Category: Capitalism

I make a whole lot of things; board games, card games, dice games, print-and-play games, t-shirt designs and logos and pretty much any kind of remote-access design work I can muster. This is the place to look for me advertising those things, or talking about the process of selling things, as honestly and helpfully as I can.

Decemberween: Technology Connections

We live our lives surrounded by stuff. It’s something of a rule that you don’t understand how the stuff that surrounds you works. That’s okay, you don’t have to be into it, you don’t have to want to, but there are interesting side effects of this.

There’s this idea that capitalism engenders innovation. That a lot of different people competing for attention will try different ways to earn our attention, and that effort results in a greater variety of quality products at the lowest, competitive price. Good ideas become expected parts of standards and over times, the markets form an idealised optimal vision of the best products possible. Always forward, always advancing ideas better and better.

This is, of course, fantastically stupid, because it clearly doesn’t. Advertising mostly hammers on the same four or five ideas and is done by companies that are rolling the dice endlessly, and when they roll double sixes, proudly proclaim that that was what they meant to do.

Capitalism doesn’t give us better products. We know that because all the best versions of products seem to have been made, then their great ideas were ignored and discarded, because greater profit could be extracted from them being worse. One great way to learn about this story, about the ways that toasters, microwaves, rice cookers and headlights work, and were made better than we can buy now, and those improvements were discarded.

Technology we live with is made by people and those people make choices. Understand them and understand what they think of you. This channel, Technology Connections is a lot of gentle, very positive, mildly-funny in that exhale-through-the-nose huh-never-thought-of-it funny way, but never gutbusters, presents an educational vision of things that get made.

What I’m saying is that you should let your microwave radicalise you.

Cancon Debrief

CanCon2020 is over, and with it, a time to decompress, to take a deep breath, and to recover. It’s also a weekend full of short stories.

Customer Feedback

We talk about our games a lot over the course of the weekend. Commonly, people buy games on day 1, take them home, play them, come back and talk about them, and in many cases, buy more, which excites me a lot. Several of our games have stood the test of time, in my opinion, and players are likely to talk about liking them. Now, I know that people are inclined to be kind in person, and I understand that, but it’s still easy to be and stay mad if you feel wronged.

Basically, I haven’t, it seems, pissed anyone off.

There are still ways our games can be improved, and there are some details on that front.

One weird thing that happened was we sold most of our copies of Cafe Romantica, a game we simply did not expect to sell well at this con and which I almost left most copies at home. It’s a great game and I’m a fan of it, but it’s surprising to me that this weekend, it did well. This is something about our current line up I have to grapple with: That a bunch of our games are doing their main job of being part of a selection for people to browse. I only sell one or two copies of some of our games, and I don’t need all of our games maximally available at all times, but success is a matter of rolling lots of dice, and so, more games is more dice.

What did I learn?

Access Issues

One thing I got to do a lot this weekend was explain my games to people in terms of things that make the game good for them. This meant being honest with people about player counts and game complexity – kid games have a whole range of design needs, and if you were looking for a dense, complex game, most of our games aren’t quite there. Social deduction, planning ahead, drafting games, all sorts of talk about people who may or may not be aware of the kind of things I’m talking about – there’s a lot to be done explaining and understanding games, then doing it again twenty times in the day.

Some holes in our collection though:

  • All our adult-targeted games are reading heavy. Our kid-aimed games are reading light, but if you have reading difficulties, our card games that are aimed at adults are hard to play.
  • We have one cooperative game. Still haven’t fixed this, despite it being Fox’s and my current favourite kind of game to play.
  • Lots of social deduction games, not as many ‘watch a system work’ games.

Handling The Heat

CanCon this year happened on a very hot weekend, but not the hottest; we’ve had worse days. The main thing that happened this time was we planned our day to minimise the amount of times we left the building; one trip to another building, at the start of the day, then minimal leaving afterwards. We had stocked up on water, we stayed in cool locations, and we made sure our transport was done in as few trips as possible. Even then, it was still awful dealing with things like getting into a car that was full of stuffy air and heated metal fittings.

