Welcome to Maple to Maple, uniting players around the
world. A 30 minute exploration of TJ
and Gareth 4 game experiences from across both sides of the
Atlantic. Each episode they share their
thoughts and opinions on the World of War games, including
their favorite themes, games, hot topics, and much, much more.
Hey guys, and welcome to episode 87.
We are slowly but surely making our way to 100.
I keep reminding you this every time.
Can you tell I'm excited? Episode 87?
I am always PJ and unfortunately Gareth is not with us.
It is summertime, it is convention season.
It is also holiday season with family.
So Gareth and I's July and August is when Gareth and I's
schedule get crazy, and you will probably have noticed that we
missed a week, but last week you did hear the Origins game fair
recap. So that was exciting.
At the end of that episode, I had mentioned briefly my guest
who's with me today and the game we're going to talk about where
I actually wrote some of the material for it, although it's
not about me at all, but this is kind of exciting.
This game is very special, but I have with me Fritz Paul and he
is going to be launching today. Prestige, Fritz, welcome.
Thank you so much. I'm so, so excited to be here.
I've been a long time listener and yeah, I'm excited for this
big launch and excited to have your name out there too.
Thank you. You certainly have bettered our
game thanks to your contribution and the contribution of all the
guest writers. You are a very forgiving
publisher, editor, designer, whatever.
But we could tell that story. That's a fun one later in the
show, but so why don't you tell us a little bit about yourself
and prestige? Sure.
So my name, my name actually isn't Fritz.
My name is Joe, but I go by Fritz in the design world, and
that's a whole another story in and of itself.
OK, In my day-to-day, I'm a traffic engineer.
I design roadways, traffic signals, stuff like that.
And I got into board games probably around seven or eight
years ago now and started designing one.
Actually leading up to proposing to my wife, I had this really
elaborate proposal that needed all of this woodworking and I
needed something to practice on. So I built a board game for my
roommate who's really into board games at that time.
That's awesome. I did not know that.
That's fantastic. It's a a weird, wonky turn of
paths that got me into the hobby, but ever since then it's
been my creative outlet and I'm really excited to see something
that I've designed actually come to fruition now.
That's that is awesome. So OK, so you're making these
wooden products. You're, you're building a board
game. You propose to your wife.
Things are going great. And then at some point, you're
like, I'm going to make a game for real and not just practice,
right. Yeah.
How did you how did you land on prestige?
Or were there games before this? And prestige?
I'm sure this is true. Prestige was not your first
idea. Yeah, Prestige, I'd say, is
probably my third idea. So I had two ideas beforehand.
One was this big, like Space Saga, Twilight Imperium kind of
game that I was biting off way more than I could choose.
So I tabled that pretty quickly when I realized it was pretty
much trash. It wasn't good, but it was a
good like getting my feet wet jumping into the deep end of the
pool. And it was fun to design and
eventually I'd like to go back to it.
Then I created this other little two player game that I called
Dilly Dally, the Game of Procrastination, and in lieu of
that I have procrastinated from progressing that game pretty
thoroughly. Well, then you're you're playing
the game, right? Yeah, yeah, I'm doing great.
Yep. All time champion, but then
prestige kind of got stuck in my brain during pandemic.
I was playing this game, Horizon 0 Dawn and I love this game and
as a city designer like I, I work with a lot of city planners
in my job. I designed roadways, all that
stuff. And I was listening to the video
game designers talk about this city and how they planned it
out. And I won't go into spoilers for
the video game, but basically it's almost like it's in the
ancient world and there's this big city in the middle of the
game called Meridian. And I just thought it was the
coolest city, most engaging city I've ever experienced in a video
game before. So I was listening to the
designers talk about how they thought about how all the
different buildings would go next to each other, how you
design a city in a virtual space in a world where you don't have
things like cars. And given that this is not at
all the point of Horizon 0 Dawn, it's about fighting robot
dinosaurs. But I was just listening to
them, like, just put so much thought into this.
