Вы получаете 5% от оптовой цены игры. Например, если игра стоит 1000 рублей на полке, её оптовая цена будет около 500 рублей, а вы будете получать около 25 рублей с каждой проданной коробки.
Вы получаете 10% от оптовой цены игры. Игра на полке 1000 рублей, опт 500 рублей, вы будете получать около 50 рублей с каждой проданной коробки.
Мосигра провела крупнейшее мероприятие для авторов настольных игр в России, на которое съехались авторы настольных игр со всего пространства бывшего СССР и крупнейшие отечественные издатели. Из 94 представленных проектов 9 были изданы в Магеллане и у других издателей.
Usually, publishers are closely linked to one or more retail chains. For example, all our games get priority distribution through Mosigra (the largest retailer in the country) and other partner chains. Check how exactly your game will be marketed – publishing is easy, but selling several thousand units of your game a month is very difficult. We can point out that 12 of the Top 20 national bestsellers at the beginning of 2013 were published by us.
To begin with, games are tested. Bearing in mind we are preparing to invest our team’s time and money in the project, only the best games from those presented are selected. Each year, we usually review 150-300 games, and of those we publish less than ten.
Yes, we normally even recommend a suitable option, if the project is good but not quite right for our market. Each has its own specific features. For example, we like working with games that will sell 500 or more units per month, or with truly incredible clever or complex projects.
Because every creator is competing with localizations too.If it’s possible to take a complete, tested game from the West, where it has already proved effective, it makes more sense to work with that than with something new. Nevertheless, we make every effort to support the Russian market, and regularly run events for game creators.
Yep! Just take a look.
Preferably as finished as possible, i.e. as a box with components and rules. Cards should be cards (and not slips of paper that can’t be shuffled); if you are writing by hand, write in capital letters. The box should be durable and clearly marked. Everything inside should be as close as possible to the real thing – for example, for counters, it is good to use counters from other games or metal nuts, but bad to use paper markers. The board can be drawn by hand – this is better than attaching a file. And so on.
If you are unable to send the game in boxed form, we need a description of the concept (2-3 paragraphs) and the rules of the game, as well as the files to create the prototype. Remember, there is no point discussing an idea on its own. The testing team needs to be able to sit down and play it at least once.
Most importantly – what is the game called, who is it for, how many players, what age range, how long does the game last, what mechanics are used, what are the most similar games that already exist, how is your product better.
Put a prototype together. It’s better not to rush. If you assemble it in a hurry, it’s very possible that your game will be given a poorer assessment than if you think through the small details and write the rules out clearly and accurately. But don’t linger over it either – perfectionists come last.It’s better to stop at a particular stage of completeness and hear a publisher’s opinion than to work in the wrong direction for a whole year.
At the prototype stage – no. Creators often worry about the publisher being able to use their files without their involvement.We’d like to point out that, due to the lack of any kind of distinct protection of game mechanics in Russian law, any agreements and documents at this stage may, of course, give a sense of security, but in practice would be null and void. Therefore, you can simply trust the publisher or not. Then again, nobody is going to risk their reputation, just as publishing a game without the creator is simply not economically feasible.
If they are good – we’ll publish the game with them. But our experience shows it is better to bring a couple of samples of concept art, then it will be clear whether the artist/illustrator is suitable before work begins.
The creator gets between a 5% and 10% royalty on the wholesale price of each production run. If the game costs 1,000 RUB off the shelf in store, then it costs 500 RUB wholesale and around 300 RUB in production costs. You receive a royaltyonthe wholesale price, i.e., in this example, on 500 RUB.
The minimum run is 1,000 units, and a usual run is 3,000-5,000. We try to work with games that can sell more than 10,000 units a year. Taking into account that a published game will give you income for a minimum of 3-4 years, you can calculate the profit yourself. Usually, publishing games only becomes regular work for very, very few who are able to do several projects a year, but as a supplement to your main income, it is quite worthy.
And so on. In this way, none of the traditional risks of publishing or any other things apply to you. You simply receive your royalty on each box – it doesn’t matter what has happened with it financially and how. These royalties remain unchanged, even if there are challenges with theproduction run.
The main document is the copyright agreement, in which you guarantee that you are the creator of the game and own all the rights to it, and the publisher describes all their obligations in detail. In the majority of cases, you just need to sign this. The copyright agreement can be signed both by residents and non-residents of the Russian Federation.
If you use third-party materials in the game, for example, illustrations, you need the documents transferring the illustrator’s rights, or an agreement with them. If we are doing the illustrations, you don’t need to think about this.
We take care of everything else. This includes, for instance, certification of the game.
Let’s assume you send a completed game (incidentally, if you have a record of at least 20 games – this is okay). The game is tested not for balance, for example, but for playability. The tests are carried out in three stages: first, the developers look at it, then experienced players, then, under supervision, random volunteers “off the street”. All three stages must be completed. The most important is the third.
We sometimes give recommendations about the mechanics, setting, and component parts, i.e., we act as producers of the game.
Generally, 10% of games are good enough to publish. But less than 2% of games sent to the publisher are published. The others are simply put to one side in case they are needed. We let you know if your game is good but is not going to be published yet – and we recommend other publishers. In this case, the game will be placed in a publishing queue. In practice, over the last year, we have released two games from this reserve “queue”. The normal length of the queue is around 30 projects.
Normally around a month.
The cycle is 8-12 months from contacting us to it appearing on shelves.