New Arrivals: Designing Obama

There have been tons of excellent projects that have gone live in the past week. Here’s a look at some that got our attention.

Designing Obama: Maybe you’ve heard of this Obama guy? Scott Thomas certainly has — he was the Design Director for the campaign, and this project collects his work, as well as tons of other amazing designers, to provide a definitive statement of the look and feel of the Obama campaign brand. The material is being collected into a book that varies from $10 for a PDF to $150 for an inscribed copy in a gold sleeve to a $10,000 version handmade by Joe Biden. Have you seen that guy’s Etsy store?

PieLab: When this project first rolled in, I double-crossed my fingers and toes hoping that “Pie” meant, well, pie, and that this would be a project to develop new combinations of crust and awesomeness. And while that’s not exactly what this project is about, it’s not terribly far off. Basically a group of creative folks in Greensboro, Alabama (is “Greensboro” the Springfield of the South?), started a pop-up pie shop, and they want to expand it into a center for design, creativity, and, well, pie for their community. Very cool.

Emoji Dick: The work of Fred Benenson — a Creative Commons-er — Emoji Dick is a Mechanical Turk’d translation of Melville’s Moby Dick into Japanese emoji icons, which I didn’t know existed until, err, now. Here’s an example:

This project has proven to be weirdly polarizing on Twitter and Boingboing — people want to know why do this, what its purpose is. Since when did art need purpose?

Fund Nothing: So Fund Nothing is about as descriptive as it gets. According to creator Jeff Edwards, this project is Kickstarter’s first conceptual art piece. The project is looking to raise $100 — 100% of which will be used to give backers certificates of participation that cost exactly $.85 to produce. Jeff has has four takers so far. Should be a fun one to follow.

One Night Stand: A group of comic writers and artists have decided to collaborate on a one-off issue focused on “casual encounters.” (Every Craigslister knows what that means.) The finished comic will not be sexually explicit, they assure us. I’ll probably end up backing anyway.

TINYBROKENFILMS Presents: Three friends decide to make a 12-part serialized film. Promising.

Help Fund My Brutal Arcade Game: This is the work of a game developer named Mark Essen, and I neglected to include it in last week’s video game roundup because the use of the word “brutal” made me think it was some over-the-top violent thing. But what Mark means by brutal is brutally hard — which this puzzle game is. I watched about 40 seconds of gameplay footage yesterday and had to do some light Foucault reading to keep my brain from destroying itself in confusion.

100k Stray Toasthed Pull Toys: The work of industrial designer C. Sven Johnson, this is a different kind of project for us. It’s seeking $7,500 to design and then share the CNC designs (a form of production: here’s Wikipedia on it) with backers so they can produce their own.

Showpaper Issue 63: Such a niche project, but one after my own heart. Showpaper is a DIY, print-only zine focused on punk rock and indie shows in Brooklyn. They’re seeking $800 to pay for the next issue.

Gold Coins

In a project update last week, Robin Sloan — who previously penned this video guide and whose Kickstarter project is currently 243% funded — wrote about “gold coins,” small treasures left for an audience to discover and relish. Robin quotes a writing coach advising: “Place gold coins along the path. Don’t load all your best stuff high in the story. Space special effects throughout the story, encouraging readers to find them and be delighted by them.”

Robin specifically means writing when he talks about gold coins, but there’s a larger truth in there for people creating projects. Especially “don’t load all your best stuff high in the story,” to which I add, “And make sure not to overload them at all.”

It’s important to show passion when pitching a project, and it’s equally important to be judicious with how much and what kind of information you share. (This goes for both Kickstarter and real life.) You might have a million and one reasons why your idea is the one worth funding, but the only ones that matter are those that you can present convincingly in those first 20 seconds you have to make an impression.

Every project creator should ask him or herself: what are my project’s gold coins? Is there a good story behind the project? Is there one reward that’s particularly strong? Are you strong on-camera? Find what these things are, and build your project around them. If you have a really awesome reward, then don’t add too many others — they’ll only distract from your best stuff. If you’re good on-camera, plan to do regular video updates and advertise it loudly.

The point about sprinkling these things throughout the story is huge. Running a Kickstarter project is not a set-it-and-forget-it situation. A better phrase, in fact, would be campaign. Like a political campaign, a Kickstarter campaign is a marathon, and every day is a chance to win even just one new supporter.