And I just started thinking like, oh, yeah, that's really
interesting. Like, how do you, like, plan on,
like, building a market in an ancient city when you can't have
roads with trucks delivering all of your goods?
You have to build it next to the warehouses, and the warehouses
need to be next to wherever you're making it.
And that just started getting clicking into my head.
And I was just like, oh, this could easily be a board game.
So I just kind of started putting things, putting pen to
paper before anything. Prestige was a spreadsheet,
which I know does not sound like a super sexy start to a video or
to a board game, but that's how it all started.
And I just started like balancing things and put all
these different buildings from the ancient world into the
spreadsheet and what they would want to be next to.
And from there, I just kind of tinkered until eventually I made
it into cards and some folks had thought it was interesting
enough to start pitching it to publishers.
And from there, the rest is history.
So you mentioned cards, so to be clear prestige is more it's like
a tile, not tile laying but it's card laying right?
So there's no tiles in the game if I'm correct?
Yeah, that is correct. So it is a card laying game, but
it plays more like a tile laying game.
So I there's very specific reasons I didn't use tiles,
which is I really wanted prestige to be something that
you could easily break out. And I love some great tile lane
games. But for prestige in particular,
it would be very difficult to have all of these different
tiles because each card is unique.
So there's no repeats like you might get in other tile lane
games. So with each unique card, it
shuffling and like the amount of space those tiles would take up
was just going to be too much to be a game that could easily be
set up. So I went with cards, and I
really like the way it came out, but you're still laying them in
a tableau style, so you're still building out this city as if
they were tiles, but their cards would just make them a little
bit easier to manipulate. Right.
So it's kind of it's a la Terraforming Mars, where it's
that you're cooperatively building one city, but it's
whoever contributes the most and gains the most prestige is that.
Yeah, walk, walk us through that a little bit.
Yeah, so it's a semi cooperative game.
So you are all working in one city and the idea of this is you
each represent a tribe that has come together to build a place
where all of their people can prosper.
However, old rivalries die hard. These tribes have been at at
ends with one another for a long time, so they all want to be
remembered as the founder. So in order to do that, you want
your tribe most represented throughout the city.
And you can do that by playing cards that are inspired by your
tribe. So each tribe has a deck of
buildings and units and units are just specialized roles that
your people can kind of fill. So there's a like fishing tribe
and they'll have the docks and the fish market, the water
temple, but they'll also have fishermen, sea merchants, things
like that. And you could play all these
into the city, and everybody can play from each other's tribes,
and you're going to have to in order to make sure your city
survives. But you want to be cognizant of
incentivizing not just yourself to be able to play more from
your tribe, but everyone around you.
So it's this little bit of a head puzzle where you're trying
to negotiate with the city itself to try and make your
tribe pop up. However, at the same time, you
can play a little bit more cutthroat at the expense of the
city. But if you do that too much, the
city itself will either collapse, be abandoned or be
invaded. So there's a little bit of give
and take. You can play selfishly, but if
everybody plays selfishly and everybody plays selfishly too
long, then nobody will win. So there's a risk you've got to
work together just enough. Yes, exactly.
I love it. Tell us about the world that
this city 4 prestiges in because I was surprised 'cause when you
reached out to me to be a contributing writer, I had a
very specific vision and I'm like, Oh no, this is not quite
right. It seems like you use the word
ancient, but it's loose. It's.
Yeah, yeah. So I would, I would say that we
played a little loosely with the world, the term ancient world.
I'm no historian, but I love history, and I know that we span
a little bit further than what most would probably call the
ancient world, But the prestige itself sits vaguely in the time
between, I'd say the ancient Mesopotamians to the fall of
Rome, if you look at your history books.
And that's just to kind of put a picture in people's heads of
what this looks like. But in general, it doesn't
actually exist in any particular civilization.
It's meant to be just the story of humanity as they come forward
and build one of the first ancient cities and kind of grow
technology and all of the developments that you would get
through an ancient city. So vaguely you have that level
of technology that I just described from the very ancient
to almost the medieval. You might see pop up in some of
the cards. But how you play the game will
determine what's in your city. So ultimately it's up to you how
advanced your city could be, I suppose.
