The Most Stylish Transdimensional Object Around

The Black Glove is a creepy, surreal first-person game with a time-bending twist. It takes place in a 1920s hotel called the Equinox, which is inhabited by a host of remarkable individuals. One of the objectives of the game is to influence their pasts in order to change the present-day world. While playing, you also have to face the Equinox's chief adversary, the Space Minotaur. And then there's the eponymous glove, which has some unique properties of its own.

We talked to Joe Fielder, one of the co-founders of Day For Night Games, about how the world of the game came together.

First some background. You've all worked on some more mainstream stuff, but this game is pretty untraditional. How did you arrive at the concept, and what about it appealed?

We wanted to make a game that not only played into our team’s experience in creating immersive worlds and compelling game narrative for the BioShock series, but challenged us to develop our skills even further. Many narrative-focused games are mainly about uncovering the narrative, so we wanted to give the player direct control not only over altering the course of the story, but the world around them.

It became clear that taking an eerie, surrealistic route along the lines of Jean Cocteau, David Lynch, and Alain Resnais would be really fun, but we also found ways to work in our love of Jack Kirby, William S. Burroughs, Laurie Anderson and more into the mix, as well as our fondness for “so-bad-it's-good” things like black velvet paintings, sad-eyed clown art, and B-movies.

There are meta-games contained in the game — what is their function? Also, why the anachronism of retro '80s-style arcade games?

The premise allows us to create dozens of different environments and stories for the player to explore, which they unlock by playing — yes, I know this sounds strange, but trust me it’s all tied in — the coolest '80s arcade game that you’ve ever seen, heard, or played. That’s The Maze of the Space Minotaur, which I’ve heard some people describe as “Wizard of Wor-meets-Bomberman.”

I wrote an article about how it came together, but in a nutshell, we’ve seen a lot of response from gamers who were tired of having to constantly kill or be killed in narrative-focused games. That doesn’t mean they don’t want gameplay though, so the part of The Black Glove’s premise is that there are certain games of skill and chance that allow us to interact with fourth-dimensional space. It’s kind of a gamified take on William S. Burroughs’ cut-up method, which he felt allowed art to connect with different time periods.

In it, you’re trapped in a labyrinth full of cosmic monsters and have to collect energy to power your blaster, laser sword, teleport pack, or bomb pack. Some creatures hunt by sound, some by sight. Some teleport, some charge. You need to accomplish “feats” — achievements that spotlight particularly fun aspects or push you to learn clever strategies — in The Maze of the Space Minotaur in order to summon The Black Glove and change the past.

The plot and setting feel very cinematic. What are some of your non-game world influences (visual art, film, etc)? What about influences within the game world?

I mentioned a few above, but I’d also add films like La Jete, Eyes Without a Face, Seconds, and even Duck Soup, as well as b-movies like Monster Dog, Gamera, and The Legend of Boggy Creek.

Some of the early ideas from the game came from seeing the play Sleep No More, which is a series of concurrent narratives played out across different areas of an old school or hotel. It’s an amazing environment that you could wander around exploring for hours, but being a gamer, I wanted interaction… to be able to affect the narrative. That’s probably a little much to expect from a play, but it’s perfect for a game.

In the game world, the BioShock series is probably the biggest influence. It taught us all a lot about creating environments that have a real sense of space, time, and place and crafting narrative that makes you care about the characters that inhabit that world. Oh, and plenty of shocks and surprises.

Playing with the idea of nonlinear time is one of the coolest parts of the game. How did you achieve these aspects of the game, visually and plot-wise? Can you talk a bit about building up the world of the game in general?

In the game, when you summon The Black Glove, you can change one aspect of a creator’s past, specifically, their Medium, Message, and Muse. One alteration and everything in that character’s environment and story changes. You’ll be able to hunt down hints at what to alter next, but even a wrong choice should give interesting results.

That give us many interesting challenges for the narrative and art, and generally a game that’s really fun to make is really fun to play as well. For the player, it gives a chance to visit places that you’ll never see in real life and we can work in mediums that are normally a little dangerous to be around, like x-ray light and fire. A standard play through will take several hours, but in order to see everything, it’ll take many more. The game’s designed to be fun to play multiple times, with its expansive nonlinear narrative, dozens of environments to explore, and many challenging arcade feats.

What is the black glove — the object — in a nutshell?