So plan your days out. Create goals and deadlines within the project. Space and target your emails and social media messages asking for support so as not to fatigue. Add new, limited rewards. Post in-depth project updates on the most interesting parts of your story. Think of the experience that you would want as a backer, and then work your ass off to replicate it. Now scatter those gold coins, and you should be all set.

Creator Q&A: Borut

The Unconcerned is the working title for the subject of this post, a video game set in Iran during the protests following the recent election. Quite the weighty subject matter. In the game, you play a couple looking for their daughter who has disappeared during the rioting.

As Borut, the game’s developer, explains both in his pitch video and in our Q&A below, he is well-aware of the needed delicacy in making a game like this one. He is approaching this with complete earnestness, both in terms of the subject matter and the Kickstarter project itself.

The project launched over the weekend and has raised over $1,200 so far, with a goal of $15,000 and 84 days to go. Rewards include the game itself, original artwork, and even having an in-game character modeled after a backer.

We emailed with Borut about his project, its politics, and how indie game development can fit in with Kickstarter. To check out the project, click here. Here is our conversation:

Can you tell us about your project?

It’s a small game that’s set in Iran, during the riots and protests that followed the election this June. You play two characters, a husband and wife who are looking for their lost daughter.

The gameplay will be a combination of solving puzzles and action. You’ll come across different types of people on the street while looking for your daughter, and they’ll react to you differently depending on what character you are at that moment (the father or the mother). You have to use these differences to get past obstacles like police or crowds, and get information from people that will help you find your daughter.

A lot of people don’t think games can address such serious topics, but I think that not only can they address them, games can sometimes be the best way do so. Games can make people feel like in they’re in another place and another moment in time, to give them perspective on serious events like these.

What was your thinking in *how* you decided to take on the task of creating a game around the Iranian elections? How are you handling the delicacy of the subject matter?

That’s a great question - how I approach such a volatile and sensitive topic is definitely at the forefront of my mind as I’m working on the game. I think one of the keys to creating a successful story about such a serious topic (in any medium) is that the core of the work should deal with emotions that translate to any place and time. I think anyone who is a parent or whose friends are parents can at least in some way relate to the pain a parent would feel losing their child.

There are a number of political issues I’d like to deal with in the game, but I think these will work best as subtext. By that I mean that your explicit goals as the player at any given moment don’t have to relate to the political situation. Instead, they will indirectly expose you to situations that encourage you to think about it more. For instance, one of the characters in the story is a police officer, and you will come across moments where police are being unnecessarily violent against protesters, as well as moments where they are the victims of violence (based on real events). By asking you as the player to deal with and resolve such situations, my hope is that you’ll ask yourself more about how such situations are created and what causes us to do such awful things to each other in such times.

How I approach these topics is especially important early on in the game’s development, so I’ve been taking time to do research and am trying to be very careful designing the game’s mechanics. I’m a very strong believer that everything you decide to put in a game says something explicitly, whether you realize it or not. I’ve recently been designing the gameplay differences between the father and mother characters and I’ve been trying to avoid making those differences based on the physical nature of the two characters (like the father being capable of taking more damage during a fight). Differences like that play up the unequal nature of the sexes, and downplay what role society has in controlling that inequality. So I’m trying to make those gameplay differences consist more of how other characters *react* to you, based on which character you are. For instance, the types of actions that would cause a nearby police officer to become suspicious of you and stop you would be different if you’re playing the father or mother. Everything in the game has to go through that kind of analysis and thought process.

I realize it is perhaps audacious for someone (especially, say, a white, middle class, U.S. citizen like me) to make a game, or any other piece of media, about such a different place and culture. But I also feel like this game really needs to be made, and I don’t see any else doing it - understanding people and trying to help them relate has always been a passion for me.

What is your background? And what about your collaborators?

I’ve been working in game development for about 9 years, doing programming and some game design.  After graduating from Georgia Tech in 1998, I did regular software programming for a little while and then eventually tried to create my own startup studio with a couple partners. That didn’t work out at the time, but it was an amazing learning experience. From there I went to work for Radical Entertainment, on a game based on the movie Scarface. Then I worked at Sony Online Entertainment on a PS3 launch title (Untold Legends). I’ve been at EA the past two and a half years, until I finally decided I had to get back to making my own games (while doing contract work on the side to help pay the bills). I’ve also taught game design at the Vancouver Film School, and have written about game development for a variety of books and websites.