Yeah, go, go ahead. Yeah, no, that, that's cool.
So I was thinking about, you were talking about the tribes
and the different tribes and old rivalries dying and things of
that nature. Are they asymmetrical?
They are what I would call like subtly asymmetrical, so each
tribe has their own deck and each deck has unique cards in
them. However, you don't have like A
tribe that has a special power or anything like that.
The only asymmetry comes from the fact that you have a unique
deck associated with that tribe, and each tribe has certain
certain strengths and weaknesses built into them.
So you know the warriors will be better at building up defensive
structures, things like that. And some of them are intuitive,
some of them are a little bit more nuanced, but at the end of
the day, you're not playing them as abilities, you're just
playing them as they come into your hand.
And then the asymmetry itself is isn't something where you have
to understand the way that the abilities work in order to play
the first time. But as you play more and more
often, you might see some of those asymmetrical pieces kind
of falling together. And you're like, oh, I get why
now. Like this card does this.
So it's not necessarily a mechanical asymmetry that really
like lends itself to strategy, though you can do that a little
bit. It's more of a thematic
asymmetry based on the different tribes.
OK, OK, so we each each player starts with their own unique
deck of cards to pull from, is that correct?
Not quite it. It is true that it all everyone
has their own deck, but the decks get mixed together.
So they're all one big draw pile that you're pulling from and it
actually gets divided into 3. Two of them are face down, so
all you know is what tribe they're coming from because of
the back of the the card. And then one is face up.
So you get to see exactly what you're drawing, and then you get
to decide which deck you're pulling from.
So as you draw up more cards, you'll get to choose which
tribes you're pulling into your hand.
And ideally you'll want to pull from your own, but you might not
always have that option, right? So it's a little bit of a deck
building mechanic baked in there as well, it seems like.
I would say that there's like a spirit of deck building.
There's not the mechanic itself because you're you have one deck
that's constantly being gone through, but the idea of the
deck building at very loose terms might might be there I
suppose. So what about the resources to
playing cards? You just play them like how does
how does that work in the game? If I'm, if I'm at the table, I'm
playing, I want to play a card, what do I have to do?
Can you take us through like a Can you take us through like a
turn or a round? Yeah, definitely.
So in in prestige there are five resources and all of them are
shared between all of the players.
So you have prestige, which just how well known your city is,
defense, which is how well you can defend your city from
threats, real or imagined. There is happiness, which is how
much your city dwellers appreciate you as the ruler.
There's populace, which is just how many people are in your
city. And I think I'm missing 1:00,
but you get the the drift that they're these vague resources.
And then there's coins. So everybody shares the same pot
of coins. So you'll have in your hand 4
cards. You keep a deck or a hand of
four at all times. And you can play cards into the
shared city, which is just one big tableau.
And there are two situations you have to resolve.
First there's the cost of the card.
So some cards cost money, some don't.
You have to have that money before you can play into the
city. And then there's a need.
And these are situations in your city that you need to have
before you can play it. So for instance, a center square
might need two Rd. cards in your city already before you can play
that card. So those are the two things you
need to check like a check box before you play into the city.
And then from that point, you get to decide where that card
goes, and where that card goes determines the adjacency
effects. So almost all of the cards have
an adjacency effect, where if you place one card next to the
other, it might have a certain effect, but if you place it next
to a different card, it'll have a totally different effect.
The easiest way to explain this is like an example, and my
favorite example is the fish market, which was the first one
I ever developed. If you put the fish market next
to a water card, you'll gain extra coins because there's just
a lot of fish in the water. But if you put it next to a
residential card or a home card, you'll lose happiness because
nobody likes to live next to the fishy fish or the stinky fish
market. Nope, nobody.
Nobody. So I did have a question, but
now I've got another one. You were talking about defense
and you said threats, real and imagined.
OK, what is going on? Imagined threats in the game.
Yeah. So there are three different
types of event cards, as you know, as one of our guest
writers. One of them is the Invader deck.
