and I've mentioned the video links, which are exclusive to this game. That shows potential buyers that this game is unique and unlike many new games, they can look forward to something truly new and different.
Walking A Fine Line
There's a fine line one has to straddle when it comes to originality. Sure, you want your game to have new and unique features but you must also include familiar features and game mechanisms so players won't feel so isolated and lost from the start.
In Remnant's case, I've chosen to start the game with character placement. That way the game opens with a familiar mechanism that most players of worker placement games already know. From there, more options allow players to choose their best strategy and paths they might take to win the game.
Game Overview and Cyberpunk Themes
You'll also notice that above the main text I've added a short summary of the game (gray box) including the features that make it unique. That helps players imagine how the game plays and its overall tone. In essence, this short paragraph must hook the player at first read. Keywords are important so I've included the word Cyberpunk to reflect the theme and tone of the game. Plus, the character images above also serve as a hook. One of the main characters is Pucho, a notorious hacker of his time.
Story Hooks - How Many do you Need?
In fact, that short paragraph in the gray box includes no less than five hooks. Count them and see why this is so important in attracting and intriguing players right away. Let's face it, there's not a lot of room on the box for long-winded text. You must highlight your game's unique features and what it has to offer from the top in very short order.
As you read the remaining copy (about 6 short paragraphs) you'll need to include even more hooks throughout so make sure to highlight all the exciting and engaging stuff your game is made of. Remember, you only get one brief chance to make a great impression so make it count.
When writing copy, always keep in mind the main theme of your game and its unique features, and work all that into your writing. In this case, I've mentioned Cyberpunk and also worked in the CTA or call to action with two lines:
The Moment is Here, The Time is Now.
About Themes
As far as themes go it's worth mentioning the difference between the main theme and minor themes in your story. In Remnant's case, the main theme is survival during the apocalypse but the overall tone and backdrop are Cyberpunk. That means, digital events, including but not limited to hacking, digital tech, screen displays, advertising references, holograms, and more. Something along the lines of Blade Runner 2049, which has been an inspiration for this game and its three books.
To Buy or Not to Buy
Asking potential buyers to buy your game can be stated in many ways. I tend to never use the word "buy" because it has a connotation of loss built into it, as in spending. Although, if you use the word buy it's okay, I suppose as long as buyers feel that they're getting their money's worth.
Otherwise, I do prefer to include a soft CTA, as I've done in the text for this new box.
Sidebar:
I've also included a promo for the first book in the series, Edge of The Apocalypse on the lower right. The paperback is available on Amazon but players can download a free PDF copy on The Game Crafter Downloads website.
For my next post, I'll feature the new collectible hardcover novel that will be out next year to accompany the new game. It has a new cover! By the way, the difference between the hardcover novel and the three paperback books is subtle but somewhat obvious. For example, the novel features the three short stories integrated as one continuous story as opposed to the three books, which each have their own ending. Also, the full-length novel includes several chapters, e.g., The Notorious P.I.G., aka, Pucho Is Great, not featured in the short books. More about this in an upcoming post.
Please leave your comments and questions below and I'll be back with much more about Remnants and its progress along the way.
Hey folks, the new year is almost upon us and I hope that all your aspirations are in place and taking place this coming 2020.
I've revised my book covers for the series once again because I needed to match them a bit better so they look like they belong together.
For now, this is what I've got and as you can see the book in the middle, Epic Apocalypse has a bit more color but what good is using fire if you can't show it burning hot?
Right, and so I've lowered the color saturation in the artwork quite a bit so it still has those dark edges and these covers seem to work for the series.
When designing your book covers for a series, keep in mind that you want your book covers to match either in colors, typography, or artwork, ideally all three should match. The middle cover is by another artist but I don't think it's off key. The other covers are my own design in Photoshop and I might still change the third book, although I do like how these three covers look together.
The main difference and what helps this trilogy is the red, white, and blue bands of color at the top. That's just a feature or "gimmick" to unify this trilogy, which gives the series a deeper meaning, plus it looks cool when you have the three books together on a shelf.