I’ve started working with a couple artists, Amanda Williams, who did some of the art for the popular iPhone game Spider: The Secret of Bryce Manor, and Alex Drummond, who also does concept art for the game Edge of Twilight (which is currently in production). I’ve got a friend who’s offered to help me with sound effects, but I haven’t reached the stage in the project where that’s necessary yet. I still have a lot to determine about the music for the game though, as to what kind of music and how much there will be.

How does Kickstarter fit as an indie game funding model?

I think it has the potential to work very well for certain size games. A small downloadable game’s budget can range anywhere from a few thousand dollars to several hundred thousand. I think at the moment it probably works best for games in the $1-25k range, but hopefully that amount will increase both as Kickstarter’s audience grows, and as the audience for indie games grows.

What has your experience been so far?

It’s been great - in the first day alone I raised $836 and after three days I’m at 8% of my goal, $1211 out of $15k. Even if the project doesn’t meet its funding goal, it’s incredibly empowering to know there’s people out there who believe in you and want to see the project succeed.

How will you be keeping backers informed?

I plan on doing regular updates on the game’s development process. I still have to figure just how much I’ll publish publicly, and what information I’ll keep for those backers who have pledged for exclusive behind the scenes access. To start, I will probably only do detailed development updates every 2-3 weeks, with smaller updates here and there. As the development ramps up, detailed updates will probably become more frequent, maybe once a week or so. I’ll probably include in-progress art as well as insight into what problems and approaches I’m taking in the game’s design and programming.

How and where will the game be released?

The game will be available for download on PC, and ideally for download on the Xbox as well. The Xbox has two channels for downloadable games, Xbox Live Arcade and Xbox Live Indie. It’s easier to publish something on the Indie channel, but it also restricts the price you can charge to $5 (whereas I think the typical price for a game of this size and depth is about $10). The Indie channel also doesn’t have as broad a market as the Arcade channel. As I get closer to finishing the game, I’ll have to figure out if it’s worth the effort to go through the longer approval process for the Xbox Live Arcade, which also depends on Microsoft’s interest in publishing it on that channel. Because of the political nature of the game, they may want to keep it on the Indie channel.

As for the timeline of the game’s development, that’s still up in the air. Realistically, it’ll be at least 6 months of work, but it may take longer, even over a year. It depends partly on how successful the funding is via Kickstarter and how much of my time I can devote solely to developing the game.

Are you consulting any Iranians or anyone who was in Tehran as you develop this?

Absolutely - Right now I’m starting by just reaching out through my personal network. For instance I have a friend and ex-coworker whose parents are Iranian citizens and whose mother was actually in Iran this summer during some of the protests. I’m also hoping to make more contacts for additional interviews/research through the attention the project gets on Kickstarter - in fact while answering your questions I’ve already gotten an email from someone whose family is from Iran and who offered their support.

Aside from that I’m doing a lot of other research, reading about both the politics and culture of Iran. I would like to travel to Tehran myself, but I’m not yet sure how feasible that is.

Any closing thoughts?

I’m hopeful that indie game-playing community is open to both this kind of game and this kind of method of funding games. Part of the challenge is definitely figuring out how to get the word out there yourself, but Kickstarter is a really cool service and it has a lot of potential for indie game development. I’m excited to have my project on the site and to see how the site develops and grows over time as you open it up to more people. Thanks to you, and thanks to all my backers!

Kickstarting Indie Gaming

There is a potentially decade-defining revolution happening in gaming right now, and not many are noticing. The iPhone, flash games, Xbox Live, Playstation Network, Second Life, Facebook widgets, and even Foursquare haven’t just moved the bar for gaming development —they’ve completely redesigned and re-purposed it.

We’ve gone from game development as an artistic/programming pursuit to the past five years, the age of the blockbuster game. Like Hollywood, anything that doesn’t fit a predetermined market requirement is cast aside. Big console and PC development takes years of work and ginormous sums of money, and as a result, the gaming studios play it safe, releasing sequels, retreads, and other swill. Sound familiar?

But just as there’s more to film than Michael Bay and Jerry Bruckheimer, there’s more to gaming than Mario Kart and Mortal Kombat. Indie game developers have always been around, but they’re now finding friendly outlets and eager gamers thanks to the iPhone, Xbox, and Playstation’s relatively open platforms. For many, it’s the first credible outlet they’ve ever had.