It’s the most stylish transdimensional object around. It’s the ultimate in wish fulfillment, comes complete with an inexplicable hole through the center, and goes well with every outfit.

You just had several big announcements in the last week. What were they?

First off, we’ve released an updated trailer with new footage that shows that the Maze of the Space Minotaur creatures are beginning to seep into the theatre's reality and hints at the larger narrative behind The Equinox and The Black Glove. It’s perfect timing for Halloween. (We’re also releasing a free printable Space Minotaur Halloween mask, I should add.)

We’ve also announced that comic writer Charles Soule (Death of Wolverine, Superman/Wonder Woman, Swamp Thing, Letter 44) will be helping me script the game. He’s fantastically adept at both big plot reveals and quiet character moments. He’s also a gamer and I had a great time working with him on an as-yet-unannounced game earlier this summer.

Last but not least, we’ve revealed that we’ll not only be bringing The Black Glove to PC/Mac/Linux, we’ll also be supporting the PlayStation 4. Our backers demanded it and when they do that, we take it really seriously and do what it takes to make it happen.

A Year of Games From Down Under

It’s been nearly a year since we opened our doors to creators in Australia and New Zealand. Since then, more than 200 games projects from those countries have raised more than $1.2 million USD. And this is a big week for games in Australia, as Melbourne hosts both PAX Australia and Games Connect Asia Pacific. So it feels like the right moment to give a big virtual hug to all of our games creators in Australia and New Zealand, and highlight a few of our favorites from their work over the last year.

Armello 

We’re eagerly looking forward to the release of this stunning hybrid board/card/PC game starring heroic animals.

Jelly God 

 Jelly God, which was funded just last month, promises to be a weird but fulfilling experience as you inject a gray world with vibrant hues.

Shipwrights of the North Sea 

We’re already plotting our strategies to have the biggest fleets in the North Sea in this game set in the early years of the Viking Age, circa 900 AD. It's shipping to backers imminently.

Elevenses 

It’s tea time and you’re a respectable 1920s socialite in this beautifully illustrated card game. If you missed the project, you can order a deck here.

Paradigm 

Probably the first post-apocalyptic adventure game with a mutant sloth villain.

Totome 

Developed for iOS and Android, Totome is a gorgeous, immersive mobile game.

Hand of Fate 

A digital deck-building card game about life and death!

Fragged Empire 

Fragged Empire is a tabletop RPG setting and rules, with a far-future 'post, post-apocalyptic' setting. Your people have survived 100 years of brutal tribalism and savagery and are just now emerging back into space.

Bearzerkers 

You’re an armadillo…running from a berserk panda. What more needs to be said?

Protocol E 

This project is live right now! Protocol E is a strategy game set in a cyberpunk universe. The soundtrack is perfect and the vector graphics make us want to dive into its matrix. Check it out and show your support for these Sydney-based developers.

Adam J. Kurtz's Unsolicited Advice

“Don’t forget to rest this weekend, or you’re gonna feel like shit on Monday.” This is the kind of real-talk directive that you’ll find in author and graphic designer Adam J. Kurtz’s planners and journals. Filled with creative tips both grand and mundane, Unsolicited Advice is a personal pet project for Kurtz — he writes and designs the calendars himself, self-publishes, and then packs and ships them out of his living room. The 2015 edition of the calendar launched mere weeks after the publication of Kurtz’s first book, One Page at a Time.

Kurtz spoke to us about time management, building a mini-empire of creative projects, and slowing down often enough to find the inspiration in everyday.

What do you tell people who have writers block? What do you do when people come to you seeking advice on how to be creative?

I struggle with the idea of a creative person. The subtitle of my book, A Daily Creative Companion, was not my idea, and I was a little unsure of it. I hate the idea of creativity as a have/have not thing. We’re all creative. If you’re alive you’re creative. Being human is a creative experience. It just depends on how you define it.

I think when people have writers block it’s because they’re putting so much pressure on themselves to be creative that they just forget to actually be creative. For me, my best stuff happens by accident. It’s like, I tweet something or I’m about to, and then I think, “Wait. Save it. Print this. Write this down.” I email myself a lot. I text myself. If you text yourself it waits a few second and then buzzes you back, so you can see your idea twice.

Do you carry a journal or a diary, too? 