That said: I need to get a hat. I felt the sun on the back of my neck and side of my face a lot, I should do something about that. Also also: I got a haircut before I went down and that was a really good idea.

The Haul

I did buy some games, including a ‘mystery box’ game box, which was a cool looking pile of games in a mystery booster. That means there are some games I got that I was planning on getting, some games I got I was not planning on getting.

First, when I was interested in the storage solution for Star Realms, the day after I wrote that, Star Realms held a kickstarter for a deluxe box. Then I looked at that and realised: No, I don’t want that. Instead I decided to buy a $12 Ultimate Guard deckbox, which will do fine for my base copy of Star Realms. I’m not here to all-in on it.

I did see some of those games, and in the light of having them, didn’t want them enough. That’s okay! I found something else instead, and that’s the glory of Ding-And-Dent and Bring-And-Buy. There’s stuff that just I wouldn’t have thought of.

What I did get however, is, just as a list:

  • Katamino
  • Purrlock HOlems Furriarty’s Trail
  • Ninja Taisen
  • 10′ To Kill
  • Among Thieves
  • Rox
  • Bang!
  • Aerion
  • Realm of Sand
  • Newfoundland Jam
  • and Sakura Arms

Maybe you’ll see some reviews of these!

Birthday Post

It’s my birthday, when this goes up. Hopefully, I’ll be asleep, but odds are good I own’t be, because it’s a Friday night-morning for me, and who am I kidding, I stay up late and when it’s almost time for a blog post to drop, I go ‘aw, yeah, you know what?’ and it’s fun. It’s fun. We have fun here.

Anyway, it’s my birthday, and that means that hypothetically, it’s a time when you might want to buy me a present, or make me a present. I don’t necessarily think you should. After all, there are charities that deserve your money; I have a Patreon you can be contributing if you want to support my work; and I know a number of you reading this are not in any position to give gifts, and now my mentioning it can be guilt-inducing. Don’t worry about it. This is about something else.

Weirdly, this is about me.

I have a problem I think of as ice cream indecision. It was first codified to me by the work of Rumiko Takahashi, in her manga, Maison Ikkoku. If you haven’t read the series, don’t worry about it, the basic gist is there’s a man in it who has a hard time committing to a decision. It’s told with a metaphor of a scene, where as a little child, his grandmother offers him one of two ice creams. He can have one flavour, or the other. In either case, the ice cream is going to be delicious, it’s not a serious concern: But he spends his time umming and ahhing between the two that it stresses him out and he can’t decide before the two melt.

I think about this scene a lot. More than is healthy.

I’m afraid of spending gift cards. I’m nervous about using gifts. Fox has found one of the most effective ways to get me a gift is to just install it in my life and suddenly I’ll be using it and it’s great and I’m happy about it. Last year, Fox got me a pair of nice knives and a griddle plate for our oven and I’ve used them every single day since and I’m so happy I have them.

There’s a lot of things tied up here. Like, I imagine people browsing wishlists of mine with a wrinkled nose going ‘oh my god, he wants that? What’s wrong with him?’ And this keeps me from doing anything that could be perceived as Horny (For Capitalism) On Main.  I’m afraid of being ungrateful, so I’m nervous of talking about gifts with anything but glowing praise, which means if I wished for something that turns out to later on suck, I’m left feeling I can’t talk about it. And as with many things, I’m afraid of whether or not I deserve gifts, and if it’s  foul arrogance to suggest that hey, someone might want to buy me a thing, maybe?

Anyway, this list took a long time to compile, and part of why was because I didn’t want it to have just one or two things that were very expensive (to me). So here, check out some wishlists of things I think I might want and I don’t know if I want them, and even as I write this I’m trying to argue myself out of it.

All of these companies, in some ways, suck. If you don’t want to buy anything from them, because they suck, that is 100% okay and I support your choices.