And this is supposed to be outside forces that are taking
advantage of areas that you may have neglected, whether it's you
don't have enough defense structures or you're just being
too lackadaisical, particularly with discarding cards that
invites invaders to come in. And so the stories behind each
of these event cards kind of weave this tapestry of what's
going on in your city. So some of them are very real,
such as like an army can be approaching.
Others might just be the fear of your citizens kind of growing
within themselves. Not necessarily a justified
fear, but it's just something that catches on in the minds of
your citizens to the point where it's become a detriment to your
society. So one of them is, I forget what
we've called this card. It's gone back and forth, but
basically the idea is your citizens are seeing ghosts in
the streets. And you, you don't know why, but
for some reason they seem to believe that they're seeing
ghosts because the ghosts are unhappy with your rule.
Now, the card specifically doesn't like acknowledge whether
or not this is real. And I actually like this idea as
like the mass hysteria effect. It was what we were kind of
leaning into with this card particularly.
I was just listening to this podcast a couple days ago that
was talking about this instance where people believe that they
are being gassed during the Civil War or during the Cold
War, and there's no evidence that anybody actually was.
But because people started believing it, people started
smelling it, and people just all of a sudden everywhere started
believing it. And that's kind of what we were
leaning into with this particular card was that like,
oh, maybe the ghosts are there, maybe they aren't.
Maybe it's just that everybody is feeling the same way and it's
kind of spreading like a disease.
So that's kind of what I mean by real or imagined.
OK. All right.
That makes more sense. It gives me more some context,
right? Yeah.
So which brings me to How I Met you and how I became a
contributing writer. You had an interesting story or
not a story. You had an interesting mission
statement, right. If I recall, it was like you
wanted to create a game that was like made by Americans in
America. There was there was something
about that. Can you talk more about that?
Sure. So this was actually something
that was established by a previous publisher, which we'll
go into in other parts, like we can go into later.
But to speak to that original goal, the idea was to create
something as a publisher. They wanted to create games that
were all designed, illustrated, painted and then actually
manufactured within America. And for them that was not
necessarily like, oh, people outside of America are bad.
It was more just that they wanted to build up American
manufacturing and they saw this as an Ave. that they could do it
in. I thought that was interesting.
You don't see that I I just thought it was, it was a really
compelling approach to producing board game content and board
games. And that was one of the appeals.
It was our friend Chris Magic Maples on Instagram who who told
me about your project. I think she connected us
together. And I started, you know,
submitting event cards thinking that this game was about ancient
Rome, to be fair. OK, That is what I envisioned.
And and Fritz had to deal with me and rein me in because I've
got a master's degree in Roman history.
So I'm trying to turn his game into ancient Rome.
And he's like, no. You were very gracious.
So I do appreciate that you let me keep 11 specific reference to
ancient Rome and city building. But so that was pretty
interesting. So you also mentioned that was a
previous publisher. So then you would move to
another publisher who you're with now, right, that you're
going to launch. So tell us about that, that
journey, that relationship, and what's moving forward to the
launch? Sure.
So essentially with the old publisher, it just, it didn't
work out. There was a lot more challenges
with bringing prestige to life through their means and methods
than originally anticipated. However, upon this realization,
I have a friend, his name is Jack Dunbar.
He's the designer of New Kingdom's Gardeners and he's the
president of New Kingdom Gaming. And what he was looking to do at
the time was expand his company with a subsidiary company called
Kingdoms of the Earth. And the idea of Kingdoms of the
Earth is that it's going to be the very similar to New Kingdoms
Gaming. He's still the president of it.
However, this is a company built upon the idea of building up
designers. So there's a little bit of a
like discipleship that goes with this.
So I got to learn the ropes through him, which was great.
And then also he wants Kingdoms of the Earth Games to be a force
for good in the world. So every game has at least 10%
of the profits will be donated to a charity or a nonprofit of
the designer's choice. So yeah, it's great.
Jack's an amazing guy, amazing businessman, and really gracious
person. I'm really grateful to have him
have taken up the mantle of Prestige.