But still, there is money — a lack of it. And for some developers, that’s where Kickstarter has come in. We’ve had games like High Strangeness, Liferaft, and Resonance — all excellent. Another set in the post-election demonstrations in Iran (we’ll be posting an interview with its developer tomorrow). Also a documentary on competitive Street Fighter 4, a Halo-based talk show, and a new video game journal, among many others.

The rewards are often great. In addition to the games themselves, creators have offered to base characters after backers and use them as in-game voices. And for the creators: I don’t know the ownership stakes normally given to game developers, but I can take a guess. On Kickstarter creators always keep full creative control and intellectual property.

If you aren’t a big gamer you probably don’t think of these people as artists in the same way you do filmmakers, painters, or musicians. And considering what’s out there, you aren’t wrong. But a good game developer or designer’s work can be just as profound and just as serious as anyone else’s. Visit a couple of the projects above and I bet you’ll agree.

Creator Q&A: Michael Hearst

That bizarre thing above is called the Magnapinna squid (filmed earlier this year deep in the Gulf of Mexico), and it’s one of several unusual creatures that Michael Hearst wants to write a book and make a record about for his Songs for Unusual Creatures project. Rewards include Theremin lessons, pet portraits, and this, the single worst reward that we have ever seen:

Unusual Creatures is the latest in a string of inventive projects from Michael, including Songs for Ice Cream Trucks and the band One Ring Zero, where he collaborated with Paul Auster, Margaret Atwood, Dave Eggers, and Neil Gaiman. He also podcasts with Rick Moody. Well done, sir.

Michael’s Kickstarter project has done well, with $2,000 raised thus far. And its rewards — barring the above — are particularly strong. But needing $3,000 with eleven days to go, the pressure is on and Michael is feeling it.

We asked him how the experience has been so far, and he responded:

Incredibly stressful.  But also very enlightening.  I really have a hard time asking people for help, especially my friends.  And with Kickstarter, there’s simply no way around it.  But it has also really opened my eyes.  I’ve never contributed more money to other people’s projects than I have in the past month.  I now realize how difficult it is to raise funds, but also how important it is.

It’s a really great point. It might feel awkward asking friends and coworkers about your project, but it’s a must. Those are the people who always care the most and will work hardest to spread the word.

We asked Michael some more questions about his project and its progress, and you can read our exchange below. For more on Michael’s project, click this. And New Yorkers, note that he’s playing Joe’s Pub this Thursday night.

Can you tell us about your project?

I’ve gotten good at this question, thanks to you guys!  The project is called Songs For Unusual Creatures.  It will be a book/cd, which celebrates some of the lesser-known animals that roam the planet.  Things like the Magnapinna squid, the Dugong, the Horned Puffin, the Saddleback Caterpillar, and the Aye Aye.  When I was a kid, I loved Camille Saint-Saëns’ Le Carnaval des Animaux. (Still do, actually.)  Of course, those songs are mostly about common animals like the donkey and the elephant.  I thought it would be fun to do unusual animals.  To boot, I’m using a lot of bizarre musical instruments, including the claviola, the theremin, the stylophone, and a bunch mechanical musical instrument robots (provided by the guys at LEMUR).  The idea of releasing this project as a book/cd seems ultra important to me, kind of a essential that it should include pictures of the animals, as well as some fun facts.

What are some of your favorite animals you will be writing about? Why?

The Chinese Giant Salamander!  Thing is absolutely disgusting and totally amazing.  It’s the largest living amphibian, measuring up to 5 feet in length.  All it takes is one look at picture of the Chinese Giant Salamander, and you’ll see.

I also love the Bilby, which is a small nocturnal marsupial found in the deserts of Australia.  The female Bilby has a pouch, which faces backward, helping to keep dirt from falling in while it burrows into the ground.  It hops around like a bunny rabbit.  In fact, there have been movements to popularize the Bilby as an alternative to the Easter bunny.  The Easter Bilby!

You’ve had a great music career and you’ve recorded for a number of prestigious labels. What made you decide to give Kickstarter a shot?