But more than any of this… I said I wanted some things. And that I can do that, and feel okay saying it (though I don’t know how okay about it I feel), well, that’s a step! It’s important!

Hey, happy birthday to me.

Comic-Gong Wrapup

Today, I was bustling my hump at Comic-Gong. This is a local fandom convention, and the first year that Fox and I felt, with our finances as they are, that we could get a pair of tables.

The day starts at nine and ends at four. It really starts at seven, and really, really, starts at midnight the night before when you have to start making cuts of what you get made. And then you get three hours of sleep because you push yourself all night to try and get things made.

It’s a rough night. It’s a rough night because when you’re the smallest of producers, when you’re not a proper business yet, and your entire stockpile is just a set of small card boxes, you’re left with this weird paranoia for everything. Should I stock this? what if it doesn’t move and I wasted the space? Should I not stock that? What if someone comes by and there’s exactly one person who really wants it? What if someone was holding out for this one thing?


There’s a chance that you were one of the people I spoke to today. In which case: Hi! I’m super glad you’ve taken some time checking this out. I make games, I talk about games, and I believe in your ability to make games.

I hope you enjoy what you find here!

You can check out the pages for our games at the main Invincible Ink website!

Talen Lee is now on Patreon!

DEEP breath.

Hey folks! Do you like the stuff I do? Do you like that I write about games, Magic: the Gathering, media and everything else? Do you like my guides on how to make your own games, or terminology in games that we don’t use well? Do you want to give me guidance on stuff you want to hear me talk about? Do you want to buy some of our games, but find the shipping costs or the schedule intimidating? Do you want to see me do more podcasting and video stuff? Well, I have some great news for you, because you can now directly incentivise my work and consider yourself invested in it directly, thanks to a Patreon!

My intention is still to make as much of my work free as possible – if I use the Patreon as a content footing, it will be almost entirely for early releases or the sort of miscellaneous poll-or-feedback kind of questions I sometimes use Twitter for. I’m charging it per month rather than per product, and will include such things as group sales and bundle rates for our games.

So please, check it out, and if you can’t afford it, don’t worry about it! If you don’t want to do it, because you think I’m not worth paying for, well, dang, hurtful, jeeze. What’d I do to you? Unless you’re Ryan ██████, I know why you have it out for me.

Anyway, please please please: Check it out.

Check Talen Lee out on Patreon!

The Sad Inadequacy of Twitter

I got onto twitter around six months after starting this blog, and about six months after that, I implemented a notification system so that my posts were shared with twitter. Some experimentation about time of release and content types aside, I have a fairly robust sampling of what twitter traffic does, what a conversion rate is like. I’ve had a little handle on same with Tumblr, which is also integrated, and there has been a small amount of facebook data.

Obviously, doing all of these things to promote your work is ‘free’ and by ‘free’ I mean definitely not actually free. It’s work, it’s social, and it involves associating yourself with companies that are, at the least bad.

Sadly, if you’re a creative developer holding your nose and dealing with a shitty company full of horrible people just for the sake of promoting your work, it seems that that company that gives a better return on investment is reddit. Facebook seems to get me some good hits, but broadly speaking if something of mine gets ridiculed on reddit it still gets me a huge number of hits.

I can’t tell you how that converts to sales, becauuuuuse I don’t sell much on the internet.

‘Doing Art’ For Card Games

Hey, reader. Let’s step, rhetorically, through a conversation I have semi-regularly and want to make easier and more convenient in the future. For the purpose of this conversation, let’s assume You’re an Artist, and I’ve approached you to do artwork for a game.

Hi there!


My name’s Talen Lee, and I develop card and board and tabletop games, and I’d like to pay you money to make art assets for a game of mine.

Oh! What’s that entail?

What it’ll mean, usually is that I want to pay you to do some art, that I’m then going to put on cards or boxes or whatever, and that becomes part of the game, which I then sell on. Usually it’s a small number of pieces, sometimes with some modularity or some flexible components – but we can talk more about that in a bit, depending on the project.