Only time will tell if this book series will be popular enough to make a bestseller list. I've really pulled out all the stops on this one and hope it will be a success. But it's hard to say at this point because I'm new in the game.
Don't underestimate yourself
and what you know . . .
But here's the thing, don't underestimate yourself and what you know. You just might surprise yourself along the way. For me, the series will be a success in my mind because I've worked hard to get here but if the financial rewards are scarce, I'll learn from it and make adjustments to get it right next time.
Another thing is that this series doesn't necessarily have to identically match the artwork from the board game, although that wouldn't hurt, but these are standalone stories, so it's okay if the artwork is a bit different, as long as it's not too far off.
The board game does of course promote the books, and vice-versa, but each product should stand on its own, from a marketing point of view.
I've got plenty of work to catch up with so please feel free to leave any comments or questions below.
Remember the scene in the movie Blade Runner 2049, when K (chased by Deckard) wanders into a theater or casino and encounters the Elvis Presley hologram? (Check it out below!)
What a scene! It's as if both K and Deckard are reaching another side; another dimension at the same moment in time.
But, just as K takes in the Elvis hologram, Deckard fires a shot that misses K's head by inches. The best part is that the Elvis hologram keeps on playing and skipping in the background while K and Deckard fight for their lives among holograms of go-go dancers and showgirls.
What's magical about this scene is that the Elvis hologram starts as background information that takes you into that setting and subconsciously hooks you to it, but towards the end of the scene, the Elvis hologram becomes part of the dialogue.
The juxtaposition of these images and events is what makes it work. It is a brutal fight scene played against an unusual performance backdrop. It's almost as if Elvis was another character in this scene.
The best part and most brilliant moment in this unforgettable scene is when Deckard admits to liking the Elvis song, Can't Help Falling in Love, and the guys decide to have a drink together. Lots of good subtext here.
"Wow, what a love-fest moment."
Wow, what a love-fest moment. How cool was that scene?
How can one not be inspired by this movie? Must be the cinephile in me but either way, this is what makes movies like this so memorable.
Hologram Bonus Card
Hologram scenes like this and others throughout the movie, are what inspired me to add a bit of comic relief to the Millennium board game. Hey, even the apocalypse has to have a bit of fun thrown in every now and then for levity and contrast.
Without elements like this in a movie, a book, or a board game, you run the risk of presenting a flat and linear plot with little appeal to the masses. I mean, who doesn't like a little Elvis or Frank Sinatra?
Who doesn't like a little Elvis Presley or Frank Sinatra?
I would love to use a Sinatra clip or image in the Millennium game but because of copyright issues and costs, that's always prohibitive. But that doesn't mean I can't use images or audio that evokes the Sinatra sound. There are plenty of resources in the public domain for that.
Millennium continues to be a work in progress that seems to have no end in sight. Sometimes, the more I dig into it, the more I find to add or improve.
Keep in mind, that if you're developing a game, many of its features are not clear to you at the outset. As you research your themes and POV's, new ideas emerge. At that point you can decide either to include an idea or disregard it.
Recently, I thought of including a zombie card deck to the game. And by that I mean for the purposes of this prototype, about 9 cards and up to 18 cards in the deck because 18 is the minimum for a Bridge Deck of cards on The GameCrafter. The reason I had not considered zombies in the first place was because Millennium is based on the Apocalypse, which is of course an unfulfilled biblical prophesy.
"Millennium is based on the Apocalypse,
which is, of course, an unfulfilled biblical prophecy."
Naturally, there are two camps of thought on this. One is literal and the other is based on fantasy fiction. And that depends on your religious point of view and beliefs. With a traditional background as a Roman Catholic, I'm inclined to believe the biblical account in the book of Revelation. However, I can understand why others favor a fictive POV based on the descriptions of this event in the bible.
Fair enough. I'm not here to debate or defend the book of Revelation and its authenticity.
My main goal is to develop a board game loosely based on the events mentioned in the book of Revelation. This is a game, after all and not a diatribe or a means to convert skeptics or to promote any religious agenda. That approach, in fact, would kill any chances of this game seeing the light of day.