Well thanks.  And yes, I’ve certainly bounced around from one label to another. Most of my projects fall into very different categories from one another, thus making it difficult to stay with any particular label.  For the One Ring Zero author CD, we released it with Soft Skull press, for Songs For Ice Cream Trucks, I released it with Bar-None records.  For most of One Ring Zero’s worldlier albums, we’ve released them with Barbes Records.  Really though, the music industry has changed so much in the past few years that one begins to question the whole need for a record label, especially when the record labels don’t really have money for album production.  I still think labels can be super important, and there’s definitely something to be said for being part of a roster of like-minded artists, or even just being on a reputable label, but there really just aren’t advances for album production like there used to be.  And although I’m still very interested in fining a label or publishing house to work with on this project, I still need to find the money to make the album.  That’s where microfinancing is really fantastic.  Kickstarter has made it much easier to say to your friends and fans, “Hey remember when you used to spend $15 a week on new music, and now you don’t?   Well, we musicians and artists simply cant continue without you.  Help!”

How has the experience been so far?

Incredibly stressful.  But also very enlightening.  I really have a hard time asking people for help, especially my friends.  And with Kickstarter, there’s simply no way around it.  But it has also really opened my eyes.  I’ve never contributed more money to other people’s projects than I have in the past month.  I now realize how difficult it is to raise funds, but also how important it is.  And I’m so incredibly appreciative of everybody who has invested in my project.  Even the people who just put in $3 are Saints.  Seriously! I was lying in bed last night thinking, even if I don’t make the goal and get the money, I’m still going to find a way to make this album, and I’m still going to give each of those people a free copy when it comes out.

What’s your most popular reward? And what’s your best reward?

Well, my most popular reward is the $35 signed copy of the album with a special thank you in the book.  I mean, its really no different than placing an advance order of the book/cd, but you get your name in there too!

The top reward is the opportunity to have me write an original song for your pet (or a friends pet).  Of course there’s also the theremin lesson, or the “guided tour” of the Brooklyn Zoo, or even Sea Monkeys delivered to your house!

Any closing thoughts?

I suppose this is the perfect opportunity for me to plug my show at Joe’s Pub on Thursday Sept 17th (7pm).  I’ll have a five-piece band, plus about 30 musical instrument robots.

Also, if you ever get stung by Saddleback Caterpillar, use scotch tape to quickly remove the urticating hairs, which cause the stinging.

Film on Kickstarter

From LaPorte, Indiana to Geoff Edgers’ Kinks movie to film debuts to an Andrei Tarkovsky doc, there have already been some excellent film projects successfully funded through Kickstarter. This is no surprise to us — the IRS, Stonecutters and the movie industry run neck and neck for Most Byzantine Organization — and today we wanted to highlight a few current film projects that deserve some attention. In no particular order:

Live Radical and Change the World: I’ll admit: after watching the pitch video to Matthew Lessner’s new film, I wasn’t sure what to think. Hipsters playing Lord of the Flies in the woods of the Pacific Northwest? But then I watched the second teaser clip, which reveals a satire/farce that I would pay $12 to see, no question. I also like the $5 reward: “A black and white reproduction of Che Guevara shaking hands with Ralph Waldo Emerson.”

For Thousands of Miles — A Documentary About Leaving Everything Behind: This is the second film project from Mike Ambs; his first was the enchanting Project Pedal, whose video I adored with its somber tones and Malick feel. Thousands of Miles is part two of that project, a very personal effort by Mike to document both the events of and his reaction to a two-month bike trip that changed his life. Watch the clip and get sucked in.

Lake Beast: Lake Beast is an animated short from Vance Reeser, and it is spectacular. If you have a spare five minutes, walk don’t run to Vance’s project video, which unfolds his film in its working stages beautifully. It’s a genuine work of art on its own — no kidding. As a backer of the project, it’s been a particular treat. Vance’s project updates have been fantastic, including a post explaining what visuals inspired the film and a very personal post detailing what inspired the story in the first place. Vance is really giving it his all.

Mister Rogers & Me: I will let Christofer and Benjamin Wagner begin the pitch for this film. It’s hard to put it better:

I first met “Mister Rogers’ Neighborhood” creator Fred Rogers at his summer home in Nantucket, Massachusetts, in September 2001. My mother rented the cottage next door, so Mister Rogers really was my neighbor.

My brother and I have been working on our documentary, “Mister Rogers & Me” every since.

The Kickstarter project will help finish production on the film, which includes an appearance by the late Tim Russert talking about Mister Rogers’ importance. With eight days to go and $1,300 to raise, they’re in the home stretch, but they need some help.