But essentially, when the old publisher wasn't able to do it,
he bought the rights from Prestige from them, and we've
been pushing the project along ever since.
How, how quick and easy, seamless was that transition
from one publisher to another for you as the designer and the
overall experience? For me as the designer, it it
wasn't, it was fairly seamless. I wasn't very involved at all.
Jack like it was important for Jack that the project maintains
what it was envisioned in my head.
So I was very involved with what the end product should be, which
is great. There's, you know, I think
that's a fear that a lot of designers have, which is if you
sell a game to a publisher, they will just turn it into something
that you don't want it to be. I don't actually know too many
experiences where that has happened off the top of my head.
I'm sure they probably has. But I've been lucky enough that
with, with Jack especially, he's been so in tune with making sure
that it's the final product. I envisioned it to be that it,
it went smoothly. And then he handled all the
paperwork, all of the negotiations, all of that stuff,
the overall experience. It does turn out that it's a
little tricky with like file sharing and passing off things
like that and figuring out, 'cause you know, we all have
things in our head and then ideally we have it all on paper
and all that stuff is organized. But when you have to completely
transfer things over, especially things that are a work in
progress, things start to get lost along the way.
And so there's a little bit of back and forth with that.
But luckily I have been spared from all of those headaches and
other people have taken them on for me.
Well, that's, that's exciting and thank you.
Thanks for sharing that. Yeah, of course, we've had
different types of stories from different designers and they've
they've shared just a little bit.
So I guess my next question is if someone's thinking about
designing a game or they're in the process, but they they
haven't gone to a publisher yet, They're still, you know, I
don't, I don't know what designers call it when it's
still all yours and it hasn't been.
I don't, you know, but you know what I'm talking about.
What did what one piece of advice what take away from your
experience would you share with other game designers or maybe
even just gamers that would help them enhance their.
Experience. That's great.
Great question. I think for.
You. I was going to ask one.
I think for for new designers especially, the most important
thing for your game experience is to get the game out there,
have people play, test it. I think there's a fear that a
lot of new designers have, which is, oh, if I like talk too much
about the game publicly, somebody will steal my idea.
And there have been cases where that's happened.
But for the most part, the design community is really close
knit. And it, it actually benefits you
to have your design out there because then once if somebody
does try to steal your design, everybody can be like, well,
hang on a second. That's I know that Jimmy
designed that last year. Like why are you publishing it?
And I know that he had it because here's all the Facebook
posts that he did in the design Lab Facebook group and things
like that. So definitely get your design
out there. Don't be worried about people
taking your idea. I think the community in general
will have your back. And it's better to kind of get a
bunch of ideas from all different types of people and
designers, particularly through play testing, because then it'll
just make your game so much better.
Because I've had prestige largely was the same mechanics
all throughout, but it wouldn't have been as fun of a game as it
is now thanks to the many people who have played it and offered
me advice. So that's my biggest advice for
a new designer. But if you're particularly
looking to find a publisher, I think that's great.
I think you know, the self-publishing route is a
really strong one if you have the desire to do that.
But I think people shy away from publishers because it, it's like
scary to put your, yourself out there for that.
But I, I think if you just find a publisher that shares your
values and shares kind of the, the market that you're looking
to get into, whether it's the type of game you have or the
theme or, you know, maybe there's something really niche
about your game that is unique to it.
Find a publisher that already has their hands in that market
and then values your game for it.
Awesome, awesome. So how many, how many people,
how many contributors total did you work with for this game?
And what was that experience like as the designer, having
people contributing content right, like myself and other
writers like? How was that experience for you?
So the guest writers in particular, which has been an
amazing experience. We have 5 for those listening.
I just showed 4 fingers, but said five, 'cause as an engineer
I can't count. But yeah, we had five guest
writers, and each of each of you brought something totally new in
terms of like the voice to the project, which was really
important to me when I kind of envisioned this guest writer
program in Prestige. Because the whole idea of
prestige is these many minds coming together.