Fair enough.
I'm not here to debate or defend
the book of Revelation and its authenticity.
In the end, forgive the pun, I've kept in mind a bit of advice that I've gleaned from one of my favorite writer's and stuck by it. Ernest Hemingway always admonished to start with one true sentence and that everything will stem and flow from there.
I believe that entirely. And with that approach, I've set out to design and develop the best post-apocalyptic game with my personal spin and a game that I feel others will enjoy as well. A tall order for sure, but I also know that nothing worth while comes easy.
Event Chit
So far I'm in my second year of development with Millennium and nothing is set in stone as far as I'm concerned. The only sure thing is the main theme because everything grows and evolves from that. The nuances of the game and what makes it interesting and fun to play is all debatable. I've yet to figure all of that out but I think I'm getting close.
I'm not looking to set this game in a Dystopian future because that's too far from the events of the Apocalypse. Millennium is based on a post-apocalyptic setting, which in turn was triggered by the events of 2001 after 9/11. These are all minute but important differences.
Ironically, in this story,
the nuclear attacks are suspected to be home-grown.
The September 11 events in the new Millennium were the catalyst that unleashed a nuclear attack in 2157. Ironically, in this story, the nuclear attacks are suspected to be home-grown. A conspiracy unlike any other in American history. Now, there's an angle.
While I enjoy Dystopian stories, most of them deal with futuristic settings that are far removed from the initial conflict and the after-effects of nuclear war, which is when people will be the most vulnerable, shaken and confused. It is when total chaos reigns supreme and governments are in total disarray, and society is in scramble mode.
And a time when every man and woman and every child will have to fend for themselves. There's enough conflict right there to fill the entire game. Anything else I decide to add beyond that is icing on the cake.
I have a realistic deadline to finish this game.
That being said, I have given myself a realistic deadline to finish and publish this game. Shooting for mid to late 2019. Remember that nobody gives a flyin' you know what about the blood, sweat, and tears you've poured into your work. The end consumer only wants to know if your game, based on its main theme, is going to be fun and exciting to play (at least several times).
Any designer who thinks their precious game will be played over and over to rave reviews is kidding themselves because there are just too many game choices out there and too little time to play them all. These days, most gamers will play their favorite game several times at first until another offering catches their attention and they shelf your game indefinitely.
Meaning that the shelf life (in homes, not stores) can be a long one for many games. Brisk sales or the lack thereof in stores will certainly dictate the shelf life of any game or product. It's just that simple.
Impulse Buyers and Collectors
In reality, I'm designing this game for impulse buyers and collectors. Those are key consumers because they can be your best and most loyal influencers. Attracting gamers of any other kind, be it hard-core gamers, casual gamers, new gamers, is all about trickle-down marketing, which grows exponentially from players who buy your game based on the thematic concept and maybe even the game components alone.
These types of consumers are sold on your packaging, the main theme, the game components, card decks, game mechanics, and above all, your unique take and POV about the world you've created.
In a nutshell, it's either love at first sight, or an emphatic pass.
What's it going to be for you?
That's hard to say but if you design a game that you'd love to play but you can't find, and you capture the look and feel of the era and the world you want to experience on a deep and meaningful level, and you are honest and devoted to the game's mechanics and its overall intention, and the art and characters appeal to the masses, I think you stand a good chance at succeeding in this business.
Other than that and you're just spinning the wheels and gears of a dream without any conviction or direction whatsoever.
In other words, it can be a total waste of everyone's valuable time, especially yours.
If you want to avoid that scenario, all you have to do is put your mind, your heart and soul into everything you do and dedicate as much time as you can towards it and good things will happen.
That is hopefully the likely outcome.
So don't overthink it. Don't worry about how you will achieve it. Just dive into it and learn along the way until you see a way through and a way out to the other side.
I think Jim Morrison of The Doors, said it best: "Break on through to the other side."
You gotta love that.
Here's the new Millennium teaser with that BladeRunner vibe. I was looking to evoke a feeling and immerse viewers into the world of the new Millennium, a bit Dystopian here, but nevertheless it works.
