Shipwrecked Kickstarter Launch!

 

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I’m Lead Artist for this gorgeous game, the first game from the inventor of Apples to Apples in more than a decade!

It’s a joy to be working with such an accomplished team. Integrating, art, theme, design and gameplay is crucial to creating an immersive and intuitive player experience. Happily, Elbowfish seems to have gathered the right folks to bring those elements together and make this game great.

Please consider backing this lovely game!

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Here is a bit from Elbowfish:

Kickstarter Launch for Shipwrecked From Apples to Apples Inventor Matt Kirby
Creative team includes award-winning artists Lee Moyer and Lyla Warren, designer Andrew Mayer

PORTLAND, OR, AUGUST 1, 2017 — Creative studio Elbowfish has launched a Kickstarter campaign for Shipwrecked, “the fast, fun board game of bananas, bidding, monkeys and mayhem,” from Apples to Apples® inventor Matt Kirby. This is Matt Kirby’s first new game in over a decade and is highly anticipated.

The Kickstarter campaign can be reached via https://elbowfish.com/shipwrecked

You are marooned on an uncharted island that is littered with battered and broken vessels. The sole survivor of your crew, you must repair your damaged ship to escape back home. Unfortunately, all the ships have been stripped of vital parts by a gang of motley monkeys, led by the wily Captain Coconuts, a former pirate mascot. You’ll have to out-bid (and out-smart) the castaways from other ships in the Captain’s multi-tiered auctions. Win what you need to rebuild your ship and you’ll sail away to victory. 

Shipwrecked is a fast-paced bidding and set-collection game for two to five players. It is accessible and easy to learn, yet rewards clever strategy. 

The game’s unique retro look, reminiscent of Sailor Jerry tattoos and 1930’s cartoons, complements the game’s desert island castaway theme. A creative team of award-winning veterans collaborated on the game, including Lead Artist Lee Moyer, Illustrator Lyla Warren, Game Designer and Elbowfish Creative Director Andrew Mayer, and Producer David Galiel, CEO and founder of Elbowfish.

Elbowfish CEO David Galiel: “Shipwrecked is a well-crafted, engaging and accessible game for a broad audience, featuring high production values and a unique art style. Gameplay and theme are perfectly matched. I suspect that this is just the beginning for the wily Captain Coconuts and his gang of motley monkeys.”

Shipwrecked — the fast, fun board game of bananas, bidding, monkeys and mayhem.
Genre: Auction and Set-Collection Board Game.
Ages 14+, 2-5 players, 30-45 minutes.

Elbowfish LLC (https://elbowfish.com) is a creative studio that designs, develops and publishes well-crafted games for a broad audience across all media. Titles include the award-winning Antimatter Matters: A Quantum Physics Board Game (Really!) and JUX, a collaborative storytelling game for creative thinkers.

Press Contact:
Name: David Galiel
Email: media@elbowfish.com
http://elbowfish.com/shipwrecked

Apples To Apples® trademark and trade dress are owned by Mattel, Inc.
No association between Mattel, Inc. and Elbowfish, LLC is implied or intended.
Antimatter Matters, JUX , Shipwrecked and Captain Coconuts are trademarks and copyrighted properties of Elbowfish LLC. Elbowfish and Play Matters are trademarks of Elbowfish LLC.
All other brand names, product names, or trademarks belong to their respective holders.

 

Big News!

Good morning lovely people,
Today, after more than a year, Keith Baker and I have some good news for you.

• Please check this page out:

http://www.cryptozoic.com/games/doom-came-atlantic-city

• Please check this board out:

DoomBoard• Please check this press release out:

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CRYPTOZOIC ENTERTAINMENT PARTNERS WITH CREATORS LEE MOYER
AND KEITH BAKER TO SAVE THE DOOM THAT CAME TO ATLANTIC CITY
BOARD GAME
Cryptozoic & Creators Pledge that Kickstarter Backers will not be Abandoned!
Irvine, CA (July 31, 2013)—Cryptozoic Entertainment™, a premier developer of original and licensed games, announced today that it will be publishing the board game The Doom That Came to Atlantic City, created by Lee Moyer and Keith Baker.This news comes just a week after the previous publisher announced that the Kickstarter project had been cancelled.
“For Lee and I, the worst part of this is that people who put their faith in our game have been hurt by it,” said Baker. “After the Kickstarter was cancelled, many people came forward with ideas to keep the game alive. But we didn’t want to pursue an option that would save Doom unless it would also get the game into the hands of the people who first supported it.”
Moyer and Baker have fought to bring this whimsical game of cosmic horror to life for over a decade. In 2010, sculptor Paul Komoda joined the team with his unique vision of the terrifying Old Ones. In 2013 it seemed that the stars were finally aligned… until the surprising announcement that the project was abandoned.
“We were really shocked to hear the news about this last week” said Scott Gaeta Cryptozoic’s chief operating officer. “The game looked fantastic and I thought that we might be able to help, so I contacted Keith right away. Keith and Lee told me that taking care of the Kickstarter backers was the most important thing to them and I couldn’t agree more. That’s why we are going to be fulfilling all of the Kickstarter game orders ourselves.”
“Our first priority is getting the game produced and in the hands of the Kickstarter backers,” said Gaeta. “We are already working with the factory and should have a date we can share in a few weeks. We are also going to be demoing the game at Gen Con and the upcoming Alliance Open House. This game is just too much fun not to make it available to gamers everywhere.”
Soon to be available in hobby stores world wide, The Doom that Came to Atlantic City board game invites players to assume the role of one of the Great Old Ones – beings of ancient eldritch power. Cosmic forces have held you at bay for untold eons, but at last the stars are right and your maniacal cult has called you forth. Once you regain your full powers, you will unleash your doom upon the world! There’s only one problem: you’re not alone. The other Great Old Ones are here as well, and your rivals are determined to steal your cultists and snatch victory from your flabby claws! It’s a race to the ultimate
finish as you crush houses, smash holes in reality, and fight to call down The Doom That Came To Atlantic City!
For more information about The Doom that Came to Atlantic City Board Game, please visit
http://www.cryptozoic.com, Keith Baker’s blog at http://www.keith-baker.com and Lee Moyer’s blog at
http://www.leemoyer.com/
Keep up to date with exclusive contests, promotions and game information on Cryptozoic
Entertainment’s Facebook and Twitter pages.