 I do have several notebooks that I cycle through—a lot of scrap paper. I’ve been doing a project for three years called Week in Scraps. So I’m always carrying trash and ideas and garbage on me at all times. But yeah, I think creativity is always there. Just don’t think. Just do. Make it.

This is very helpful advice for overthinkers.

I think the book is dumber than people might expect. I think people think, "Oh great, this book is gonna help me with my writers block or help me with my art." But the book is just going to help you to remember to be a person. Like, the book tells you to take a deep breath. The book has pages in it that say, “Don’t do anything.” “Just sit down in the shower. Just sit.” I think people will be surprised by how weird and how real this book is.

Has anyone gone through the book and done the actual program?

Yes. The book has already been published in Brazil. They rushed it out in Portuguese first. It’s been out for about three months, and it’s on the bestseller list. Totally nuts! People are doing it. The book is full of hashtags, so people are posting and tagging me. People are doing the book in ways that I’ve never anticipated. I’m not a great illustrator — I’m more into words and writing, but people are drawing beautiful art in my shitty book. Seeing it is just incredible. I check that stuff meticulously. I’m going through and liking Brazilian people’s posts. I’m getting really great drawings, really unique responses. I love it. It’s one more fun thing for me to obsess about on the internet.

Do you think the internet is a hindrance to creativity?

Yes. The internet is wonderful for reasons we already understand. But the internet sucks because you see people putting out content so quickly that you think you’re supposed to do that too. And so you rush ideas out instead of saving them to make something bigger and better. And the truth is, I do that with my personal work. I’ll rush products out that aren’t great or designs that are stupid and it can feel really great and real in the moment. But there are definitely people who care more about keeping up with social media more than they care about actually making things. And it’s sad, because it’s usually great stuff.

The other thing is that some people are really great at Instagram, and I’m like, “You’re a photographer! That’s a book!” People always say, “I wish I could make a book” and it’s like “Look at this book I made. You could have done this. Your tweets are a book. Your tweets are poetry. You’re already writing!” People forget.

It’s more like “I’m good at social media” or “I’m putting this thing out there.”

Yeah, “I’m pumping this stuff out so fast that I’m not even looking at it.” I think that can be difficult. We’re too fast. This book and a lot of my projects are just tricks so that I slow down. I feel like everything I’m making is sort of me telling myself what I need to hear and then letting other people in on it. My boyfriend saw a copy of the book when it was printed, and he looked at it and said, “Uh, so babe, are you going to do this?” He totally called me out. It was like, “You need this book. You basically created your own little savior.”

So are you going to do it?

Do I have to?

Yeah, you do! And keep a diary of keeping your diary.

That might be too many layers. My brain might explode. I’m going to do the book too, and I think it is going to help. Reminders of taking deep breaths and drinking enough water. I work in advertising. We forget to take a deep breath a lot of the time, especially when you live in New York. We all do.

This book is the opposite of the internet and New York. This book is what I wish I had when I was fourteen, and that’s the cool thing about it. It’s made for adults but it’s the perfect teen journal. This is the kind of book that your aunt buys you, like, “That’s cute.” And then you get to the page where you’re asked to fill in your own tombstone and you’re like, “What?” It’s cooler than it looks, so I think it’s a good gift for your cool weird sister, or your one friend who’s a little off.

I think if Daria was alive she’d roll her eyes, but then she’d secretly like this. People love Daria and I don’t know why they haven’t done a movie yet or brought the cartoon back. I think now the nineties are back, so pretty soon the 2000s will be back, and I’m so ready. I don’t remember the nineties, that was fifteen years ago. But bring back Daria. Bring back Michelle Branch. Where is Michelle Branch?

I’ve heard that you’re a Michelle Branch fan.

Truthfully I know exactly where she is at this exact moment. [Laughs] No. She’s been recording. She had a third album that got shelved, which is really sad. But she leads this wonderful creative life where she had a bakery, and she was doing an online cooking show. She has a cool daughter and she still performs all the time. She may not be Katy Perry, but she’s still making a living doing her art. That’s what I want for myself.

I mailed her a copy of the book and I wrote her a letter that said, “I find you really inspiring. That you’ve made a life out of being really honest, never hypersexualized.” And she was never trying to be the number one pop star. She was just like, “I’m gonna make a couple of records and do this until I can’t.” That’s what I want to do. I want to keep making stuff until I can’t.