Oh, uh, and how would I be getting paid?

I give you money. We agree on how much and it’s okay for you to price yourself out of my range. I’m not here to make you set your prices low or tell you what it should be.

If you can’t afford my work,why not a share of the profits?

No, because I’d like you to get some money. More realistically, I prefer to pay an artist up front for three reasons:

  1. A lot of my games don’t make much money, certainly not enough to make it worth your time to do the art. If they do eventually cross that line, it’s a very long time, sometimes a year or two, after the game is made.
  2. Even if the game never makes money, you still put labour into it, so you should get paid.
  3. I’m really easily made anxious about sums of money and bookkeeping details like this, so I’d rather err on the side of fairness to you, then put the whole process behind me, rather than try to work out a cut on convention sales or the like.

Not that I don’t have it in my mind that, one day, if a project becomes a runaway success I totally need to go back and give more ducats to the artist. I’ve done this with a few projects that just made A Decent Bit Of Money, for example.

Alright, then what kind of art do you want?

Now this is where things get nitty-gritty. I tend to approach artists because I see them doing something I like or something that gives me an idea. I like making games and systems, but I don’t have what I consider refined aesthetic sense – I much prefer telling an artist ‘here is the idea’ and see what they create from it. This can be, for some artists, super liberating because it means I’m not a jerk about fine details. For others, I understand this is a bother because you’d rather precision so you can be sure of the work.

Either way, this is an issue we’ll have to communicate on.

You mentioned modularity?

One thing that you’ll find when dealing with a board game is sometimes elements will be designed to look very similar, so players can grasp that they’re part of a common language, but not be the same because they’re not meant to be the same. Let’s say I want a game to feature potions with bugs in it, and potions without bugs in it. In this case, do I pay you for two almost-identical artworks? The second artwork is still labour, so it shouldn’t be free, but should it be priced at the rate of the first?

This is why I tend to want to pay for art assets in terms of a bundle. I tell you all the things I’ll need in your art style, we agree on a price for the lot, then I pay for the art, and an extra charge for a number of potential revisions. If you get the work done smack-on right the first time, then that’s fine too because instead of freedom to revise, you’ve saved me time.

Do I have to make like, card faces, or know how the rules work?

No, not at all. I do the arrangement/positioning of the cards myself. I actually prefer to.

So why not do smaller, easy things yourself, like the potion example?

One of the things that can make a game look really cheap – accidentally – is when its art is wildly inconsistant. If a game has one artist, it tends to look consistent; if it has three it often looks weird. If it has twenty, well, then you’re looking at a big anthological work and that’s a different creature entirely.

The desire for bundles of art is why I am also an active encourager of stock art.

What’s stock art, in this case?

Stock art fascinates me because it’s stuff you’ve already done, and you’re just selling me permission to use it in a design. Now, not many artists do this – and many aren’t comfortable doing it. I wouldn’t ask you to do it with stuff you’re not comfortable doing. But please, consider it; if you’ve, for example, done a bunch of sketches where you’re not attached to the core of what they represent, or just some art studies of individual characters or background art, please consider making that available for other people to remix, reinterpret and of course, recompense you for.

If you’re interested in selling your work as stock art, I look through the Drivethrucards set of websites for stock art.

I like stock art because I’m poor and it’s often an easy way to get a variety of cool artwork to use for a project, allowing me to make larger projects than I would if I had to comission the art individually, but I also really like stock art as a source of inspiration. Sometimes an artist will put together fifteen sketches of different, random characters and move on, leaving behind a puzzle of what kind of game I can make with that set of sketches.

Oh, cool, so what kind of game is it? Do you have something right now?

There are lot of games I want to make. What’s more, I tend to be artist-led; if you’ve got an interesting style, I may look at your work and need time to fizz away at ideas. This means that I’ll sometimes approach you with a request for contact information so I can get back to you later, or see what your rates/prices are.