About Cryptozoic Entertainment
Founded in 2010, Cryptozoic Entertainment, Inc. is a premier developer and publisher of original and licensed board games, card games, comics and trading cards, including the World of Warcraft® Trading Card Game, The Hobbit board and deck building games, The Big Bang Theory: The Party Game and The Walking Dead™ Board Game. Following a philosophy and core principle of “Fans First,” the dedicated gamers and fans of the Cryptozoic Entertainment team are focused on producing fun and amazing products along with epic events that bring all gaming fans together as part of the Cryptozoic community. Visit http://www.cryptozoic.com for additional product and event information.
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• Everyone who supported this Kickstarter deserves the game, my sincere thanks, and their money back from the Forking Path.

• Many thanks to those of you who have supported this project. My thanks to you for your patience and support – and to Keith, Paul Komoda and Cryptozoic for their brilliance! Thank you all!

Addendum. In regards to various notes I have received on the subject I would like to clarify one very important thing and I will use Keith Baker’s excellent words to do so:

“To be absolutely clear: This has nothing to do with The Forking Path or Kickstarter. The project was cancelled, and this is not a reward or refund from the Forking Path. Cryptozoic isn’t assuming responsibility for the Kickstarter project or the actions of The Forking Path: They are simply doing what they can to make things right for the gamers who have suffered because of it. As I said, they can’t cover all rewards The Forking Path promised, because they are doing this entirely at their own expense to lend a hand. But Cryptozoic will see to it that the backers get the game they thought they were backing, and that is a tremendous relief to me.”

Kickstarter – What does it all mean?

Ever since the conclusion (actually long before the conclusion), of our recent Kickstarter campaign for The Doom That Came to Atlantic City, I’ve been receiving congratulations of one type and another. When I seemed momentarily startled by their kindness, people asked me why. And when I came out of my fugue state, I told them the simple truth: “Mistakes were made”.

With a little prompting, I went on to explain some of these mistakes. And I told all my friends to please let me know before they began their own Kickstarter campaigns, to help them better prevent the mistakes we made. But I soon realized that rather than repeat myself over and over, I should simply write a white paper on the subject, so that I could more easily disseminate the facts without forgetting crucial information with each repetition.

Before I get to practical matters however, there is no shortage of more diffuse and impractical thoughts to get out of the way from my month-long addiction to Kickstarter.

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1. Kickstarter is the best thing ever.

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2. It’s Kickstarter’s world. We just live in it.

Kickstarter is an amazing font of crowd-sourced capital, yes. But where does that crowd come from? Our first supporters had already supported between 2 and 178 other Kickstarter projects. In short, they were already “of the body”. They knew and loved Kickstarter for allowing them to help create products they wanted, for helping to change the playing field, for telling them about projects they would never otherwise have even heard of, and perhaps most important of all, for changing, deepening, and strengthening the relationship between Creator and consumer. They understood the paradigm and paid attention to the site’s many categories and recommendations.

As our month went on and we got stellar press, Kickstarter habitués gave way to people who’d never used, or in some cases even heard of, Kickstarter. I don’t know what the workers at Kickstarter Central call these wonderful people – Newcomers? Virgins? Noobs? Lambs to the slaughter? But this was the most surprising point to me. Not only were we using Kickstarter to fund this game project that no game publisher would touch, Kickstarter was using us to bring them more users. And the larger the user base grows, the better for everyone involved. Especially, Kickstarter shareholders.

Because Kickstarter makes its money on the success of projects, it is deeply incentivized to assist clever campaigns. As a result, we were featured on Kickstarter in a couple places: as Portland, Oregon’s top campaign for most of the month, and as a top pick in the Games category. In fact, during our tenure in Kickstarter’s Staff Picks, they restructured the “Games” category to include both “Board & Card Games” and “Video Games”, ensuring Doom’s status as a top pick for an even longer period of time.