Please Allow Me to Terminate Your Shirt: Based on a ludicrous premise reminiscent of Patrick Stewart’s Extras appearance (“I can see everything”), Steve Macfarlane’s project is amateur filmmaking at its finest. Whatever it means, I also like this reward: “You will get a high-five in the mail. Don’t ask how!!”

March! The Movie: There’s an understated charm to March!, a very New York film about real estate, greed politics, and self-righteousness. But it’s a comedy. The work of five East Villagers, it details what happens when a landlord kicks out his tenants to build himself a mansion. Worth a look.

The Horror: And finally, there’s a small handful of horror films up on the site worth checking out.

Always a Bridesmaid is a horror-comedy short that’s overflowing with ridiculousness — rewards include props from the film (like that idea).

Dr. Bonesaw is another, this one with a much bigger budget: $63,000 is its goal. While a bit pricey, there is an amazing reward: the film has five victims, and they are selling off the victim parts for $2,000 each. They’ve had one taker to date. Very creative.

And finally there’s Night of the Punks, an ’80s-style horror flick in the Evil Dead vein.

Good luck to everyone!

Creator Q&A: April Smith

Last night, one of our most popular projects for quite a while now came to a close: April Smith’s quest to make a new record. Led by an excellent pitch video that several projects have imitated, the project racked up over $13,000 during its run.

April was very creative with her project. She set several mini-goals: help me hit this threshold by Friday and everyone gets a free song, that kind of thing. And it always worked for her. Perhaps most inventively, recently April tweeted that the next three pledges would automatically get bumped up a reward tier: even if you only dropped $50, the $100 tier would be yours. Smart.

While her Kickstarter project was ongoing, April had an incredible run of big shows and attention. She played Lollapallooza this year (and Rolling Stone loved it). Billboard did a video interview with her. She’s played some big headlining shows in New York. The timing of Kickstarter’s launch and April’s ascendancy couldn’t have been synchronized better.

We sent April a few questions last night about her project. We’d like to congratulate her on her success

Please tell us about your project and background.

My Kickstarter project was a fundraiser to make my next album. Basically, I wanted to make a really great album without a label. I knew I’d have to pay for the production, studios and musicians myself. So I figured out a reasonable goal that would help me make the album I wanted to, the way I wanted to. I set my goal at $10K, and then I launched. When my project was over, I raised $13,100! So I guess 13 is my new lucky number.

Did you have a strategy with your project?

I handed out flyers at every show we played, tweeted about my Kickstarter project a bunch and I posted updates on Kickstarter too. I would blog on my website and always mention my project on radio and in interviews. I just tried to get the word out to as many people possible. My fans and friends were really instrumental too. I’d tweet about it and then they’d all retweet… I could never have done it on my own.

What was your most popular reward?

The $50 level was my most popular. My fans get a signed physical copy of the album a week before it’s released, an April Smith T-shirt, a digital copy of the album before it comes out, their name and link on my website, a free download of “Terrible Things,” and exclusive video updates from the studio.

Did anything surprise you?

Even though I know, and have always known, how wonderful my fans and supporters are, I was overwhelmed by their generosity. They were always retweeting about my project, telling their friends and spreading the word any way they could. Giving their time and helping me promote was just as valuable as a pledge.

What advice would you give a new project creator?

Use all of your social networking tools! Twitter, Facebook and Myspace were great for me. Send emails to your fans and keep them updated.

Any closing thoughts?

Kickstarter was truly a blast… I realized that I have the best fans I could hope for! I’m definitely going to donate to other Kickstarter projects too. I promised my invites to some other talented people so I’m looking forward to seeing what they do with their projects.

Kickstarter NYC Meetup

Next Thursday, September 17th, there will be a Kickstarter meet-up in NYC at Le Poisson Rouge in the West Village from 6-9pm. We’d love to see you there.

The event is the culmination of the New York Makes a Book Kickstarter project, a collaborative, 100-page book made by 100 New Yorkers. Copies of the book will be handed out for the very first time to all of the authors, who will each wear a nametag bearing their page number. Picture a yearbook signing: this is what we’re imagining. Additional copies of the book will be on sale as well. (The book turned out great.)

Both Perry and I will be on-hand, as well as many Kickstarter project creators and backers. The event is open to everyone, so come out and say hello. See you there.