Another thing is values. I, for example, don’t like racist or sexist jokes, so if your work tends to make a lot of racist jokes, I’d rather know about that before I commit to working with you.

I’m just starting out, and I’m not sure what I do is good enough

A thing I really love about board and card game design is that there isn’t really a good enough. Some games have really simple art styles and they’ve been wildly successful. Some games barely have art at all. While some games are indulgent and want you to focus on gloriously painted landscapes, others are smaller, tighter, and want to evoke a comic panel or an internet avatar.

So, don’t feel you need to play down your work. If, for example, you’re one of those artists doing short-term comissions of busts or avatars, that kind of art is super useful to me, if it’s in a really usable format.

Usable Format?

The things I’m usually looking for with art assets are clean, distinct visuals that can be distinct when they’re small, and absence of background. It’s not that backgrounds don’t matter, it’s just that the games I’ve been making aren’t hungry for background art. If you can design a clean flag, for example, or a distinct avatar, chances are you’re good for what I’d like.

Also, busts and shoulder-up shots are fine! When you’re presenting a character on a card, that much space can be plenty for communicating what they’re about, and what they do. Full-body art is both expensive to get – in terms of time and money – and involves lots of fine detail that’s kind of hard to appreciate during play.

As a rule of thumb, a card I’m working on has a resolution of about 1,100×850 pixels, and is being prepared for at least 300 DPI. It’s always best if an artwork is too big rather than being too small.

This is a lot of words and it’s mostly you talking

Yeah, I’m sorry. I’m very selfconscious about this. I just want to make sure you, as an artist, have the information necessary to understand what I’m working on, and what kind of things I want out of an artwork.

I keep an eye out for artists who are doing things like offering comissions in emergency situations. I don’t want to exploit your lower rates, but at the same time, I do want to ensure you get money. I also understand that giving up or sharing the rights to that art for reproduction in a game isn’t the same as doing random comissioned art. So this information is presented here for your benefit and to hopefully make things a bit less awkward.

That said, if you want to talk to me more specifically, please! Contact me, I’m on twitter and you can send me an email.

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What Have I Been Up To

Tonight, I sat down and used the Invincible Ink blog for the first time in a while to belt out the games we’ve been making in 2017. Then, I sat down and sorted through the game projects that are cooking for the rest of the year. Then I sorted through shipping costs.

This weekend is Comic-Gong. We’ll be there, next to our buddies at Invincible Ink, and we’ll be selling stickers and bookmarks and games, games, games.

I’ve been thinking more and more lately of setting up a formal patreon, just because it’s a way to cover blogging, social media nonsense, the shirt-and-sticker designs, game design, writing about the game design, and even maybe short explanatory pieces using youtube or podcasting or whatnot.

We’ll see.

Pepsi Normalisation

So, this happened:

Now a thing I’m seeing swapped around about it is jokes in the vein of ‘Pepsi believe Pepsi is cop countermagic.’ Which is silly, and insidious and awful, but. But but but.

I politely request that you keep paying attention. Because I don’t think that’s what they’re doing. I think it’s super easy to take what they’re doing that way, but it’s kind of worse.

Okay, so first up, let’s talk about advertising. You’ve probably heard all sorts of things about subliminal advertising or the impact of advertising on your brain, which is a pretty successful pile of nonsense that convinces you that advertising is really powerful and dangerous and a lot like programming people. It’s not against advertisers’ interests to convince you that they have, in fact, superpowers. Thing is, the #1 job of advertisers isn’t to sell you products, it’s to sell advertising to people who aren’t you unless you are a multimillion dollar company with a giant pile of cash to blow.

Advertising is, let’s say, let’s say there’s a fairly tenuous relationship between advertising and success. Part of this is because advertising just doesn’t have the sample sizes and demographics to prove it works. You remember Dulux dogs? That dog they used to advertise Dulux paint? Didn’t appreciably improve Dulux paint’s sales, but really did improve sales of the dog. There’s also this problem of saturation, where your brain starts to just sort advertisements into big blocks – basically, at a certain point, your brain starts to say, when you’re being shown a product, ‘oh yes. Products exist.