I had initially guessed that our project was getting love from Kickstarter because it was graphic, we presented it well enough, and that the resumes of the 3 creators were pretty impressive. That may be true. But were we also a likelier candidate for success by virtue of the creators’ pre-existing social networks? Was our old-school board game meets HP Lovecraft vibe more likely to ensnare Kickstarter Virgins? I don’t know, but what I do know is by the end, few if any of our new backers had supported even 1 other Kickstarter project, and that may have been the really important part for Kickstarter.

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3. Kickstarter is the best PR other people’s money can buy.

I had never heard of the Pebble watch until masses of our backers proved to be supporting their Kickstarter. The word of mouth and feeling of involvement a strong Kickstarter campaign can generate is phenomenal, and all without traditional Venture Capital or Angel Investors to pay off! It’s a funding platform that sells you rather than one that buys you. Sure, you’re giving them some of your supporters in perpetuity, but isn’t that transaction more agreeable than selling them a whopping percent of your company? And besides, each backer can use the wonders of the Internet to get you more backers! To get Kickstarter more! To get your next project more! To… well, looking forward, things get mighty interesting.

Does the current boom go bust as all the cool kids exceed their Kickstarter budgets and the whole thing shuts down? Or do projects get better and better the way evolution should work? This is an interesting point to me as I’ve watched actual capitalism wither and die in some parts of the economy. Yes, there’s been no shortage of shoddy product on Kickstarter – projects born of pity or in reaction to the dominant paradigms, et al. – but will such campaigns continue?

Will they be allowed to?

Will the marketplace of ideas become more discerning, and the bar for projects that Kickstarter will even approve be set much much higher?

Will Kickstarter self-censor strongly and effectively?

What will make them leverage their power more specifically, and control access more tightly?

Will some projects be so successful that Kickstarter finds itself paying for their virgins?

We can’t know at this juncture, but it’ll be fascinating to find out.

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4. All the cool kids are doing it.

As 2012 dawned, I had never done a Kickstarter project. By the end of the year, I’ll have done half a dozen. A few with young, largely untested talent, but the vast majority with award-winning authors like M. K. Hobson, sculptors like Paul Komoda, and top-tier game designers like Keith Baker, Rob Heinsoo and Jonathan Tweet. And that’s just a hint of what I’m doing. Most of the Creators I know are currently working on some level of campaign (thus the white paper to follow)!

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5. Creatives and Corporations – why can’t they all just get along?

I worried a little before Doom that ours would be the project with which Kickstarter would officially jump the shark. But that was apparently just nerves. It had, however, happened once before. The wonderful Z-Man Games (publishers of Pandemic, see above) purchased Doom, but then Z-Man was sold to a European game company right before our publication date, and the new owners didn’t want our game. And neither did anyone else. How is that working out for those publishers now I wonder?

When we took in 122k in a month, an old colleague suggested that, “The market was clearly ready for your game.” Maybe so, but the game companies were not. At all. The Creators’ willingness to market their game, the public’s desire to see Lovecraftian Gods trash Atlantic City, the pedigree of the creative team (games, novels, films, posters): none of that mattered one whit. They didn’t see a return that showed any kind of clear profit for them, and they passed.

In the decline of the working and creative class that we’ve all weathered these last 30 years, major monopolist corporations have intentionally made Creators the lowest people on their totem poles.

The odious work-for-hire contracts, the hierarchical apple-polishing, the constant cancellations of green-lit projects to protect their jobs at the expense of others and to “bolster” their bottom line: it’s all been designed to maximize their profits and strip Creators of their chance for licensure, and the passive streams of income Creators might otherwise have enjoyed. There are still plenty of artists who need corporate paychecks, but many artists are viewing this as a long-overdue sea change. In Portland, many people suggest that the only way to move up the ranks at Nike is to go to Adidas. And vice versa. In New York, people leave DC for Marvel. And vice versa. Does Kickstarter mean that Creatives will be getting more respect from the big players now that they can set their own terms elsewhere? Or will the big companies simply ignore them when they ask for more respect? As exciting as Kickstarter is now, what will it be in the future? Will it morph over time like the massive powerhouse whose informal corporate motto was “Don’t be evil”? We shall see.

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6. Make no mistake. This is an addiction.

The shots of dopamine that accompany every new dollar the Refresh button reveals are the most obvious example. But the fact is, we Creators are on the line here. Every mistake or miscue is now on us. And that’s not the sort of responsibility that leads one to sleep like a baby. Kickstarter is not for the faint of heart. Can you imagine working a month or more (more really, even for a “30 day” campaign) only to have that campaign stall and fail? Many of the best and brightest Creators have already experienced that very thing. Sobering. Kickstarter will take every ounce of energy you can give it and want more. Believe it.

Every mistake we made weighs on me, and I suspect it’s the same for many others. So, with this prologue, I hope you’ll enjoy (and be informed by) the paper to come.

Part 1 of Kickstarter White Paper

Part 2 of Kickstarter White Paper