Did you hear back from her?

Yeah! She loves the book.The coolest part was that she Instagrammed it. You know what? I don’t care about the book deal or the translations. I got my Michelle Branch Instagram. If this book tanks, that’s fine.

You should put that on your gravestone.

Yeah, the gravestone is just gonna be a screenshot of her Instagram. It’ll be my book, and, like, kale juice, and her glasses.

Are you contemplating giving up your day job?

People keep asking me that. My boss asked me that. I don’t know. The really wonderful and freeing thing about this setup I have is that I have a day job. So this doesn’t have to be my job, it doesn’t have to be good, I don’t have to sell it. I have friends who have online shops — really cool, inspiring shit — but that’s their job and they have to hustle for it. I love that I can make a stupid pencil or a matchbook, and it doesn’t matter. I have a paycheck coming in, health insurance. I’m at the point now where my shop turns a small profit, and I could get into wholesaling or brand it to hell, but for now this is just my hobby — an extension of myself. And that’s what I like most about it.

A Temple to Burn

Burning Man and Kickstarter have a rich history — we've seen hundreds of playa projects on the site, and recently visited the desert ourselves. So when we saw this project to bring David Best, the Temple Builder himself, to Northern Ireland to create a work and then light it on fire, we wanted to know more about how the project came together. Turns out that the crew behind it was the Artichoke Trust, a UK-based creative company whose focus is public art. We asked Helen Marriage, the Director of Artichoke, to answer a few questions about the project. 

Could you start with talking about Artichoke's mission and projects in general?

Artichoke was originally set up in 2006 to bring French company Royal de Luxe’s show, The Sultan’s Elephant to London. Over four days we worked with the company to create a show in which an enormous, 40 foot high mechanical elephant and giant girl moved through the streets. The BBC reported that the project was seen by over one million people, and we’ve since gone on to bring a giant spider to Liverpool, worked with Antony Gormley to bring One & Other, his occupation of Trafalgar Square’s Fourth Plinth, to life and to produce the largest light festival in the UK, Lumiere, amongst other things. Our work is always outdoors and almost always free, with the mission to invade public spaces and change how people feel about their surroundings. 

How did Artichoke come together with David Best?  

I was awarded a Loeb Scholarship at Harvard Graduate School of Design in 2012, and during my time in the States I started thinking about the significance of David’s work at Burning Man, in the Nevada Desert. Then, when I was programming Lumiere in Derry-Londonderry, Northern Ireland in 2013, I learnt about the traditions that surround bonfire burning in the city and that inspired me to invite David to create something with the community there. 

One of David Best's temples. Photo by Oliver Fluck.
One of David Best's temples. Photo by Oliver Fluck.

The setting of Derry is meaningful in several ways. Could you talk about this? 

Derry is a city that has been historically split along religious and political lines for many years.  However, in recent years the city has been moving towards a positive and peaceful future. But, bonfires still play a particular part in this history: every year they are built by both sides in the community; they’re covered with effigies, slogans and flags and then burnt. They can be seen as a historic celebration of community identity, or as a hostile act against those from a different tradition. We wanted to change how people in Derry feel about bonfires and burning, and bring the whole community together to build a beautiful shared space, offering a moment of catharsis and release when it is set alight. 

How did you choose the specific location where it will be built? 

We have to think about lots of things when choosing a site, like whether it will be accessible and safe for large groups of people to attend. But also this project has some really unique considerations, for instance when we set the structure on fire it’s going to get really hot so we’ll need a lot of extra space to accommodate this. It’s also really important to find a site where both communities would feel comfortable. 

The same temple on fire. Photo by Philip Volkers.
The same temple on fire. Photo by Philip Volkers.

What are the materials and where are they from?  

When working on a project like this it’s a real challenge to do things as sustainably as possible. When we can, we’ll work with sustainable, FSC-certified resources from local suppliers in Derry so we can minimize our carbon footprint. The structure is likely to be made from a mixture of plywood and timber, however we’re looking at alternatives. We’ll be asking people to avoid bringing items made out of plastic to be burnt and will follow Burning Man’s "Leave No Trace" philosophy to make sure the site is left as we found it once the project is over. 

The community that springs up around a project like this is as important as the end result. Can you talk about all the ways that the Derry residents can get involved? 