There is however a form of advertising we’re pretty convinced works, and it’s an advertising method you kind of can’t do unless you’re already a massive multinational corporation. It’s supersaturation. It’s designed to represent your product as so overwhelmingly common, so universally available that people think of your product as part of being normal, as part of just existing. It’s about being background radiation. And you do that not by subliminal representation or cow-shaped ice cubes, you do it by just showing up everywhere. You put your brand on the sides of buildings, cars, trucks, vending machines, you put it everywhere, and you distribute your product absolutely everywhere too. It’s got to be this combination of availability and omnipresence. It only works for products you use regularly, for products you want to reach for all the time, replaceable and reusable.

Simply put, this is the sort of advertising corporations like Pepsi and Coke can do. And it’s a model that almost only works for their particular variety of product. You can see other companies wasting money on this kind of thing – even Apple’s marketing in the same vein has challenges in that people don’t need to buy new Apple products every week. It costs a lot to stay on the top of everything, to be everywhere doing everything.

And that’s where we get to this ad.

The company behind this marketing is, from what I can tell, doing exactly what they’ve always done. They’re trying to create a schema, a worldview of everything is normal and Pepsi is part of it. You know things are normal, because Pepsi is there, and Pepsi is normal. The best results of this massive multinational research company, trying to manage its already extant status of everywhere for everyone, is to make this ad, based on exactly what they can prove or know. The thing with this ad is that it’s not trying to say use Pepsi to change your world or Pepsi is part of the revolution. What they’re saying is even when you have a protest, for any reason or any purpose, hey, Pepsi is there. Pepsi is part of your day to day life.

And your day to day life will probably feature regular protests and confrontations with the police.

Sleep tight!

A Year Later: Game Design

I guess it’s been a year.

It’s been hot today, so it’s hard to write when the sun’s up, and then there’s a few hours after the sun sets where you need to do all the chores. But today I’ve been stewing on the challenge of being a game designer.


I have not been a game designer in the context of ‘getting into the industry.’ I’ve just been making games now, for a year, and there was always a tacit thought in the back of my mind that, eventually, some point during the year, it would pick up the market and I’d slowly be building on having a job in game design, or at least, a portfolio game designers would want.

Not… really how it works. Anyway.

Here are some things I wish I’d known beforehand:

  1. Lead times are important. It takes about a half of a month to get a game sent from the printers to here in Australia. Expensive, too. Smaller games are cheaper to send, so designing for a small number of cards, leading to games like Werewolf, or Love Letter or the like, is easier and faster.
  2. Booklet games are really important. People are more likely to drop a bit of cash on a game they don’t know they want if there’s no delivery time. Buying a booklet is cheap and fast. Buying a printed cardgame has delivery time.
  3. Reddit and bloggers are super important! The two most sold products we have, online, are Simon’s Schism and Dog Bear, booklet games. The former is mentioned on a Venezualan game blog for people who need cheap games that don’t cost anything to import, which is awesome and lovely and I’d love to help get more games to people in that situation, and the latter is a goofy game that’s had the most time to sell, but was mentioned on Reddit.
  4. People buy my stuff when it is convenient. Face to face? People very rarely come to my booth at a convention and don’t at least show interest in maybe buying something. People want the product. The products are good. But getting people to know that, online, and then getting them to buy them… that’s the trick.

Please don’t feel guilty if you never bought anything. This isn’t about you. This is about useful things to learn. And hopefully, you won’t have these problems: Your product or game will be a wild, runaway success, if my hopes for you hold.


The fact I barely advertise the products I make – or rather, the designs I give to the people who make products in the hope they give me a tiny fraction of the total cost of the product – means I’m periodically struck by just what the natural shakeout of the internet leads to people buying.

Particularly, someone has bought, from one of the sites, an XL version of the GENERALLY ADEQUATE DAD t-shirt design

marked as a gift.