And it's supposed to be this diverse growth that comes of the
storytelling of how a city is built, particularly from six
different cultures. So the six tribes that you can
represent. And then I was reading all these
event cards that I wrote, and it just sounded like they all came
from me. So getting more voices into it
just kind of introduced a much more diverse tapestry of what
the story of your city could be, which I thought was really cool.
So we have like your stories, which are greatly written and
really historically based and they represent, you know, really
interesting niche parts of ancient civilization that you
might not think of, which adds a whole nother layer to our game.
But then you have another guest writer who wrote all of his
guest stories as if he was telling them in a pub.
Like he was just like a a storyteller of the ancient
world, like a merrymaker, which it just makes all of the cards
feel so much different from each other, which I think reflects
the fact that you're living in this big city all all the
better. How, how difficult was that for
you personally having all of these voices coming into
something that before, before introducing the guest writers
was a singular voice, right? Like, that had to be some
somewhat challenging. I think there was a little bit
of challenge with it in that I had to make sure that we didn't
go crazy with it. So all of the our guest writers,
yourself included, had submitted a bunch of events, and the
biggest challenge was parsing through them and choosing the
ones that really fit the dynamics of the game.
However, when when they started coming in, I was like giddy, I
was so excited because it just came off so cool that, you know,
it was the same ideas that I had been portraying, but just in a
different light. So there's no real challenge in
my mind of like, oh, there's this thing that I created is no
longer my thing. I think that was just a a huge
plus in my mind because now it was something that was created
by a much larger community. And is that something that you
would encourage other designers is to reach out and allow a
diverse voice in their game? Do you you think that would work
on a more broad scale, more games or?
Yeah, I think that would be so cool if more games started doing
this, particularly with anything flavor wise, 'cause then you can
just introduce new stories and new voices and even mechanic
wise, like a lot of would I do for play testing, I invite other
designers to play test the game and offer what they would like
to see and what they think works or doesn't work.
That does come with challenges as any designer who's done this
will tell you, because all designers want to make your game
the way they would make it. So you have to parse through
some of that advice and be like, well that's not the game I'm
trying to make so I'm going to ignore that for now, but I'm
still going to hear out what they have to say because it
might reveal something. So it's a very iterative
process. It's a very time consuming
process. Prestige has taken what is it
now, four years to develop and we've had over 350 play tests of
the game, 200 separate play testers, and that's just for
like the mechanics of it. So that's a lot of time that
goes into it, but I think it makes the game all that much
better to have so many people speaking into it.
Well, I, I have to say, I can't speak for any of the other the
writers, but thank you so much. You were you, like I said, you
were very gracious. I was super excited, but even I
had to rein it in too. So like I sent you a if I
recall, I sent you a few, I contained myself and I sent you,
I sent you a few of them to get a feel.
And then I realized, Oh, I'm being too specific because I
hadn't, I had envisioned this. You're, you're building Rome and
you got building Rome, you're building an ancient city.
Then it's like it, it's not, it's a generics.
I mean, OK, so I started restructuring my content to
still be like a specific event or a building or something in
Rome or even Greece. And then I just kind of flavored
it out a little bit. So thank you for that.
Thanks for letting me be a part of it.
That's exciting. Thank you for being part of it.
Yeah, so I have one. I have two, two questions.
These are the most difficult questions that I'm going to ask
you in the entire interview. So get your thinking cap on, get
ready. You had mentioned at the
beginning of the show that you'd been in the board game community
for about seven or eight years. So what was the first board game
that got you into the modern gaming hobby?
That's a good question. The first game I played that
you'd probably considered modern gaming would be Dominion, and I
still love Dominion. However, that was kind of like a
college thing. Some friends played and I really
liked it, but then I kind of fell out of playing it until
actually this past year where I found all my Dominion cards
again. But I didn't really get into the
game until I had a friend who had moved up to this, the same
area that I live in, and he loved board games.
And up until this point, Dominion was the cap like it was
Monopoly. Sorry, chess Dominion.