We’ve been overwhelmed by the kind offers of help we’ve already had for this project, not just from people living in Derry but across the world. There’ll be lots of opportunities for people to get involved: young people will get the chance to learn new skills in cutting panels at the Nerve Centre’s Fablab, and schools students will get the chance to design some of them. Over 100 individuals will be involved in raising the temple: we’ll be recruiting out-of-work builders and a running a voluntary training scheme. We’ll also need volunteer "Temple Guardians" to help maintain the safety of the site and its structure. We’re very interested to know what skills people would like to bring to the project — so far we’ve heard from an electrician in New York and a carpenter in Derry, as well as many others, so please get in touch if you want to be involved!

We've made shipping rewards a LOT more flexible.

There are times when sorting out shipping details for a Kickstarter project can get complicated. Figuring out the budgets and logistics for sending rewards all over the world, communicating back and forth with backers to make sure everyone's included the right mailing costs — the whole thing can turn into a big headache, for everyone involved.

Our goal is to make it easier for creators to create — so they can spend more time focused on making great things, and less time worrying about mailing them. So we're happy to announce a new feature, one we're sure will make creators even happier: there are now a lot more built-in options for managing shipping. Domestic or international, near or far: creators can set their costs the way they want.

How does it work?

Really well, in our opinion! It's a pretty straightforward system. If you're a creator, as you set up each of your rewards, you'll get a choice of three options: "No shipping involved," "Only ships to certain countries," and "Shipping anywhere in the world." Pick either of the latter two, and you'll be able to add a specific shipping cost for any nation you want — this much for Canada, this much for France, this much for Nepal ... whatever makes your project work best.

Take a look:

See? Easy as pie. Probably easier, actually.
See? Easy as pie. Probably easier, actually.

Choose from a full list of nations and territories, and even one overarching zone for the European Union. Add as many details as you like, including a price for shipping in your home country — or leave one standard worldwide rate for any nation you didn't specify. When someone pledges for that reward, they'll be asked where they need it shipped to, and the right amount will be automatically added to their pledge.

Anyone who's dealt with the logistics of getting rewards delivered can probably already imagine how much easier this can make life. And not just for creators! Now backers don't have to worry about reading fine-print directions and making sure they've added the right shipping fees to their pledges — it's all taken care of, right from the start.

So there's one more hassle taken off creators' plates, and a little more time to spend making great new things.

Scream Team: Six Ghoulish Projects for Halloween

Halloween is one of our favorite holidays. The dressing up, the customizing-of-snacks into spooky versions, and the haunted home decor — it's all best if you do it DIY-style and get weird in the process. In honor of this crafty-creepy date, here's a roundup of our favorite scary projects, ranging from the merely spirited to the very undead. 

Sam & Mattie's Teen Zombie Movie & Making-Of Documentary

Sam and Mattie are best friends. For awhile now, they've been working on the most epic teen zombie movie ever — some of the storyboards include a police chase on skateboards, selfie-taking on jetpacks, and a zombie yacht fight. This project is to make the film, exactly as Sam and Mattie envision it, as well as a behind-the-scenes doc about how it all comes together. We really want to see it happen. 

ZoZo Skeleton Hand Planchette 

 If you're determined to summon the spirit world, why not do so in bone-chilling style? This Ouija board planchette (that's the name for the thing you place your fingers on) is in the shape of a legit skeleton hand, so when you move it, the finger points at the letters on the board. It's pretty much guaranteed to make your seance scarier.

Ouija in Emoji with Emouija Board 

But what if your ghost is hypermodern, preferring to communicate in pictograms over old-fashioned spelling? This is the Ouija board for you. Enough said, we think. 

CLIVE BARKER: IMAGINER Vol. 2 Art Book

For decades, author and fantasy artist Clive Barker has been conjuring imagined realms and bringing them to life in vivid, unsetting images. This is the second volume of his incredible, sometimes disturbing artwork, bound together in a book.

HAUNTERS — The Movie

Ever wonder about the people who make haunted houses happen? They're fearless craftspeople with skill and style, and they've made it their job to scare you. This fascinating documentary is all about them.

MICROFEARS: Tiny Dioramas Based on Iconic Horror Scenes

Career sculptor Jason Bakutis is making tiny, super-detailed dioramas based on scenes in classic horror. There's a minuscule mummy, a diminutive Bigfoot (the contradiction!), and even a wee swinging axe a la The Pit and the Pendulum. And if you want, you can get them unassembled and satisfy your inner garage kit enthusiast at the same time.