Tony Vs Chester: Lessons In Branding

When you create a brand, specifically a brand to try and sell a product, it depends on how you position yourself in the media landscape so people can know how to react to you. In the past, we’ve seen Coca-Cola position itself as a standard, loved, traditionalist piece of our lives, while Pepsi tried to make itself an aggressive, reckless, new-hip-and-cool opposition to that stodginess. The same is true of Mario and Sonic (and later Crash Bandicoot), and this can be now seen in the way that both Chester Cheetah and Tony the Tiger are engaging with their thirsty, thirsty fanbases to best-

You know, sometimes you get stuck into a draft and realise you probably should just stop.

Chasing 1%, Part 2

The reason I titled this Chasing 1% is because I’ve been thinking a lot lately about where and how I choose to improve as a Games Person, or Person What Makes Games And Sells Them. Even how you choose to phrase this is an ambiguity, and parsing out my personal challenges with expressing things in terms of I Am and the manifold layers of sin and pride around it doesn’t make it any easier. Let’s pretend I’m saying this decisively and clearly, here: I’m A Game Designer.

Continue reading

THE SUITS: Phone Wallpapers!

pwallpaper header

Hey, did you like my The Suits designs? Would you like them on your phone? Well, I made these wallpaper-sized versions of the images. And I made sure to avoid the logo, and didn’t put any watermark on them, because I’m hoping that this won’t come back and bite me on the ass later! Either way, if you’d like one of these pictures available on your phone regularly, well here they are!




Senpai Notice Me! is a hidden-information bluffing and set collecting card game for 3 to 7 players where everyone’s a super cute schoolgirl trying to put together the pieces of their most charming look so they can both identify and earn the attention of the hidden Senpai at the table, which plays out in five to ten minutes. If you want to wear pretty gloves, or flaunt your rad tan, or maybe drawl out a flirty sentiment with a toothpick hanging from your lower lip, this is tha game for you, a game that can be bought on DriveThruCards for ten bucks, and right now.

Interested? Then great, click here, go check it out!

Or you wanna hear more? That’s fine, then, here we go:

Continue reading



Crowdfound This! is a multi-player microgame about convincing other people to engage in your ridiculous nerd project, where you overpromise and underdeliver, in the hopes of finding the magical combination of suggestions that your friends will rally around. The whole game takes roughly ten minutes to play and three to ten people can play. Sound good? Great, you can buy it here! Need more? Well- Continue reading

Capitalism Ho!

I’m not here right now. I’m either in bed, or at a convention, or possibly sitting up late after the convention feeling like crap because I bustled my butt off selling things. So in the spirit of that capitalism I feel I should mention that store button I put in up top. If you’re particularly keen eye you might have noticed it appear before, but if not, here’s the link now. This store is mostly dedicated to housing random small designs I had laying around, as I try to make sure more of my ideas are created in ways they can be merchandised.


I am working at this point on multiple stories, novels, really. They’re short, they’re Young Adult Fiction, really, though perhaps One Stone will be a bit dirtier and feature more swearing than Sixth Age. When you release work like this, you have more or less definitively given up on making that work into something professional – publishers don’t want work that’s already out there for free.

I’m not on Patreon. I’ve considered it, but I always quail at the thought, because I know that I don’t have an audience. I have friends. Friends read my stuff, sometimes, and they care about it, sometimes. This is the current quandrary I have. I have met now famous web authors, and dealt with people who have pre-existing audiences that let them take a step around the conventional system of employment.

I’ve wondered about it.

I’ve also wondered about just biting the bullet and writing dirty novellas for online publishers again. The main difference between those books and the ones I’m already working on is that I would avoid doing is sharing that work with anyone I know. Strange, isn’t it? The work I make right now, I share with my friends and want to hear from my audience and wish to feel feedback and know that my work was enjoyed. Porn… well, porn is a different beast. I have come to think I don’t want to hear what my friends think of the pornography I write.

Thoughts, thoughts, thoughts.