And that's like board games. OK, He had like 200 to 300 games
and I just like walked into his, his apartment and was like, what
are these? And so he he invited me to play
and I think the first game we ever played was last night on
Earth. It's this like one against all
zombie game. It was total fun.
I haven't played it since, but I have very fond memories of it
and I'd love to play again someday.
Wow, that that is that is a fantastic story.
I love that. And then that's going to lead me
to my last question. What is your current, and I
think this is important current because our I feel like our
tastes change and evolve over time.
What is your current favorite game that you enjoy playing?
Outside of playing prestige, obviously.
Prestige certainly is the game I've played the most, sure, but
I believe I'll I'll separate it out into two.
My current favorite game is Above and Below, which has been
my favorite for a very long time now.
I just love all the different dynamics and how they kind of
weave into each other for that game.
The artwork is really cool. It just draws me in every time.
And I just brought to the table again last week and it had been
a while and I just wanted to try it out again and it still held
up, which was awesome. But the other side of things I'd
say is on more like a a smaller scale.
The game that I'm most excited to keep bringing to the table at
the moment would probably be Tapestry.
I got it a couple years back, but it took me a little while to
dive in. And it just really, really feeds
that that side of me that wants to play like a Civilization
style game. Like the Sid Meier's
Civilization style games, but with the beauty of a Stonemire
mechanic system behind it. So I really love exploring all
the different options that you have with the factions and just
building out your own little ancient empire.
I love it. That is the great and Tapestry
is just I think it's one of Stonemeyer's solid games.
I don't know anyone who doesn't like it, right?
I mean, like everyone, they love it in varying degrees of of
loving it as I wave my hand up and down to indicate the
degradation of love for Tapestry.
So is there a game, obviously, aside from Prestige, is there a
game that's coming out really soon?
It's got a lot of buzz that you're really interested in
getting your hands on. Yeah, so there's a game called
Peaks, which looks really exciting.
It's by Tangerine Games. I also know that the the the
folks behind that company are really great designers, so I'm
excited to see that one. And then there's a game that's
quite a bit far out. However, it was just announced
to be published by my same publisher, which I just think is
super cool. It's called Folk Tales by Devin
Matlin, and it has the most unique polynomial fighting style
of any game I've ever played. And even before it was announced
as part of the my publisher's family of games, I had been a
play tester for it. And I was like, this game is
going to make a huge splash. So I was really excited to hear
that it was sitting right on the shelf of the same as Prestige,
in the same family of games that is.
Awesome, that is awesome. So Prestige is going to launch
on Kickstarter. Backer Kit.
Backer kit, Backer kit. I can always get that wrong.
That's OK. Backer kit, yeah.
And that's, that's today actually, yeah, yeah, today is
going to launch. So though at 9A, is it a 9:00 AM
launch? It's usually what, 9 or 9 or 10?
AMI believe my publisher is looking at 10:00 AM launch,
yeah. OK.
And where can everyone find you and prestige on the socials?
And where can they follow prestige before the launch and
all those fun things? Sure.
So I am Fritz Paul on Instagram, so you can find me on there.
You can also find us on Board Game Geek.
We've got a page set up and I post pretty regularly to the
forums. We have a Facebook group.
If you're on Facebook, just search prestige, the city
building game and we'll pop up there for you.
And you can also follow our publisher, which they use the
we're part of Kingdoms of the Earth, which is the subsidiary
company where you can find their socials under New Kingdom
Gaming. Excellent, excellent.
Well, once again, Fritz, thank you for joining me.
Thanks for letting me be a part of Prestige, Prestige's city
building game launching today on Backer Kit.
So get a copy, guys. Hey, it's your only chance.
It might be the only game written by a host of Meeble to
Meeble. Who knows?
Certainly, I hope not. I'd like to contribute more, but
that'd be exciting. But again, thank you so much.
We appreciate it, Fritz. Yeah, thanks for having me.
Thanks everyone for listening, please subscribe and as always,
we'd love to hear your thoughts and ideas, so make sure to leave
those in the comments and don't forget you can also chat with us
both on Instagram at Meeple to Meeple.