Pixel Harvest: 8 Brilliant Video Game Projects

There are a staggering number of surreal explorations, biofeedback fear monitors, and fruit-based satires funding on Kickstarter right now. Here are some of our favorite projects in the Video Games category, with a gaming hardware project thrown in for good measure.

No Pineapple Left Behind 

A game about de-unionized schools and tropical fruit. Satirical, topical, and (rare in games) funny!

The Black Glove 

An eerie, surrealistic, first-person game experience from an independent team of developers who helped make BioShock and BioShock Infinite. Enter a bizarre art world and change the way artists create.

Black the Fall 

Navigate through this chiaroscuro post-apocalyptic world, like a strange and unexpected black-and-white dream.

Impact Winter 

Another post-apocalypse to explore, this time in a world buried by an unceasing winter.

Charles Dexter Ward 

Senscape, the team behind the acclaimed horror adventure games Scratches, Serena, and Asylum, has returned from the nether gulfs of nightmare to bring you the first officially licensed game based on the legendary works of H. P. Lovecraft. This point-and-click adventure is a faithful and painstakingly researched adaptation of The Case of Charles Dexter Ward.

The Flame in the Flood 

In this post-civilization game, you travel by foot and by raft down a procedurally generated river as you scrounge for resources, make tools, remedy afflictions, evade the vicious wildlife, and most importantly, stay ahead of the coming rains.

Nevermind 

A biofeedback-enhanced horror adventure game that takes you into the dark and twisted world within the subconscious minds of psychological trauma victims. As you explore surreal labyrinths and solve puzzles of the mind, a biofeedback sensor monitors how scared or stressed you become. If you let your fears get the best of you, the game becomes harder.

Mad Genius Controllers 

Mad Genius uses a dedicated motion capture system that allows both halves of the controller to know exactly where they are in the room. It uses this information to add motion play to unmodified consoles and PCs, while preserving the use of standard buttons and sticks.

Kickstarter Is Live in Scandinavia and Ireland!

We're super excited to announce that creators based in Scandinavia and Ireland can launch their projects right now! People in Denmark, Norway, Sweden, and Ireland are some of the most creative in the world, and we can’t wait to see what projects they have in store for us. We expect to see great ideas in the categories of design, games, film, technology, and lots more! 

Projects in these countries function just like every other Kickstarter project, with a few small differences. Let’s go over how it works. 

Will there be a Scandinavia-specific or Ireland-specific Kickstarter site? 

Nope — Scandinavian and Irish projects will join the worldwide community of Kickstarter projects. But if you only want to see projects from home, you can search Kickstarter by location

Can people outside Scandinavia and Ireland pledge to Scandinavian and Irish projects? 

Yes! As with all other projects on Kickstarter, backers can pledge to projects no matter where they are. 

What currency will Scandinavian and Irish projects be listed in? 

Local currency for everyone! Danish kroner, Swedish kronor, Norwegian kroner, and the euro in Ireland. You can use your local banking and business details, and if your project is successfully funded, pledges will be collected in your local currency and transferred to you. 

What payment methods are accepted for pledges? 

Right now, pledges can be made with any Visa, MasterCard, or American Express card. 

What language should my project be in? 

Use whatever language works best for your project. But we do recommend that all projects also include an English version of their description, rewards, and other important elements. Kickstarter is a global community, and including translations will definitely help your project have a wider appeal. It also makes it easier for us to help you and your backers if a problem comes up. 

What are the fees? 

Kickstarter only collects a fee when a project is successfully funded. If that happens, we charge 5%. The partners that process payments for us also charge a fee, which varies depending on where you’re located. For more info, see here. If a project is not successfully funded, there are no fees. 

Who can launch a project? 

Almost anyone! You need to be at least 18 years old, and you should be a permanent resident of a country where Kickstarter has launched. You have to start the project in your own name, or on behalf of a legal entity with a valid business number. And you’ll need things like a mailing address, bank account, identification, and a major credit or debit card. 

What about taxes? 

In general, funds raised on Kickstarter are subject to taxes. That said, how much you owe can vary based on a number of factors. We highly recommend talking to an accountant or tax advisor. They can guide you through your particular tax scenario in the most advantageous way possible.